Source: Dissertation Abstracts International, Volume: 38-09, Section: A, page: 5324. / Thesis (Ph.D.)--The Florida State University, 1977.

Source: Dissertation Abstracts International, Volume: 39-11, Section: A, page: 6619. / Thesis (Ph.D.)--The Florida State University, 1978.

This study examined the effect of differential feedback on intonational accuracy. Additionally, the study sought to identify patterns in direction of subject deviation from normative pitch, and to determine the effects on intonation of tuning strings from above or below the established standard. / Sixty-six college non-music majors enrolled in multiple sections of a beginning guitar course served as subjects. Class sections were paired at the beginning of the course on the basis of enrollment and student performance on a pretest measure which involved individually tuning a guitar. Intact classes were then randomly assigned, to either a "training" or "no training" condition. Subjects in both groups participated in group lessons throughout the semester. Students in the experimental group, however, were given two individual training sessions designed to teach guitar tuning skills through a combination of computer-assisted instruction and teacher based methods. Subjects within the experimental group completed two sets of tuning trials first with visual-aural feedback, and then with verbal-aural feedback in an attempt to improve tuning skills. Cent deviation data were taken for all of the 11 trials allowing for direct comparisons concerning implementation of treatment. All subjects were then individually posttested near the completion of the course. / Study results revealed no significant differences from pre to posttest in overall intonation accuracy between the two groups as a result of training; however, comparison of tuning accuracy for only the treatment trials indicated substantial feedback effects during treatment. Specifically, members of the experimental group tuned with far greater pitch acuity when provided with computer-assisted visual-aural feedback yet were not able to transfer this tuning skill to the posttest. Additionally, students demonstrated a tendency to tune in a flat direction and displayed significantly better intonation when tuning a string from above, as opposed to below, a standard pitch. / Source: Dissertation Abstracts International, Volume: 46-09, Section: A, page: 2608. / Thesis (Ph.D.)--The Florida State University, 1985.

The purpose of this study was to develop and evaluate an approach to increasing pitch error detection skills in choral music education students. This approach was intended to serve as self-teaching supplementary instruction for students in choral conducting classes. / The Systems Approach Model was employed in the development of instructional materials. Systematically designed teaching materials included an Entry Behavior Test, a Pitch Error Detection Pretest/Posttest, and six instructional modules consisting of printed booklets and adjunct audio tapes. / Pitch errors included in the approach were determined following investigations in three areas: research studies, sightsinging tests, and interviews with students and experienced choral music educators. Pitch errors were related to perfect fourths and perfect fifths, keys, chromatic pitches, and intonation of sustained notes, repeated notes, and major-thirds-of-chords. / Musical compositions exemplifying these potential problems were selected; excerpts were subsequently prepared and performed by a small choral ensemble. Performances included predetermined pitch errors and were tape recorded to facilitate students' practice in error detection. Students observed notation for the examples while listening to recorded performances. / Instructional materials were evaluated in three settings: one-to-one, small group, and large group. Results of the one-to-one and small group evaluative phases indicated that instructional materials were a viable means of increasing pitch error detection skills of students tested. Minor revisions were made following the one-to-one and small group evaluative phases. / Questionnaire results of the large group evaluative phase indicated that students responded favorably toward instruction. Posttest results indicated that students participating in the study achieved stated behavioral objectives as follows: (1) P4/P5 85%; (2) Keys 56%; (3) Chromatics 44%; (4) Repeated Notes 32%; (5) M3-of-Chord 32%; (6) Sustained Notes 12%. Statistical analysis of pretest-posttest data indicated that posttest scores were significantly higher than pretest scores. / Based on results of pretest-posttest measurements of pitch error detection skills, it was concluded that the instructional materials designed for this study were effective. Choral music education students whose skills were measured by the Pitch Error Detection Test achieved improved scores as a result of their experience with the study materials. / Source: Dissertation Abstracts International, Volume: 46-12, Section: A, page: 3644. / Thesis (Ph.D.)--The Florida State University, 1985.

This study was designed to examine the effects of high versus low non-verbal teacher affect and active versus passive student activities during music listening on preschool children's attention, paired-comparison piece preference, time spent listening, and piece recognition. Three- through five-year-old subjects (N = 94) participated in four small-group listening lessons and subsequent individual posttests. Through the use of a modified multiple baseline design, each of four treatment conditions, representing different sequences of instructional events, was replicated three times. All lessons were videotaped on a split screen showing both teacher and students. Data obtained through observation of the videotaped lessons indicated that high teacher affect was associated with higher levels of group attending behavior than was low affect, and active listening activities elicited higher on-task behavior than passive activities. No significant effects concerning teacher affect during listening or piece familiarity were found in analyses of posttest piece preferences, time spent listening, or piece recognition, although some differences between older and younger children were evident. Implications for teachers were discussed and suggestions for further research provided. / Source: Dissertation Abstracts International, Volume: 46-09, Section: A, page: 2611. / Thesis (Ph.D.)--The Florida State University, 1985.

The purpose of this study was to analyze the cognitive and psychomotor parameters of the task of learning and performing a selected elementary level piano piece chosen from a widely used piano instructional series. / This descriptive process entailed the application of instructional task analysis techniques as developed by Robert M. Gagne. In attempting to diagram all of the cognitive and motor components (i.e., knowledge and skills) which a student ideally should possess in order to learn and perform the piano piece, flow chart diagrams were devised which presented the requisite knowledge and skills in a sequence believed to be appropriate for instructional use. Included in the flow charts are categories of knowledge and/or skills relating to note reading and performance, rhythm and metric reading and performance, the performance of musical symbols, dynamic performance, the proper performance of balance and tone production, motor integration, and musical integration. / The second element of this musical description involved the application of biomechanical motion analytical techniques to the investigation of particular movement patterns in skilled pianists. Two highly skilled pianists were selected as subjects by piano faculty and were videotaped as they played the selected elementary piano piece. Anatomical markers, placed at designated points on the hand and arm of each subject, were tracked and digitized for computer analysis of movement parameters. Specifically, calculations were performed relating to linear and angular displacements and angles. Pearson r correlations were calculated both between and within subjects in order to ascertain patterns of similarity and differences in subject movements. / Although this study found little similarity between the movement patterns of the two subjects, striking similarities were found to exist within each subject's performances of the same musical material (repeated phrases). Otto Ortmann cited similar results in a study utilizing two skilled pianists playing excerpts from the concert piano literature (The Physiological Mechanics of Piano Technique, 1929/1962). / Source: Dissertation Abstracts International, Volume: 48-07, Section: A, page: 1692. / Thesis (Ph.D.)--The Florida State University, 1987.

The purpose of this study was to examine the role of the music program in the two-year colleges in the state of Georgia as perceived by the four reference groups responsible for that role. The reference groups consisted of: (1) College Presidents, (2) Academic Deans, (3) Chairpersons responsible for the music program, and (4) Music Faculty. The study proposed that differential role perception on the part of the reference groups could result in role conflict and dysfunction for the music programs within these two-year colleges. / The evolution of the two-year college philosophy in a comprehensive direction was proposed as a source of differential role perception. This speculation provided the framework for the analysis of the data. The problem assumed by this research was to determine if differential role perception existed among the reference groups, and, if so, the problem was related to misconceptions among the reference groups as to the focus of the music program within a comprehensive philosophy. / The data for the comparative analysis of role perception were collected via a questionnaire survey instrument. Questionnaires were delivered to all members of each reference group in twenty-three private and public two-year colleges in the state of Georgia. A total usable response rate of 80% was achieved. Descriptive statistical procedures were applied to the data and the results were presented in tabular form. / Among the findings of the study were the following: (1) Differential role focus is evident among and within reference groups concerning the role of the music program in the two-year colleges; (2) Potential role conflict exists among the reference groups with the propensity for such conflict being the greatest between the Presidents' Group and the Faculty Group; (3) The primary concerns of those responsible for music program role are low student enrollments in music programs, high-cost budget considerations, and the focus of the existing music program. The data reveal, however, that the four reference groups basically agree on the responsibilities of music members in achieving role satisfaction. / In the final chapter, conclusions were presented and suggestions were made for future research. Recommendations for the music programs in the two-year colleges in the state of Georgia were also offered. / Source: Dissertation Abstracts International, Volume: 47-12, Section: A, page: 4316. / Thesis (Ph.D.)--The Florida State University, 1986.

Since the professional arranger has been responsible for providing most of the choral literature currently available, the individual choral director who might encounter a special need presented by singers in the classroom has not necessarily learned the skill of arranging. There would appear to be a need for investigation into developing instructional materials in choral arranging for prospective choral directors. / The purpose of this study was to develop and test a programmed instructional component which could present fundamentals of choral arranging in conjunction with an existing college course. Eleven integrated units of instruction were developed for use by college students who had completed the theory requirement. The Systematic Design of Instruction (Dick and Cary, 1985) served as a guide for the development and evaluation of instructional materials. / The researcher sought to answer the following questions: (1) Will there be any difference in students' pre- and posttest choral arrangement scores resulting from implementing programmed instruction in choral arranging? (2) Will students express favorable attitudes toward programmed instruction in choral arranging after completing the instructional units? / Materials were subjected to one-to-one, small-group, and field-trial evaluations. The first two evaluations aided in the process of revision, while the final phase served as the means by which effectiveness of instruction was evaluated. / Thirty-one students were involved in the field-trial. Subjects were enrolled in a choral conducting class (n = 9) and a choral techniques class (n = 24). Following administration of a pretest, each student studied programmed materials and followed instruction over a four-week period. At the end of that time students completed a posttest and an attitude questionnaire. Pre- and posttests required the student to arrange a folk melody for unison and two-part voices. / Data gathered from assessment of pre- and posttest choral arrangements indicated that subjects performed significantly better on posttests. Eighty-seven percent of the subjects reported that they would arrange another melody after completing the program: eighty-one percent of the subjects reported that they enjoyed taking the program, and ninety percent of the subjects considered themselves better able to arrange music as a result of the programmed instruction. / Source: Dissertation Abstracts International, Volume: 48-02, Section: A, page: 0328. / Thesis (Ph.D.)--The Florida State University, 1987.

This study investigated, documented, and presented in historical perspective the establishment, growth, and development of the Hampton Institute Choir from 1873 to 1973. It examined the choir's relationship to the school, the nature and degree of the choir's success and achievement of a national reputation, the choir's unique style and repertoire, the contributions of various leaders and conductors, and the choir's commitment and dedication to the preservation of Negro folk songs. / The purpose of this examination was to place in perspective a relationship between the choir's activity and the development of Hampton Institute. It also highlights a unique contribution of the choir to campus life and the education of students. / Official school documents which were investigated included annual reports of the Presidents, personnel records, various college publications, concert programs, tour itineraries, related historical documents and newspaper articles. In addition to these primary sources of information, data were procured through interviews and letters from directors, former choir members, administrators, and through personal observation by the researcher while a Hampton student and choir member. The study documents the admirable reputation achieved by the Hampton Choir. It identifies the directors' outstanding credentials, the repertoire, attention to style, and musical activities that resulted from the choir's performance program. This study, which helps to fill a void in the documentation of blacks in music education, provides valuable historical data on a nonwhite group's preparation to make a positive contribution to music education. / Source: Dissertation Abstracts International, Volume: 47-01, Section: A, page: 0116. / Thesis (Ph.D.)--The Florida State University, 1985.

The purpose of this study was to investigate the treatment of choral blend in American choral singing between 1900 and the present in order to facilitate a better understanding of methods of teacher training. The format of this study was to review literature and interview choral conductors. It seemed that only limited research was available concerning choral blend, and arriving at a blended choral sound appeared to be a matter of conductor preference. Therefore, three questions were asked regarding choral blend: (1) What has been the basic rationale of well-known choral conductors concerning choral blend? (2) What practices have been used by well-known choral conductors to achieve choral blend? (3) What trends can be traced in the rationale and practices of these conductors? For purposes of this study, rationale was defined as an individual conductor's belief concerning the importance of blend as well as what constitutes one's preference for blend. Thirteen choral conductors were selected as representative of the time period 1900 to the present: F. Melius Christiansen, John Finley Williamson, Father William J. Finn, Fred Waring, Olaf Christiansen, Robert Shaw, Weston Noble, Joseph Flummerfelt, Harold Decker, Kenneth Jennings, Robert Scholz, Fiora Contino and Dale Warland. In-depth interviews were conducted with the eight living conductors with a summary of the interviews presented in the final chapter. Implications for teacher training were also discussed. / Source: Dissertation Abstracts International, Volume: 48-12, Section: A, page: 3067. / Thesis (Ph.D.)--The Florida State University, 1987.