Purposes were (1) to identify all current adult community band activity in the states of Alabama, Georgia, and Florida, and (2) to develop a profile of participants in community bands, to include educational level, personal and musical characteristics, other current musical activities, family influence on participation, and employment information. / Identification of community bands was accomplished primarily through mail response from members of professional music organizations. The study verified twelve community bands in Alabama, twenty-six in Georgia, and forty-four in Florida. / A 60-item questionnaire was developed and distributed to the membership of fourteen community bands selected as a sample of small, medium, and large cities. Five hundred twenty-eight surveys were completed for a return rate of 74.6%. / Responses revealed twice as many men as women playing in community bands, and a very low rate of participation by minorities. More than half of respondents held a college degree, and half had majored in music at some time during college. / High school band was the most active level of school music participation, and positive indicators of continued adult activity were solo and small ensemble activity, private lessons, keyboard lessons, choir, and honor bands. / Three-fourths of respondents were recently active in another instrumental ensemble. Most participants had played in the community band for five years or less. Family influence was not a positive indicator of continued activity. Half of respondents were employed in professional occupations, and one-third currently or had formerly taught music. / Source: Dissertation Abstracts International, Volume: 56-04, Section: A, page: 1172. / Major Professor: James E. Croft. / Thesis (Ph.D.)--The Florida State University, 1995.

This study was designed to determine what effect specific kinds of music had on subject dance responses. / Each of the subjects participated individually in a five-minute long experiment, which included moving to music in the experiment room according to a set of instructions on an audio cassette, and then completing a self-report questionnaire pertaining to inhibition and relaxation experienced in responding to the three pieces. The experimenter assessed the results by observing specific movement patterns and physical characteristics, such as how much of the body was used, how much tension the subject showed, whether or not the response was indirect or repeated patterns, and if the motions were of an outward or inward nature. / Results showed statistically significant differences in the interaction of subjects and music. The most major significance seen with relaxed movement was with outward movements, in the sexual trauma/orchestral combination. (Abstract shortened with permission of author.) / Source: Masters Abstracts International, Volume: 31-01, page: 0023. / Major Professor: Jayne M. Standley. / Thesis (M.M.)--The Florida State University, 1992.

Three studies were conducted to determine the effects of music and the Somatron, a vibro-tactile acoustic couch, on the physiological and speech responses of head injured and comatose subjects. Each study involved a single subject design with the subjects serving as their own controls. / In Study 1 six subjects with head injuries participated in daily relaxation sessions with alternating treatment conditions of music listening, music with the Somatron, and no music. / One comatose male served as a subject for Study 2. The subject participated in daily sensory sessions involving two music tapes and the alternate use of the Somatron over a period of 52 days. / Two female subjects with expressive speech impairments served as subjects for Study 3. The subjects participated in daily speech therapy sessions involving music and speech rehearsal formats. (Abstract shortened with permission of author.) / Source: Masters Abstracts International, Volume: 28-04, page: 0489. / Thesis (M.M.)--The Florida State University, 1989.

The purpose of this study was to ascertain whether high/low contrasts in conductor intensity could be taught to, and then demonstrated by, undergraduate beginning conductors and, further, whether observers untrained in the concept of intensity could recognize these contrasts. A stimulus videotape, illustrating beginning conductors in one-minute demonstrations of intended high/low intensity contrasts, was developed for broad-based dissemination and subsequent viewing by independent observers. Subjects were (a) graduate music majors (n = 80), (b) undergraduate music majors (n = 80), (c) undergraduate nonmusic majors (n = 80), (d) high school band and choir students (n = 80). All subjects (N = 320) observed 20 one-minute conducting segments and labelled each 15-second interval according to perceived contrast of intensity. Additionally, subjects indicated an overall intensity rating at the conclusion of each conductor presentation. / Results indicated a total rate of correct responses across all groups of 77%. Analyses yielded a significant difference in mean correct responses among groups, and a significant difference in mean correct responses between the graduate group and all other subjects. Graduate music majors were more accurate in identifying intensity contrasts. Data analysis indicated a high degree of reliability among the four experimental groups on overall intensity ratings, and no significant difference in mean intensity ratings among subjects. In order to examine the relationship between beginning conductors and all other groups, a mean rating was calculated from the beginning conductors' self and peer ratings, and was considered in comparison with that of experimental subjects. Despite significant agreement among all five groups, there was a significantly higher mean rating given by the student conductors in comparison to that of the four experimental groups. / Future research in conductor intensity seems promising and might focus on effect of intensity contrasts in conducting on performer attentiveness; maintenance of high intensity by student conductors across successively longer periods of time; and application of the intensity training model, used in this study, to other university conducting settings in order to investigate its feasibility and usefulness across environments. / Source: Dissertation Abstracts International, Volume: 49-08, Section: A, page: 2139. / Major Professor: Clifford Madsen. / Thesis (Ph.D.)--The Florida State University, 1988.

<p> This qualitative study was designed to evaluate the impact internationalization initiatives in U.S. institutions of higher education have had on a school of music. The critical approach of intercultural communication served as the conceptual framework to guide understanding of internationalization initiatives or efforts within higher education institutions toward preparing students, in particular music graduates, for the global society (Issa, 2015). Data collected from questionnaires and interviews with various stakeholders, organizational documents and the institution&rsquo;s website provided a more thorough understanding of the approach to, and challenges and benefits of internationalization initiatives in a school of music. This data was coded for consistencies and emerging themes in terms of approaches to, challenges, and benefits.</p><p> The results of this study could create social change for society and communities in better understanding the impact of internationalization initiatives implemented within higher education music departments toward enhancing the artistic and intellectual abilities and contributions of individuals, institutions, and the field of music as a whole. Findings from this study will also inform practices of administrators of music departments within higher education toward attracting and preparing international students as well as preparing current domestic students for a globalized society.</p><p>

The purpose of this study was to determine the effect of losing visual and/or aural stimuli on the ability of band members to perform a piece of music. Data were also collected on the frequency and duration of players' eye-contact with the conductor. / Subjects were 120 undergraduate band members at The Florida State University. All subjects individually played their instrument while viewing a videotape of a conductor and listening via headphones to a band. During the first sixteen measures of the piece all subjects received both visual and aural input, after which, the combined Visual-Aural group (n = 30) continued to receive the stimulus tape in its entirety. The other groups lost the sound of the band (Visual-only, n = 30), the picture of the conductor (Aural-only, n = 30), or both (Nothing, n = 30). Having completed the performance, each subject then rated the subsequent player's ability to "stay with the band" using a Continuous Response Digital Interface (CRDI). Additionally, subjects were videotaped during the experiment and tapes were later analyzed for eye-contact to the conductor. / The group that could both see the conductor and hear the band received the highest ratings, indicating that a combination of aural and visual stimuli facilitates the ability to play "in ensemble" rhythmically with a band. Visual-only and Aural-only group ratings were nearly identical. / Videotapes of subjects who did not lose either visual or aural input were analyzed for instances of eye-contact with the conductor. These subjects "looked up" at the conductor nearly 28 percent of the time with glances averaging just under one second each (Percentage = 27.83, Mean Length = 0.993 seconds). Subjects who lost the picture of the conductor stopped looking altogether while eye-contact increased significantly for subjects who lost the sound of the band. / Post Hoc analyses indicated that almost half of the subjects who lost aural stimuli got lost in the music. Yet, eye-contact patterns for these subjects were similar to those of subjects who managed to stay with the conductor. It is suggested that the amount of information received from the conductor might be more important than eye-contact alone. / Source: Dissertation Abstracts International, Volume: 53-07, Section: A, page: 2151. / Major Professor: Clifford K. Madsen. / Thesis (Ph.D.)--The Florida State University, 1992.

This study investigated the effects of aural, visual, and motoric cues on tempo modulation discrimination among musicians and nonmusicians. While listening to music during these three conditions, subjects manipulated a Continuous Response Digital Interface (CRDI) demonstrating perception of tempo alteration. Data were analyzed according to three different perspectives: deviation, latency, and accuracy. Subjects' motoric responses and perception of task ease were also examined. / Music experience was a determining factor in differential response to tempo modulation discrimination among subjects. Musicians more accurately detected tempo changes than nonmusicians. Musicians were better at detecting tempo acceleration. Nonmusicians were more accurate with tempo deceleration. Most demonstrated shorter latencies in initial CRDI pointer movement during tempo acceleration. Although listening condition had little effect on latency scores, musicians correctly identified tempo change more often when simply listening. Nonmusicians were more accurate when listening and watching a conductor. While no significant differences were found between groups concerning perception of which tempo change was easiest to detect, a significant number of musicians and nonmusicians reported tempo change detection was easiest to perceive during the Aural/Motoric condition. / The data suggest the ability to internalize steady beat such that discriminatory comparisons of external aural stimuli may be made is perhaps developmental. Data indicate nonmusicians benefit from receiving tempo information through bimodal sensory stimulation, particularly aural and visual. Approaching music education through several sense modalities may promote development of abstract music concepts among learners. Knowing students' music learning proclivities may prove useful in guiding young music learners in developing aural discrimination. / These findings may be equally important for conductors of experienced musicians. Musicians demonstrated greater accuracy while listening only and may have perceived conflicting information when watching a conductor. Perhaps musicians expect more nuance from the ensemble conductor. While changes in tempo promote musical interest, musicians readily detect such alterations. / Source: Dissertation Abstracts International, Volume: 52-05, Section: A, page: 1677. / Major Professor: Clifford K. Madsen. / Thesis (Ph.D.)--The Florida State University, 1991.

The purpose of this study was to contribute to increased understanding of specific causes of vocal fatigue and strain which sometimes occur during choral singing. Many music educators, voice teachers, and choral directors encounter the problem of vocal fatigue in voice students and choral singers. Professional journals and workshops reflect a growing recognition of these vocal problems. This survey of prominent choral directors compared their opinions regarding factors which contribute to vocal fatigue, and examined suggestions from their experiences which are effective in preventing vocal distress during choral singing. / Following a pilot survey of nationally recognized choral directors, identical questions were posed to a larger field of choral experts. Conductors who participated in the study were selected on the basis of their reputed knowledge of the voice, accessibility for a personal interview, and willingness to answer questions included in this project. Answers were tape recorded and a tapescript of each interview was submitted for approval and/or correction by the interviewee. / The responses included opinions about general causes of vocal fatigue and strain in choral singing, the importance of vocal warm-ups, implications for resonance strain in choral singing, the importance of vocal warm-ups, implications for resonance and blend, differences and similarities between choral and solo singing, management of breath and volume, tessitura consideration, rehearsal planning, and tours and festivals which may place unusual demands upon voices. Interviewees were also asked to suggest college requirements for vocal pedagogy and voice study for choral music preparation. / Results of the survey showed that responses reflected remarkable agreement, and that the format allowed colorful verbal illustrations which could be of interest and benefit to other choral directors and choral singers. Quotations from published writings of voice scientists, vocal pedagogues, and other well-known choral directors substantiated the opinions of the interviewees and explained the basis for their successful experiences. / Recommendations for further study include: (a) Empirical studies concerning resonance and breathing as related to vocal distress, (b) a survey of college curricula designed for preparation of choral conductors, and (c) surveys of high school choral directors and voice teachers for the purpose of ranking causes of vocal fatigue. / Source: Dissertation Abstracts International, Volume: 56-03, Section: A, page: 0752. / Major Professor: Colleen J. Kirk. / Thesis (Ph.D.)--The Florida State University, 1995.

Nikolaus Gengenbach's Musica nova: Newe Singekunst ("New Music: New Art of Singing") is a school music textbook that was published in 1626 during Gengenbach's tenure as cantor of the Zeitz city schools. Gengenbach was one of the most progressive educators of the early seventeenth century, and in his textbook he utilized new methods for teaching musical skills. Gengenbach was also one of the first educators to point his students toward the new Italian or Italian-influenced composers, such as Viadana, Schein, and Schutz, for models, rather than looking back at the masters of an older generation. / Musica nova is divided into three sections: theoretical, in which the fundamental elements of music are explained; practical, which consists of a series of graduated practice exercises keyed to the material in the first section; and terminological, which is a glossary of Greek, Latin, and Italian musical terms. Progressive features of the treatise include Gengenbach's advocacy of two new solmization methods, bobization and bebization, and his use of octave equivalence to teach intervals larger than the sixth. / The dissertation is a complete translation of Gengenbach's work, along with a transcription of the original text into modern German characters. The commentary describes Gengenbach's career as a cantor and educator, and examines his pedagogical methodology as revealed in Musica nova. Other chapters discuss bobization and bebization, Musica nova's place in the history of Protestant school music texts, and the musical content of the treatise. / Source: Dissertation Abstracts International, Volume: 56-08, Section: A, page: 2933. / Major Professor: Jeffrey Kite-Powell. / Thesis (Ph.D.)--The Florida State University, 1995.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2009. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: . Adviser: Susan Noffke. Includes bibliographical references (leaves 222-231) Available on microfilm from Pro Quest Information and Learning.