Source: Dissertation Abstracts International, Volume: 40-09, Section: A, page: 4948. / Thesis (Ph.D.)--The Florida State University, 1979.

Source: Dissertation Abstracts International, Volume: 40-09, Section: A, page: 4945. / Thesis (Ph.D.)--The Florida State University, 1979.

This study was conducted to determine the proportions of time given selected musical elements and leadership behaviors during rehearsals of successful high school choral conductors. The investigation attempted to determine what rehearsal behaviors are exhibited by successful high school conductors, and if there are any consistencies among these conductors regarding the proportions of time devoted to each of these behaviors. / Specifically, proportional distributions of rehearsal time devoted to the following conductor behaviors were investigated: (1) conducting and/or monitoring rehearsal trials; (2) verbal behavior; (3) non-musical activity; (4) music instruction; (5) illustration; (6) evaluation; (7) verbal behavior focused specifically on: (a) pitch, (b) time, (c) text/diction, (d) phrasing/dynamics, (e) tone color, (f) style, and (g) vocal production; (8) rehearsal trials focused upon: (a) one vocal part, (b) more than one vocal part but not all parts, and (c) all vocal parts. / Data for this study were provided by fifteen high school choral conductors who satisfied the definition of the word 'successful' as used in the study. The Choral Rehearsal Observation Form (CROF), designed especially for this study, served as the data gathering instrument. The CROF includes all the leadership behaviors and elements of choral teaching which were investigated in the study. / Each conductor was video-taped during two regularly scheduled rehearsals. Two trained observers simultaneously attended each of the video tapes. The data were collected, using the CROF, and compiled in order to provide answers to the problems investigated in the study. Results were analyzed using the cross-tabulation subprogram of the Statistical Package for the Social Sciences (SPSS, 1975). / The chi-square statistic revealed significant differences ((alpha) = .05) in the proportional distributions of the rehearsal time when the observed conductors were compared as a group. / Although most of the distributions were significantly different, when the conductors were compared in pairs, some distributions were not significantly different ((alpha) = .05) in the proportional application of time devoted to the various behaviors. However, an averaging of the observed conductors' apportionmant of rehearsal time revealed the following: (1) rehearsal trials: 65 percent, (2) verbal behavior: 35 percent (16.4 percent of the verbal behavior was devoted to "Non-musical Activity"). / The averaging of the observed conductors' time devoted to rehearsal trials revealed the following percentages: (1) one vocal part: 7.8 percent; (2) more than one vocal part but not all vocal parts: 11 percent; and (3) all vocal parts: 81.2 percent. / The averaging of proportions of rehearsal time devoted by the observed conductors to verbal behavior revealed the following: (1) music instruction: 55.95 percent; (2) illustration: 21 percent; and (3) evaluation: 24.2 percent. / The averaging of proportions of rehearsal time devoted to verbal behavior focused upon the seven elements of choral performance revealed the following percentages: (1) phrasing/dynamics: 13.4 percent; (2) diction/text: 13.2 percent; (3) vocal production: 12.5 percent; (4) tone color: 5 percent; (5) time: 13.4 percent, (6) style: 15.2 percent; and (7) pitch: 27.3 percent. / Source: Dissertation Abstracts International, Volume: 41-03, Section: A, page: 0976. / Thesis (Ph.D.)--The Florida State University, 1980.

This study was an examination of factors in the Florida community college music programs which affected articulation with the music programs in the state universities of Florida. In the study, (1) responses from the community college and state university music faculty most concerned with transfer programs and students were surveyed, their reported information and opinions assessed and, where feasible, compared on an inter-system basis; also (2) certain aspects of the community college music transfer programs were compared with recommendations of the National Association of Schools of Music (NASM) and of the 1967 Florida Task Force on Articulation in Music. They were also compared with selected aspects of an earlier national study of music programs. / The major findings showed a number of basic differences between Florida's community college and university music programs, such as entrance requirements, the scope of applied music offerings, the use of jury examinations in applied music, the numbers of full- and part-time faculty, and the faculty workloads in each sector. / There was uncertainty among faculty in both the community college and the university music programs about certain important articulation practices in the universities--such as the availability for transfer students of counseling manuals, and how soon after transfer a student was placed in an applied music level. / The principal problems for music major transfers had been identified as deficiencies in applied music and music theory by the NASM, the 1967 Task Force and the 1967 national study. These areas were again identified in the Florida study. The national study showed a majority of faculty at senior institutions felt it took transfer students more than two years to complete their baccalaureate degrees after transfer, a finding duplicated in the Florida study. / When selected findings of the study were compared with recommendations from the 1967 Task Force, it appeared that almost none had been implemented. / On a positive note, a higher percentage of community colleges in Florida reported following more NASM recommendations than community colleges in the earlier national study. Also, almost 100 percent of the Florida respondents in both sectors showed a willingness to address articulation problems by expressing an interest in participating in periodic statewide articulation conferences, if these were held. / Source: Dissertation Abstracts International, Volume: 41-10, Section: A, page: 4323. / Thesis (Ph.D.)--The Florida State University, 1980.

The purpose of the study was to investigate the contributions made by William Levi Dawson to music education in America and to American music through the preservation of Negro folk songs. / William Dawson's life and work exemplify a thirst for knowledge, a desire for professional competence in numerous areas, an ability to organize and capably administer a school of music at the college level, a willingness to mold young minds in educational endeavors, as well as the symbolic preservation of Afro-American music through composition and arrangement. / At age thirteen, he ran away from home to attend Tuskegee Institute. After graduation from Tuskegee he organized the first band at Kansas Vocational College in Topeka, then served as music director at Lincoln High in Kansas City. While in Kansas City he studied at the Horner Institute of Fine Arts and was graduated with a Bachelor's degree in composition. Following this accomplishment, he studied with composer Adolph Weidig at the American Conservatory in Chicago. He received a Master's degree in composition from the institute in 1927. In the Fall of 1930, he accepted the task of organizing the School of Music at Tuskegee Institute. / Beginning his work in 1931, Dawson structured that school's first baccalaureate degree programs in music. He taught composition, conducting, and directed the Tuskegee Institute Choir. Under his brilliant and inspiring direction, the Tuskegee Choir rose to national fame. / William Dawson's compositional skills enabled him to write a symphony based on themes found in Black music. This major symphonic work and his many arrangements of Negro folk songs made his an important name in Afro-American music. / Since his resignation from Tuskegee in 1955, William Dawson has accepted numerous guest conducting invitations, lecture engagements, and workshop leadership assignments. Through these appearances he teaches and influences a wide audience of music educators. / Retirement has not slowed Dawson's pace. He continues to compose at his home in Tuskegee, Alabama. This sensitive man is an outstanding scholar, a skilled pedagogue, an able administrator, a talented conductor, a gifted composer, and an exceptional lecturer. William Dawson is an outstanding American music educator. / Source: Dissertation Abstracts International, Volume: 42-11, Section: A, page: 4757. / Thesis (Ph.D.)--The Florida State University, 1981.

Source: Dissertation Abstracts International, Volume: 40-09, Section: A, page: 4947. / Thesis (Educat.D.)--The Florida State University, 1979.

This exploratory study was designed to investigate the applications of rhythmic auditory stimuli as a superimposed structure in facilitating proprioceptive control of rhythmic gait. Twenty-five subjects of varying ages and gait disorders listened to individually determined music and rhythmic percussive sounds and attempted to match their footsteps to the stimuli. As rhythmic control increased, stimulus conditions were gradually faded for internalization and independence of the motor pattern. / Results indicated that all subjects evidenced gains in rhythmic, even walking, and/or consistency in walking speed. Dependent measures included cumulative timed deviations between footfalls in hundredths of a second and cadence inconsistencies counted in consecutive ten-second intervals. / Improvement was also determined by college observers who watched and rated randomly arranged videotaped segments of baseline and treatment conditions. Overall, and on specific components of gait, observers significantly differentiated between baseline and treatment conditions. Treatment with music/pulse and fading of music/pulse yielded significant nondifferentiation in ratings, indicating the observable strength and effectiveness of the fading procedures. Proprioceptive control of rhythmic walking was best facilitated in hemiparetic stroke patients, spastic disorders, and in painful arthritic or scoliotic conditions. / Source: Dissertation Abstracts International, Volume: 42-06, Section: A, page: 2553. / Thesis (Ph.D.)--The Florida State University, 1981.

The purpose of this dissertation was to analyze and document the processes involved in the Division of Cultural Affairs' attempt to obtain legislative appropriations for the Florida State Orchestra, Opera, and Dance Programs from October 1, 1980, to September 1, 1981. This documentation includes a summary of the history of arts activities and funding of music programs in Florida, the reporting and analysis of methods and procedures used in researching and writing the Report, the reporting of legislative processes involved in gaining consideration and support for the proposed programs, and a discussion of the insights acquired from the experiences of the past year with future considerations for Florida and for arts agencies in other states. / The study is divided into five chapters. Chapter I is an introduction and review of literature. Chapter II is a background of arts activities in Florida from 1959 to 1981 with emphasis on the Florida Arts Commission, the Florida Arts Council, the Fine Arts Council of Florida, the Division of Cultural Affairs, and orchestra and opera organizations. Chapter III contains methods and procedures used in preparation of the Report on Florida State Orchestra, Opera, and Dance Programs. Chapter IV concerns the Report and the consequential legislative process. Chapter V is a summary and discussion. / The Appendix section of this study is unusual in nature and quite lengthy. Material contained within this section includes statistical information, the Report on Florida State Orchestra, Opera, and Dance Programs, a cover letter and survey sent to arts agencies, Florida documents, laws, and statutes, and a history of funding for music individuals and organizations by the Division of Cultural Affairs. / Source: Dissertation Abstracts International, Volume: 42-10, Section: A, page: 4346. / Thesis (Ph.D.)--The Florida State University, 1981.

The purpose of this study was to determine the effect of duration and frequency of timeout (with instruction) from reinforcement (performance) on attentiveness and attitude of students in a university band. Sixteen music selections were presented during eight rehearsals across seven twelve-minute experimental conditions. / Timeout periods were of fifteen, thirty or forty-five seconds duration and varied in frequency from three to eighteen randomly ordered stops during each of the six experimental ratios under investigation. Experimental temporal ratios ranged from thirteen to seventy-five percent in the timeout conditions. / Student attentiveness was defined as the percentage of students overtly on task. Data were collected across fifteen second intervals by two independent observers trained in behavioral techniques (average reliability .96) and tabulated on a form designed specifically for this study. / Attitude was assessed on preference forms whereby students rank ordered selections performed. / Results indicated a significantly higher offtask rate during timeout periods than during performance periods. Additionally, significant differences were found in off-task rates between the 0% and 13% timeout conditions and between the 25% and 38% conditions. / No significant differences in student offtask rates were found among isolated fifteen, thirty or forty-five second instructional periods nor did offtask rates vary significantly across continuous temporal intervals. / Graphic analysis indicated student offtask rates increased slightly as timeout frequency increased. In addition, elapsed performance time following conductors' cut-offs likewise increased with timeout frequency. / Results of attitudinal measures indicated that students discriminated between selections prepared for performance and those perceived as sightreading. / Students also expressed a preference for the experimental selections which required the fewest timeout periods. / Source: Dissertation Abstracts International, Volume: 41-07, Section: A, page: 2989. / Thesis (Ph.D.)--The Florida State University, 1980.

Junior high students' aural perception ability and musical preference are of vital importance to music educators. Effective curriculum development is dependent upon knowledge of the students' perceptual competency and openness to different types of music. While many research studies are available on children and adults' musical perception, none exist which deal with junior high students' aural perception of tonality in avant garde music and its relationship to preference for that music. The purpose of this study was to (a) examine junior high students' perception of tonality by use of information theory in quantifying the strength of tonality (perception of tonal centers) in selected avant garde compositions, (b) determine differences between junior high students' and adults' perception of tonality, (c) examine the relationship between perception and preference, and (d) examine junior high students' preference for electronic and nonelectronic music. / Eighty-six subjects participated in this study: 56 were junior high students at Casa Grande Junior High School in Casa Grande, Arizona, and 30 were undergraduate music majors at Florida State University. Subjects were selected to participate on the basis of their ability to vocalize a mentally held pitch which was determined by Taylor's (1971) melodic perception test, part II, thinking melodies. / Materials used in the experiment consisted of two perception and preference test tapes, one primary and one randomized order of musical selections, and a preference response sheet. Music recorded on tape consisted of nine electronic and nine nonelectronic 20 second excerpts of avant garde music. Each excerpt was presented in the following sequence: Example 1 (20 seconds music, 6 seconds silence); example 1 repeated (20 seconds music, 6 seconds silence). Students were randomly assigned to the tapes and an equal number of students heard each tape. / The task consisted of listening to each excerpt twice. After the first hearing subjects sang the pitch perceived as the tonal center; after the second hearing, subjects indicated their preferences on a rating scale from 1 to 5 (1 = strongly like). All vocal responses were tape recorded, stroboscopically analyzed and assigned a pitch name. / A formula based on information theory, TS = (SIGMA)p log 1/p, was used to calculate tonal strength for each selection and Chi Square analysis was used to compare tonal strength responses. Pearson Product Moment Correlation was chosen to test the relationship between tonal strength response and preference. The Mann Whitney U Test served to determine preference for electronic and nonelectronic music and a t Test was selected to test differences between tonal strength values of junior high students and adults. / On the basis of results of this study, it was concluded that (1) there are significant differences in perception of tonality (tonal strength) among the avant garde pieces used in this study as perceived by junior high students ((alpha) = .05); (2) no significant relationship exists between perception of tonality (tonal strength) in avant garde music and preference for avant garde music expressed by junior high students; (3) no significant difference exists in the preference responses for electronic music as compared to preference responses for nonelectronic music expressed by junior high students; (4) there is significant difference in perception of tonality in avant garde music by junior high students and the adult undergraduate college music majors ((alpha) = .05). / Preference for the compositions used in this study seemed to be based on musical parameters other than tonality and electronic versus nonelectronic structure. / Source: Dissertation Abstracts International, Volume: 41-07, Section: A, page: 2986. / Thesis (Ph.D.)--The Florida State University, 1980.