The purpose of this study was to create a diagnostic and analytical model of score preparation for choral-orchestral works formulated by a synthesis of methods and their components revealed in the literature. Research indicated that among the contributing authors there seemed to be a general consensus that the score preparation process involved a variety of procedures. This author determined that these procedures gravitated to at least four classified methods and degrees of preparation. The four classified methods were: (1) Basal Methods, (2) Designated Systems, (3) Invasive Techniques, and (4) The Synthesis of Analysis: Perspectives on Stylistic Interpretation and Musical Expression. Selected components from these categories were integrated into the taxonomical design for the proposed model of score preparation. The four integrated processes were designed to identify and define the music's morphology from a clinical perspective. These four processes were classified as: (1) A Clinical Approach to Score Preparation, (2) A Diagnostic Examination of the Score, (3) Prescribed Analytical Techniques and Procedures, and (4) The Synthesis of Analysis: Musical Morphology. / A clinical approach referred to the direct aural examination of music. The science of musical morphology implied the study of the way musical elements and structural units were organized, developed, governed, and functioned as formal designs. The objectives of the model were to (1) determine through the use of clinical diagnostic and analytical procedures the significant architectural elements, structural units, and forms that develop and function as the music's morphology; and (2) to identify significant relationships existing between musical elements, structural units, and forms that appear catalytic in re-creating and communicating musical expression. The model's objectives were accomplished in its applied preparation of "Versus I" from Christ lag in Todesbanden, BWV 4 by Johann Sebastian Bach, "Siehe, der Huter Israel's schlaft noch schlummert nicht" from Elijah, Opus 70 by Felix Mendelssohn, and "Movement III" of Apparebit repentina dies by Paul Hindemith. / Source: Dissertation Abstracts International, Volume: 54-08, Section: A, page: 2785. / Major Professor: Andre J. Thomas. / Thesis (Ph.D.)--The Florida State University, 1993.

The purpose of this study was (a) to assemble a list of competencies and attributes considered important in college choral accompanying, (b) to investigate opinions concerning these competencies among college choral conductors and their accompanists, and (c) to combine their perceptions in order to infer a hierarchy of accompanying competencies. / The sample included 400 randomly selected college choral conductors who are members of the American Choral Directors Association. Conductors who participated were asked to give the accompanists' survey instrument to their accompanists. Of conductors surveyed, 175 responded, and 148 of their accompanists returned the questionnaire. / A list of competencies and attributes was derived through a review of literature related to accompanying and through a pilot study. Survey instruments were designed to solicit opinions concerning the "desirability" and the "frequency of use" for listed skills and attributes. / Results of the survey indicated that the skill considered "most desirable" and "most frequently used" was "alertness during rehearsal." The skill considered "least desirable" and "least frequently used" was "ability to read music written in "C" clef." Of attributes rated only in terms of "desirability", first in rank order was "congeniality with chorus members." Last in rank order was "concurrent study of conducting." / Participants generally agreed that all of the skills listed in the questionnaire were desirable, with few respondents calling any of the skills "not desirable." / In both groups of respondents most competencies listed seemed to fall into one of two extreme categories of "seldom used" or "frequently used", suggesting that some skills which are seldom used are still desirable. / Source: Dissertation Abstracts International, Volume: 54-02, Section: A, page: 0454. / Major Professor: Colleen J. Kirk. / Thesis (Ph.D.)--The Florida State University, 1993.

The purpose of the study was to research and discuss the professional life and contributions made to music education by Howard A. Doolin, distinguished as the first Supervisor of Music for the public school system of Dade County, Florida. Dr. Doolin assumed the position in 1951 and held it until his retirement in 1984. / In addition to its concentration upon leadership for music education in Dade County, the study also presents information regarding Doolin's career prior to his arrival in Dade County in an attempt to focus attention upon qualifications of an effective music educator in a large metropolitan area. This information includes Howard Doolin's educational background, experience in other teaching and supervisory positions prior to tenure in Dade County, and persons influential in shaping his philosophical views. / The school system in Dade County is the fourth largest in the United States with a substantial portion of the population representing persons from other countries and cultures. The total number of students at the time of Doolin's arrival was 72,000. This number increased steadily until the student population at the time of Doolin's retirement in 1984 was over 220,000. As a result of Doolin's commitment to music education for every student, the number of music specialists increased from fewer than thirty in 1951 to 349 in 1984. Throughout this period his efforts resulted in ever-increasing financial support for music education. / Howard Doolin initiated successful programs for the advancement of music awareness in the schools and community. An innovative structural organization, communication skills, ability to work with music faculty and to gain administrative support for music instruction contributed to his accomplishment. His active leadership in the work of professional organizations and his published materials for music instruction resulted in wide recognition. / Included in the appendix are statements attesting to Doolin's leadership, an annotated listing of publications and copies of Dade County music programs. / Source: Dissertation Abstracts International, Volume: 47-08, Section: A, page: 2939. / Thesis (Ph.D.)--The Florida State University, 1986.

The purpose of this study was to investigate the unique contribution of fluency in fundamental skills of pitch notation to achievement in freshman and sophomore music theory. Subjects were Florida State University theory students with two samples consisting of freshmen (N = 81) and sophomores (N = 60). Fundamentals of pitch were specified as pitches, scales, key signatures, intervals, triads, scale degrees, and diatonic triads. Fluency was defined as the number of correct responses to test items within a given time. A testing instrument, the Fundamentals of Pitch Fluency Assessment (FPFA), was designed to measure the independent variable of interest, fluency in fundamentals of pitch. Test reliability coefficients (test-retest method) ranged from.74 to.93 for individual subtests and.97 for the total FPFA. Swineford's dual criteria for a speeded test were met and speed variance indices were.87 and.89 for Sample 1 and Sample 2 respectively. / Using multiple regression techniques, a set of control variables was defined including high school grade point average, Scholastic Aptitude Test composite scores, principal instrument, number of years of piano study, the incidence of secondary instrument study, and total points for music background experiences of high school ensemble participation, years of private study, and high school theory classes. The dependent measure of achievement was the final course grade in music theory. / Results indicated a significant contribution of the fluency variable to music theory achievement with significant $R\sp2$ increases of.258 and.265 for Sample 1 and Sample 2 respectively. The individual effect of fluency was also significant with an estimated increase in music theory achievement (100 point scale) of approximately one point for every three-point increase in fluency as measured by the FPFA (200 point scale). Full regression models indicated a strong linear relationship between the combination of independent variables and the dependent variable with models accounting for 53% of the variance for Sample 1 and 59% of the variance for Sample 2. / Source: Dissertation Abstracts International, Volume: 54-11, Section: A, page: 3924. / Major Professor: Jack A. Taylor. / Thesis (Ph.D.)--The Florida State University, 1993.

The purpose of this study was to order the events of Clayton Henry Krehbiel's life from 1920 through 1988; in an attempt to gain insight into his life as a professional singer; to explore influences which formed his musical personality; to research events pertaining to the significance of Robert Lawson Shaw's contribution to the choral art from the perspective of Krehbiel who was singer, soloist, and assistant conductor to Shaw; and to investigate and analyze the philosophical structure or pragmatic guides which governed Krehbiel's musical conduct and teaching style. / The study reveals that Krehbiel was a model of musicianship. He introduced thousands of students to excellent choral literature, and championed outstanding twentieth-century compositions. Krehbiel was responsible to a great extent for the growth and development of choral music education at The University of Kansas and The Florida State University. Krehbiel helped produce several generations of choral/orchestral musicians who later held important positions in colleges and universities and in professional organizations associated with choral music education. Krehbiel exhibited energy and enthusiasm for musical excellence through his insistence upon pragmatic rather than strictly theoretical concepts. He was an example of humanity that embodied humility, meekness, and an absence of personal vanity; his gentleness, kindness, and optimistic attitude were attested by students and colleagues who participated in this study. / Conclusions ascertained from the study of Krehbiel's life suggested there was no substitute for basic skills of music; that musical talent alone may not be enough to guarantee success in the music profession; that interest in performance through participation diminished during Krehbiel's lifetime while interest in authoritative performance increased, although with fewer participants; that all phases of touring college choirs changed following the 1960's: touring style, length, environments for concert performances, programmed literature, monetary gain, and recruitment tactics were affected. Further, the study affirms that a job description and realignment of the description can aid faculty expectations and morale, and that greater emphasis should be placed on institutional and faculty planning for desired goal outcomes. / Source: Dissertation Abstracts International, Volume: 50-02, Section: A, page: 0381. / Major Professor: Colleen Kirk. / Thesis (Ph.D.)--The Florida State University, 1988.

The purpose of this study was to investigate the status of music education in the Christian day schools of Florida; to determine the quantity and quality of music education, and the music teacher's philosophy of music education. A survey was mailed to 230 Christian day schools in Florida who were members of Christian Schools of Florida, Association of Christian Schools International, or Florida Association of Christian Colleges and Schools. One hundred sixty-one (70%) schools responded. / Results of this study indicate that 32% of the Christian day schools in Florida do not have an organized music program. Results from Christian day schools that have a music program indicate that most offer general music, piano lessons, and band in the 1st through the 6th grades; most offer mixed choir and piano lessons in the 7th through the 12th grades; most schools do not require students in the 7th through the 12th grades to take any music course; most music teachers believe teaching for an aesthetic music education to be important; most music teachers have at least a bachelor's degree; and only 56% of the music teachers teach only music courses. / Results of this study have led to the following recommendations: (1) Those schools that do not have a music program should initiate an investigation regarding the feasibility of starting one. (2) Additional music courses should be included at all grade levels so that students have a broader base of opportunities from which to choose. (3) Christian day schools should at least meet the Florida Department of Education's requirement that graduating high school students should have at least one-half credit in the fine arts. (4) Christian day school music teachers and administrators should work together and investigate possible ways to obtain the necessary funds to maintain a music program. (5) Christian day school administrators should make a concerted effort to employ music teachers who have earned at least a bachelor's degree in music. (6) The goals and objectives established by the Music Educators National Conference should be implemented in all Christian day schools. / Source: Dissertation Abstracts International, Volume: 50-10, Section: A, page: 3174. / Major Professor: Amy Brown. / Thesis (Ed.D.)--The Florida State University, 1989.

This treatise presents a comprehensive annotated bibliography of 300 doctoral dissertations concerning all aspects of the clarinet and the clarinet family. It includes the completed and "in progress" research by doctoral students of universities and conservatories of the United States, Canada, and Europe through March 1994, regardless of discipline or degree title. It also includes doctorial dissertations that are not registered with University Microfilms, thus providing a list more complete than previous bibliographies of this nature. / The bibliography consists of the following subject areas: (1) Pedagogy, (2) Solo Literature, (3) Chamber Literature, (4) History, (5) Acoustics and Construction, (6) Contemporary Performance Techniques, (7) Biographies, (8) Bibliographies, and (9) Discographies. Entries that apply to more than one subject area are listed in each appropriate section of the bibliography and have a cross reference to the location of the annotated reference. / Each entry includes the author's name, complete title, degree awarded, granting institution, date the degree was granted, number of pages, the source from which the document may be obtained, and an annotation summarizing the contents of the dissertation. An author index and an index of cited composers are provided. / The final chapter presents a summary discussion of the status of clarinet research in the subject areas noted. / Source: Dissertation Abstracts International, Volume: 55-12, Section: A, page: 3677. / Director: Jon Piersol. / Thesis (D.Mus.)--The Florida State University, 1994.

An Annotated Bibliography of Trios for Clarinet, One String Instrument and Piano Composed Between 1978 and 1990 by Composers Active in the United States is a collection of available published and unpublished trios. The treatise is a continuation of research completed by Thomas Montgomery Osborne and Sherrick Hiscock, III. Montgomery's lengthy monograph, Sixty Years of Clarinet Chamber Music: A Survey of Music Employing Clarinet with Stringed Instruments Composed 1900-1960 for Two to Five Performers (D. M. A. Dissertation, University of Southern California, 1964) and Sherrick Hiscock's An Annotated Bibliography of Selected, Published Mixed Trios for one Clarinetist and two other Musicians. (D. M. A Dissertation, The University of Miami, 1977), include and annotate available trio material dating from 1900 to 1978. Trios composed before 1978, which were not included in either document, are included in this treatise. Some trios were written before 1978 and published later or were trios discovered in research that were simply not included in either document. / Research for this treatise included a questionnaire sent to all composition teachers listed in the College Music Society Directory, an OCLC search for trios, visits to the Library of Congress-Music Division and the New York Public Library-Performing Arts, as well as visits to various music school libraries. Research also included visits to Luyben Music Company in Kansas City, Missouri and a search of all their catalogues, as well as special assistance from Eble Music Company of Iowa City, Iowa. All available music catalogues were also examined. The American Music Center and the American Composers Alliance of New York City assisted greatly by lending unpublished and published scores at no cost. In addition, notices or calls for trios fitting the treatise description were included in various composer's newsletters across the country, thanks to the American Music Center. Composers readily contacted me, called, sent scores, tapes and program notes. / The treatise is divided into four sections: (1) a brief chapter of historical information on the clarinet in chamber music involving strings, (2) extensive annotated bibliographies of the 100 trios, (3) a summary chapter describing style, compositional techniques, and extended techniques used in the trios, and (4) an appendix, listing all trios by instrumentation. / The treatise is a wealth of detailed information on the trios included. The majority of trios written between 1978 and 1990 were for clarinet, violin and piano, comprising 63%. 27% of the trios were for clarinet, cello and piano, 9% for clarinet, viola and piano and 1% was for clarinet, string bass and piano. / Source: Dissertation Abstracts International, Volume: 56-12, Section: A, page: 4600. / Major Professor: Frank Kowalsky. / Thesis (D.Mus.)--The Florida State University, 1994.

The study was designed to examine (a) the extent to which undergraduate courses in marching band techniques have been taken by first and second year high school marching band directors (N = 328) as a part of their formal training in music education and (b) the degree of usefulness of said courses in preparing them for job effectiveness. Responses were received from 238 members of the sample, yielding a return rate of 72.56%. One hundred and sixty-seven of the total number of responses received fit the criteria for inclusion in the study reducing the usable return rate to 50.91%. Results revealed that 81% of the sample had taken an undergraduate course in marching band techniques, either in whole or in part, while 19% indicated no instruction in this area. On a Likert scale (1 being not useful, and 5 being very useful) the sample gave a mean response of 3.76 when asked to indicate the extent to which they felt prepared for job responsibilities by courses in marching band techniques, indicating that such courses provide useful skills to music education students preparing to become high school band directors. / Source: Dissertation Abstracts International, Volume: 50-02, Section: A, page: 0381. / Major Professor: Bentley R. Shellahamer. / Thesis (Ph.D.)--The Florida State University, 1988.

Music educators certainly recognize the importance of practice for musical development and progress. There are, however, relatively few scientific studies investigating specific variables involved in music practice. / Research in individual differences may provide insight into the ways students acquire and process information. Two cognitive styles, field-dependence/independence (FDI) and reflection/impulsivity (R/I), have been investigated in a number of studies and have been found to be relevant to many educational settings. / This study addressed dependent variables of melodic accuracy, rhythmic accuracy and musicality of performance in relation to practice procedure (structured versus free practice), cognitive style (FD/I, R/I), and sex (female, male). The FD/I cognitive style was assessed by the Group Embedded Figures Test (GEFT). R/I was evaluated on the basis of the Matching Familiar Figures Test (MFFT). / Fifty-five brass and woodwind students in grades 7 through 10 were subjects for the experiment. Subjects were assigned to either a control group (free practice) or an experimental group (structured practice) on the basis of cognitive style and sex. / All subjects had four short practice sessions distributed across two weeks. An adult was present during all experimental group sessions to ensure that those subjects would follow the structured practice procedure. Control group subjects were instructed to "practice in any way you think best" and were monitored via a tape recorder placed in their practice room. / Student performances were evaluated by three independent judges' ratings of correctness of melody, correctness of rhythm, and overall musicality. ANCOVA tests on the posttest scores for each of the dependent variables with pretest scores as a covariate indicated a significant (p $<$.05) main effect for practice procedure relating to melodic accuracy scores, rhythmic accuracy scores, and musicality rating. A significant two-way interaction was observed between rhythmic accuracy and sex and a significant three-way interaction was observed among rhythmic accuracy, FD/I, and sex. / Source: Dissertation Abstracts International, Volume: 51-07, Section: A, page: 2306. / Major Professor: Jack A. Taylor. / Thesis (Ph.D.)--The Florida State University, 1990.