This document examines the use of the Lieder of Joseph Marx for voice teachers and performers. The main thrust of the research, pedagogical use, leads to a study of Post-Wagnerian requirements for the voice and the use of Marx Lieder in developing vocal technique for the operatic literature of the late nineteenth and twentieth century. Influence of contemporary movements upon Marx such as the Jugendstil and the Lieder tradition are studied to help reveal artistic merit and pedagogical use. Marx's harmonic language is analyzed in relationship to artistic merit. The eight songs studied are: "Bitte," "Der bescheidene Schafer," "Waldseligkeit," "Valse de Chopin," "Errinerung," "Und gestern hat er mir Rosen gebracht," "Hat dich die Liebe beruhrt," and "Der Ton." A connection is drawn between pedagogical use, artistic merit and the performance of this literature in the song recital. An appendix is presented which suggest the possible programming ideas for relatively unknown Marx lieder.

The purpose of this study was to investigate the effects of a discovery approach to movement instruction on the musicality and level of movement responses of young children. A secondary purpose was to explore these effects as they related to gender and aural perception ability. Additionally, this study sought to determine which musical styles or prominent elemental changes elicited the strongest musicality and level of movement responses. Further, qualitative differences in movement were described by judges who examined the movements of children who scored high and low in musicality. Subjects for this pretest-posttest equivalent-groups design study were 61 children (K-1) from 12 public and private schools in southwest Arizona. The three dependent variables in this study were musicality scores, level of movement response scores, and movement pattern descriptions. The three independent variables were movement instruction (the discovery approach to movement instruction), gender, and musical aptitude (PMMA tonal and rhythmic scores). The experimental group received the treatment over a 3-week period in daily 45-minute classes. The control group received music training without the discovery movement component. In a three-way ANOVA performed on gain scores for musicality, gender was shown to be a significant main effect. That is, girls showed more musicality development than boys. The type of instruction and musical aptitude were found to be nonsignificant factors. A ranking of musicality and level of movement posttest means for all children showed there were differences among means across excerpts with greatest responses to music in a popular style (hip-hop) or Classical style (Mozart), music with prominent elemental changes in dynamics and timbre, and fast tempos. According to judges, there are notable qualitative differences in movement patterns between children scoring high and low in musicality. Children low in musicality lack concentration, are nonreflective of the music, and have limited body vocabularies. Children high in musicality appear to be focused and independent, responsive to the musical elements, and rhythmical. These children use a variety of whole body movements toward the development of an expressive and reflective personal style.

John J. Heney (1902-78), percussionist(1926-31) and xylophone soloist (1931) with the John Philip Sousa Band, composed, arranged, and transcribed five solos for xylophone solo and accompaniment. Only three of these works were published. Of the published works, none is currently in print. Through extensive score study and critical analysis of existing recordings, this study examines and documents the performance practice of John Heney's xylophone solos. The works are also assessed for their overall value in relation to today's music performers and teachers. John J. Heney's life as a performer, music educator, and teacher is documented in an in-depth biography, with particular attention given to his years with the John Philip Sousa Band.

Royal Winter Music (First and Second Sonatas on Shakespearean Characters) by Hans Werner Henze is the largest composition for solo classical guitar written to date. It is comprised of nine movements, each movement a musical portrait of a character from Shakespeare's plays. My discussion focuses on the first sonata, comparing a detailed examination of the Shakespearean characters, and any applicable dialogue, with Henze's musical portraits. The musical analysis is from a performer's viewpoint and does not offer a strict theoretical analysis. Instead, my intention is to find key components of form, harmony, and other musical elements that illuminate the inner workings of Henze's music and its relationship to the Shakespearean character.

David Maslanka's music has been widely performed in the United States, Canada, Europe, Australia, and Japan; however, to date, there are only two published documents that provide information about his music. J. Patrick Brooks presented a theoretical analysis of Maslanka's Concerto for Piano, Winds and Percussion in his D.M.A. dissertation, and in The College Band Director's Journal1 Thomas Wubbenhorst published an article in which he discussed Maslanka's wind band piece, A Child's Garden of Dreams. This author's document will further contribute to what has already been written about David Maslanka and his music. According to recent research, there are no studies that focus on Maslanka's use of chorale tunes in his wind band compositions. In addition to the composition selected for this document, Maslanka uses chorale tunes in numerous other wind band works, such as A Tuning Piece: Songs of Fall and Winter (1995), Montana Music: Chorale Variations (1993), and Symphony No. 4 (1993). The purpose of this document is to help musicians understand David Maslanka's use of a chorale tune in In Memoriam. Chapter 1 contains biographical information about David Maslanka, including an explanation of the influences of J. S. Bach and C. G. Jung, and a general commentary on Maslanka's compositional style. Chapter 2 contains a description of his use of a chorale tune in In Memoriam and the compositional techniques he uses with respect to the elements of music. Chapter 3 will give a summary of Maslanka's use of a chorale tune in In Memoriam. 1Thomas Wubbenhorst. "A Child's Garden of Dreams: Conversations with David Maslanka" (College Band Directors National Association Journal, May 1992), 2-8.

The purpose of this study was to examine the effects that self-evaluation, self-listening, and modeling have on junior high school instrumentalists' music performance and practice attitude. Eighty-two seventh, eighth, and ninth-grade students were randomly assigned to one of eight groups in the 2 x 2 x 2 pretest/posttest factorial design. Participants prepared three brief musical excerpts during 15-minute in-school weekly practice sessions and at home. Three adjudicators independently evaluated both pretest and posttest performances using the Woodwind Brass Solo Evaluation Form. Practice attitude was assessed by having students complete the Practice Attitude Questionnaire after each practice session. A general linear model repeated measures analysis with multiple dependent variables was performed to determine relationships among the variables. Results indicated that students who listened to a model recording improved their performance more so than students who did not listen to a model in the areas of tone, technique/articulation, rhythmic accuracy, tempo, interpretation, and overall performance, but not in the areas of intonation or melodic accuracy. A significant interaction between modeling, self-evaluation, and test was also discovered. Students in the Model/Self-Evaluation treatment group improved their performances more than the No Model/Self-Evaluation group in the areas of tone, melodic accuracy, rhythmic accuracy, interpretation, and overall performance. Also, there were no differences in scores between the Model/No Self-Evaluation and No Model/No Self-Evaluation for any performance subarea. In regard to practice attitude, no statistically significant interactions or main effects were found in the data. This indicates that mean practice attitude scores remained constant throughout the duration of the study for all of the groups and also that the treatment groups did not differ from each other in terms of their attitude about the procedure at any time during the treatment period. Furthermore, each group exhibited a favorable attitude toward their particular practice strategy.

Performers need a new edition of the Sonata para Guitarra (1993) by Antonio Jose Martinez Palacios (1902-1936) that takes into account the demands of the guitar as well as the formal, thematic and harmonic characteristics of the piece itself. Such an edition would greatly facilitate the performance of this masterpiece. I will demonstrate this by performing my own edition of the Sonata para Guitarra, and by justifying that edition by describing the nature of the composition through an analysis of its formal, thematic and harmonic aspects, as well as considering the genesis of the work and its representation in currently existing editions. The paper includes relevant historical information about the composer, the manuscripts, publications, and musical examples with analytical notations of the formal, thematic and harmonic aspects of the work. Two appendices are included. Appendix A lists the differences in pitch and notation between the performance edition of Ricardo Iznaola and the "Final" manuscript. Appendix B is this author's performance edition that is the result of the conclusions of the analysis and the intentions of the composer as perceived by this author. My intent is to present a detailed analysis of the Sonata para Guitarra (1933)1 of Antonio Jose2 in order to assist the student and concert performer in better understanding this work. I will perform my own edition of the Sonata 3 in a lecture recital at the University of Arizona. My edition represents my best interpretation of what Jose's intentions may have been and how they may be realized on the guitar. Jose did not play the guitar and most likely wrote the work at the piano, thus many of the passages are not idiomatic. Therefore the performer needs to make decisions about what best serves the music within the confines of the guitar's limitations. In my opinion, neither of the currently available publications does this. For example, I do not agree with many of the note and register choices made in either of the two existing published editions. My editorial choices, based upon my harmonic and motivic analysis of the work itself and my perceptions of Antonio Jose's intentions will allow me to more effectively perform the work. 1Antonio Jose, Sonata para Guitarra (1933), Angelo Gilardino and Ricardo Iznaola eds., nuova edizione a dura di Angelo Gilardino e Ricardo Iznaola (Ancona, Italia: Berben, Edizione musicali, 1999), 36-56. 2Jose referred to himself as Antonio Jose, he did not use his patrilineal name. 3This edition is made for my performance only and may not be published unless I gain permission from Berben, Italia, or until 2011, when the work may enter the public domain.

The rapid growth and popularity of computer technology, coupled with the exponential growth of the Internet, have made Internet communication tools an important area for research. Common Internet communication tools are synchronous real-time discussions where subjects log on to a chat room at a specific time, or asynchronous messages where subjects post and respond to questions to an electronic discussion board at their own convenience. The purpose of this study was to explore the effect of online communication methods on written musical achievement and student perception of the learning environment. Subjects (N = 49) were undergraduate non-music majors, of mixed socio-economic background, enrolled in five sections of a music class at a large university. Treatment consisted of five weekly study sessions that addressed topics pertinent to the class, facilitated through online communication tools. Dependent measures were written musical achievement scores obtained through a researcher designed multiple choice test and student perception scores determined through the College and University Classroom Environment Inventory (CUCEI). The independent measures were group (synchronous or asynchronous) and situation (pre-post-test). Data were analyzed using a Two-Way MANOVA with repeated measures. No significant differences were found by group. Significant increases were found in written musical achievement scores but decreases on two sub-scales of the CUCEI scores (involvement and task orientation) from pre- to post- test situations. Thus, students enhanced their musical achievement during the five-week treatment period regardless of group. This finding supported those of researchers who have successfully used the Internet as an extension of the classroom learning environment. Further research is needed to examine how differences in the nature of synchronous and asynchronous interactions affect the unique musical learning environment. In music teacher education, the integration of Internet tools may encourage student interaction about a particular topic and provide a forum where students may articulate goals and principles. It may be possible to create a more individualized learning environment, which appeals to students with a variety of personalities and learning styles regardless of student maturity, or cultural background. Online communication tools may facilitate group collaboration, independent work habits and promote self-efficacy.

The purpose of this study was to create a conductor's gestural vocabulary that can be used to demonstrate stylistic elements in choral music. Specifically, the study assigned Laban Movement Theory elements of Effort and Body to specific choral music examples that demonstrate differences in articulation, rhythm and phrase shape. This study explored Laban Movement Theory and Bartenieff Fundamentals as they relate to body movement and application to the conducting gesture. Gestures were designed following musical analysis and subsequent study with Janice Meaden, an internationally recognized movement instructor and certified LMA/Bartenieff Movement Analyst. These gestures were based on Rudolf Laban's Eight Effort Elements in Combination (float, wring, glide, press, flick, dab, slash and punch). Modifications to the gestures were based from ongoing feedback from a college level choir. At the conclusion of the study, all gestures were evaluated in terms of their ability to communicate the desired response. Six of the eight designed gestures were deemed to be successful, with two needing further modification. Implications for teaching choral conducting as well as conducting choirs are drawn. Conclusions drawn from the study support the application of Laban Movement Theory to the conducting gesture as an useful tool for creating expressive conducting gestures.

Recent research and experimentation by Johan Sundberg, Ingo R. Titze, Mirano Hirano, William Vennard, and many others have contributed greatly to the understanding of voice physiology and function. Nevertheless, much anecdotal evidence reveals that there are continuing vocal problems experienced by operatically trained singers in the collegiate choral rehearsal. Although previous research has dealt with these problems in various specialized ways, no study has attempted to integrate contemporary voice research with vocal pedagogy and choral methodology. This study will summarize the last thirty years of research in the physiology and function of the singing voice. In addition, it will present relevant vocal health concerns, and discuss possible causes of vocal fatigue. Finally, this study will suggest some choral rehearsal techniques that incorporate basic knowledge of voice function. By utilizing these techniques, operatically trained singers should be able to participate in a collegiate choral ensemble without experiencing vocal fatigue, compromising vocal development, or risking vocal injury.