One hundred twenty undergraduate nonmusicians, undergraduate musicians, and music educators evaluated audiotaped choral performances using both prescribed categories (written responses on adjudication form) and a free operant (continuous operant response using computer-interfaced device) conditions of evaluation. Orders of evaluation condition and performance stimuli were presented in a counterbalanced design with each subject as his own control. Analyses examined differences among (a) assigned performance ratings, (b) operant performance ratings, (c) categorical choices of "best" and "worst" performance aspects, and (d) use of music versus nonmusic vocabulary. / Results indicated significant differences in assigned ratings of nonmusicians as compared with other groups, though all group means fell within one evaluative interval. / Operant performance ratings were influenced by group membership, individual music selections, and order of evaluation condition. Nonmusicians' evaluations were generally more positive when compared with undergraduate musicians and music educators who exhibited near agreement across performances. Operant ratings of second pieces were more positive than those of first and third pieces of each three-piece program. Subjects using the free operant evaluation prior to using the prescribed evaluation generated slightly more positive operant ratings. Graphs pairing operant responses with musical events in time were used for descriptive discussion. / Criteria selected as "best" and "worst" aspects of performances were not found to be significantly different between evaluation conditions, or between different performance stimuli (choir I/II). A significant difference among groups was noted with nonmusician responses clustered around "tone" as best aspect and "diction" as worst. Undergraduate musicians' and music educators' choices as best aspects showed a near even distribution between "tone" and "interpretation." Worst aspect choices were more disparate with undergraduate musicians most frequently choosing "intonation" and music educators evenly divided among the "tone," "balance," and "intonation" criteria. / Nonmusicians were found to use significantly greater number of total words and a lower proportion of music terms in free operant written responses. No significant differences were found in written responses generated in the prescribed evaluation condition. / Source: Dissertation Abstracts International, Volume: 49-09, Section: A, page: 2445. / Major Professor: Clifford Madsen. / Thesis (Ph.D.)--The Florida State University, 1988.

The recent interest in sound recordings has given rise to the curious notion that, within the canon of western art music, works are generally performed slower today than in the earlier part of the century. However, the principal concern of this dissertation stems from weaknesses in the methods often utilized to arrive at this conclusion. Specifically, most studies are based on selected performances rather than comprehensive evaluations of individual works. The principal goals of this dissertation are: (1) to develop a methodology for establishing trends with regard to temporal change, (2) to determine significant changes in the temporal paradigm for Stravinsky's The Rite of Spring over the course of its recorded history (1929-1993), (3) to identify specific areas wherein such change has taken place, (4) to attempt to understand why any transformations have occurred, (5) to determine what new insights and/or questions might spring from an inquiry of this nature. Chapter 2 presents the timings for all sections of The Rite as recorded since 1929. The data indicates that The Rite was generally performed faster during the first half of the century. Focusing on sections exhibiting a marked trend toward slower tempi, Chapter 3 provides graphic illustrations of temporal patterns via a computer program called Tempo Mapper. This program plots the time intervals between successive beats thus providing an excellent means of correlating aspects of the notated score with performance. Chapter 4 discusses possible reasons for slower tempi (i.e., changes in recording technology and conductorial style) and also examines the extent to which the written literature supports the findings of the previous chapters. Chapter 5 explores several questions regarding music as written vs music as performed, and presents the following conclusions with regard to The Rite of Spring specifically: (1) Longer durations of more recent performances of The Rite can be attributed to a growing number of slower interpretations of the slow sections. (2) The trend in slower interpretations has been accompanied by an increased expressiveness of style. (3) In some sections there has been a narrowing of interpretative variety with regard to overall tempo. / Source: Dissertation Abstracts International, Volume: 57-04, Section: A, page: 1387. / Major Professor: Jack Taylor. / Thesis (Ph.D.)--The Florida State University, 1996.

This investigation was designed to examine the effect of stylistic categorization on preference for popular music styles. In the first study, non-musicians listened to musical excerpts purposely selected from "crossovers", i.e., selections from artists nominated for Grammy awards in more than one style per year. Subjects (N = 534) were assigned to three treatment groups and asked to rate preferences according to (a) a prescribed classification system limiting selection to jazz, pop, or rock, (b) a free operant response where subjects decided their own classifications, or (c) a control condition where subjects were not required to overtly categorize selections. Preference ratings were performed via Likert-type scales. / Results indicated no significant difference among groups. Musically experienced subjects responded significantly more positively than did those without formal musical instruction. Females' ratings were significantly more positive compared to males'. / A subsequent study was undertaken investigating the prescribed classification system of pop, rock, and jazz in condition (a) above. This study used two Continuous Response Digital Interface (CRDI) devices. Each subject used these devices simultaneously, temporally quantifying categories with one hand and registering preferential responses with the other. Implementation of realtime evaluations allowed second by second analyses of listener answering patterns in relationship to both classification and preference. / Results indicated non-music majors (N = 100) waited an average of 8.5 seconds before responding. Analyses indicated that preference for "jazz" was significantly, positively affected by musical experience, while "pop" was affected by gender, with females rating the pop classification higher. Rock, as labeled by subjects, did not appear to be influenced by either musical experience or gender. / In comparing results of the combined studies, 68 pairs were constructed from the two studies, matched on the bases of musical experience, gender, and overall liking for selected styles. A significant difference was found between listener responses collected with the CRDI compared to the conventional "paper and pencil" test, with subjects using the CRDI rating selections significantly higher in preference. It was assumed this difference was due to the CRDI's realtime temporal assessment, suggesting the use of additional realtime measurement in music preference research. / Source: Dissertation Abstracts International, Volume: 50-08, Section: A, page: 2417. / Major Professor: Clifford K. Madsen. / Thesis (Ph.D.)--The Florida State University, 1989.

The purpose of this study is to present a biography of Vincent Persichetti with special emphasis on his compositions for band. The study recounts his early training as he grew up in Philadelphia; his rise to prominence as a composer, performer, and teacher; and his belief in and advocacy for the band as a medium of valid musical expression, and his contribution to that repertoire. A chapter is devoted to his fifteen compositions for band and wind ensemble, providing historical information on those works based on manuscripts recently acquired by the New York Public Library. These works include the Serenade No. 1, Divertimento for Band, Psalm for Band, Pageant for Band, Symphony for Band (Symphony No. 6), Serenade No. 11, Bagatelles for Band, Chorale Prelude: So Pure the Star, Masquerade for Band, Celebrations for Chorus and Wind Ensemble, Chorale Prelude: Turn Not Thy Face, O Cool Is the Valley, Parable IX, A Lincoln Address, and Chorale Prelude: O God Unseen. Additional information on the works for band and wind ensemble is included in the appendices to assist in future studies of these compositions. / This study is intended to be a chronicle of the composer's life. It is within the scope of this dissertation to provide analyses of works, but rather to describe the events which led to their composition. / Source: Dissertation Abstracts International, Volume: 52-03, Section: A, page: 0733. / Major Professor: James Croft. / Thesis (Ph.D.)--The Florida State University, 1991.

Music education research literature indicates that there is a need not only for more biographical studies of well-known music educators from this and recent generations, but also for more studies of those about whom we are unaware. Gray Perry, now in his eighty-ninth year, is an important American piano pedagogue whose contributions to piano teaching and performance seem to be largely unknown outside the community of Florida piano teachers. The purpose of this study, therefore, was to add to existing empirical knowledge in music education by examining the life and teachings of an individual, Gray Perry, isolate and identify the traits that seem to have contributed to his effectiveness, establish him as a role model, and invite others to emulate him. / The procedure was two-fold. First, Gray Perry's pedagogical heritage was examined against the historical perspective of trends in piano pedagogy from Ludwig Deppe (1828-1890) to the present. The heritage of velocity from Isidor Philipp, the Leschetizky tradition of tone production acquired from Ethel Leginska and Franklin Cannon, and the pedagogical thoroughness of A. M. Virgil have been linked and combined by Perry into broad-based pedagogical methods. The comparison of Perry's collection of exercises to those of some of his pedagogical ancestors--A. M. Virgil, Malwine Bree, and Marie Prentner--indicated a grasp of pianism that is both eclectic and efficient. / Second, a list of characteristics that can enable teachers to be effective was developed based upon (1) data from a review of literature in education, music education, and piano pedagogy and (2) the evidence of those characteristics in pedagogues from Leschetizky to the present. Events from Perry's life, statements from former students, activities of past and present students, and/or anecdotes from the lives of his pedagogical ancestors and contemporaries provided documentation for each characteristic. / Source: Dissertation Abstracts International, Volume: 49-06, Section: A, page: 1310. / Major Professor: Amy L. Brown. / Thesis (Ph.D.)--The Florida State University, 1988.

Music education in Kenya has been characterised by the teaching of Western musical literacy and a curriculum content with a Western classical bias. To date, few students graduate with sufficient music making skills, and even less pursue training at higher levels. The research aimed to formulate a learning programme that would make music education successful for Kenyans, through a curriculum content and pedagogy that would promote Kenya's cultural heritage while ensuring pupils' development of musical knowledge and skills. Firstly, an analytical survey of past and current music teaching practices in Kenya revealed the deficiencies in the music education programmes. Secondly, a critique of the Kodaly, Curwen, Eurythmics, Orff and Music in the National Curriculum (England) programmes identified the elements that contribute to their success. These were evaluated for their suitability to Kenya's educational environment. Field trials with Kenyan pupils used musical elements derived from indigenous Kenyan children's songs to teach musical concepts and skills. The collection of indigenous Kenyan children's songs involved recording live children's performances and iterviews with adults. Transcribing the songs using staff notation facilitated a rhythmic and melodic analysis, while a study of the texts gave insight into the songs' cultural functions. The musical elements characteristic of these songs were used to design the Rhythm-Interval Approach (RIA), a music teaching programme focusing on the use of rhythm and interval to teach musical concepts and skills. The study resulted in the postulation of the elemental theory of music; aesthetic functionalism as a culture-sensitive view of African music; the Rhythm-Interval curriculum model; and a primary school music curriculum based on indigenous Kenyan children's songs.

Source: Dissertation Abstracts International, Volume: 34-06, Section: A, page: 3112. / Thesis (Ph.D.)--The Florida State University, 1973.

The purpose of this study was to prepare an index of choral works performed on Southern Division programs of the American Choral Director's Association. The study was begun by collecting and collating Division programs. Information gleaned from the programs was processed for frequency, percentage of occurrence, and comparison studies. The procedure of the study included processing titles, composers and other information into a form of 14 fields of information. This information was investigated to determine trends and directions of the Southern Division programming. The fields of information were studied to ascertain the following information: (1) To study similarities and differences in literature performed during Southern Division Conventions, (2) To compare the frequency of performance of literature representing each musical style period, (3) To compare the frequency of performance of music by specific composers, (4) To investigate the frequency of appearance of specific musical selections, groups, and conductors, (5) To investigate and compare appearances of groups representing various classifications: Children, Junior High School, Senior High School, College or University, Church, Community/Adult, Women's Voices, Men's Voices, and Professional Choral Singers, (6) To ascertain balance between performances of literature with sacred and/or secular texts, (7) To provide choral conductors a guide through which they may gain an overview of literature performed on Southern Division Convention programs, (8) To preserve Southern Division Convention concert program information as part of ACDA's history. / The study was based upon an extraction of fourteen fields of information gleaned from the Southern Division Convention programs: Title, Composer, Arranger, Publisher, Octavo #, Text, Language, Accompaniment, Convention Year, Style, Group Type, Group Class, Group Name, and Conductor. / In Chapter Three, a review of the data was presented in tables and descriptive analysis. One analysis included tables of information identified by Convention Year. Frequency of occurrence and percentage of occurrence columns were included. / Chapter Four presented results of an investigation to determine trends of programming. Convention programs were studied to ascertain the direction of their content. / Chapter Five provided a comparison between Southern Division Convention programming and that found in a study of ACDA National Conventions. / There are four indexes: an index by Title; an index by Composer; an index by Arranger and an index displaying those titles of compositions for which neither composer nor arranger was identified. / Source: Dissertation Abstracts International, Volume: 53-03, Section: A, page: 0660. / Major Professor: Colleen J. Kirk. / Thesis (Ph.D.)--The Florida State University, 1992.

The study investigated how high school choral music educators begin choral rehearsals. Utilization of rehearsal time from the sound of the tardy bell to the rehearsal of the first selection of choral literature (i.e., what is considered by many as the warm-up time) was examined. Data included the elapsed seconds prior to the conductors statement to begin, percentage of elapsed time prior to the rehearsal of the first selection of literature, time spent in rehearsal activities, and student off-task during these activities. / Thirty-three high school choral directors were audio tape recorded and observed during one mixed ensemble rehearsal. Interval observation techniques were utilized in collecting student off-task data and in coding rehearsal activities. The start of each rehearsal and the percentage of time spent in each rehearsal activity were examined and timed during ex post facto tape analysis. Interobserver agreement averaged.93 for student off-task,.88 for activity coding, and.85 for rehearsal timing. / Conductors averaged 43.45 elapsed seconds from the tardy bell to the first verbal statement to begin. Elapsed seconds ranged from 0 to 230 seconds. Conductors averaged 859.64 seconds or 14 minutes 19 seconds of elapsed time prior to the rehearsal of the first selection of choral literature. The range of elapsed time averaged from one minute 10 seconds to 32 minutes 32 seconds. / Percentages of rehearsal time allotted to initial activities were: Sightreading, 22.23%; Vocal Warm-Up, 9.63%; Getting Ready, 6.75%, Physical Warm-Up, 3.37%; Lit/Instruction, 1.84%; and Other, 1.46%. Student off-task behavior during rehearsal activities averaged: Getting Ready, 26.14%; Physical Warm-Up, 18.48%; Other, 16.53%; Lit/Instruction, 16.27%; Vocal Warm-Up, 15.07%; and Sightreading, 9.22%. / Results indicated that the highest percentages of off-task occurred during activities requiring less active participation. Off-task behavior appeared to be a function of the activity rather than the percentage of time spent in the activity. / Source: Dissertation Abstracts International, Volume: 53-07, Section: A, page: 2285. / Major Professor: Clifford Madsen. / Thesis (Ph.D.)--The Florida State University, 1992.

The purpose of this study was to investigate musicians' and nonmusicians' assessment of perceived rubato in musical performance. Further measures included assessments of soloists' overall musicianship, musical expression, tone quality, and tempo selection. Also considered were effects of three short three minute treatments. / Music majors (n = 48) and nonmusic majors (n = 48) listened to four different soloist's performances of the development section of Mozart's Concerto for Horn and Orchestra No. 2, Movement 1. Performances were selected by a panel of experts as the two best and two worst among all currently available professional recordings. / Subjects heard each of the four soloist's performances four times. During the first three listenings, subjects studied the score, during the fourth listening, subjects evaluated the degree of appropriateness/inappropriateness of each soloist's use of rubato using the Continuous Response Digital Interface (CRDI), which allows ongoing evaluation of specified performance variables. Immediately following this fourth listening, subjects assessed soloists with regard to musicianship, expression, tone quality, and tempo on a Likert-type scale. / Results indicated significant differences for music majors compared to nonmusic majors regarding perceived rubato. Rubato evaluations by musicians agreed with expert assessments; nonmusicians' scores appeared haphazard. Written comments by nonmusicians indicated that 88% felt uncertain in their ability to evaluate rubato. Furthermore, musicianship, expression, and tone quality, but not tempo were statistically different between musicians and nonmusicians. No differences were found among treatments. / When music majors were separated into two groups according to musical sophistication based on applied performance auditions, results from the "more sophisticated" musicians were in direct agreement with the panel of experts' evaluations. Results obtained from the "less sophisticated" musicians were much less discriminating across all dependent measures; rubato assessments disagreed substantially with the experts. / This study suggests that rubato is an extremely subtle musical nuance. Though nonmusicians and less sophisticated musicians seem to be able to assess performances on somewhat more obvious variables, it appears that, even after repeated listenings, only the most sophisticated musicians can differentiate the usage of rubato in performance. / Source: Dissertation Abstracts International, Volume: 53-07, Section: A, page: 2285. / Major Professor: Clifford K. Madsen. / Thesis (Ph.D.)--The Florida State University, 1992.