The purpose of this study was (a) to determine if there was a significant relationship between the interpersonal communication skills of music education students and teaching effectiveness, (b) to determine if there was a significant relationship between the interpersonal communication skills of music education students and conducting/rehearsal technique, and (c) to determine if there is a significant difference between the conductor and ensemble perception of the conductor's interpersonal communication skills. Subjects were 30 music education students who had taken at least one semester of conducting instruction. Subjects completed three 10-minutes micro rehearsals with an ensemble. Each micro rehearsal was videotaped. Upon completion of the third micro rehearsal, members of the ensemble completed the Questionnaire on Teacher Interaction for each subject to determine the subject's perceived interpersonal communication style profile. Each subject completed the Questionnaire on Teacher Interaction using his/her ideal responses to determine an ideal interpersonal communication style profile. Three judges evaluated videotapes of the first and third micro rehearsal for each subject using the Survey on Teaching Effectiveness to determine teaching effectiveness and the Conductor Observation Form to determine conducting effectiveness. Data were analyzed using two Two-way Analysis of Variances with Repeated Measures to determine if significant differences existed between interpersonal communication skills, teaching effectiveness, and conducting effectiveness. A quotient of agreement was calculated to determine the degree of association between ideal interpersonal communication styles and perceived interpersonal communication styles. Eleven subjects were identified as having helpful/friendly interpersonal communication styles, 11 subjects were identified as having understanding interpersonal communication styles, and 8 subjects were identified as having strict communication styles. Significant (p ≤ .05) differences were found to exist between interpersonal communication skills, teaching effectiveness, and conducting effectiveness. A low (quotient of agreement = .10) degree of association was found between ideal interpersonal communication styles and perceived interpersonal communication styles.

The purpose of this study was to determine whether children sing more accurately when taught songs on a neutral syllable or when they are taught with the original text. The subjects (N = 89), ages 3 to 5 years old, were enrolled in three preschools in Eastern Maryland. The children were randomly assigned to groups and then each group was randomly assigned to one of two treatments. The Text Method retained the text of all songs sung during the treatment period. The Neutral Syllable Method removed the original text of all songs sung during the treatment period and replaced it with a neutral syllable such as loo or lah. The subjects participated in two 30 minute classes per week for eight weeks. Lesson activities included singing, moving, listening to music, and playing a variety of small, hand-held percussion instruments. The Singing Accuracy Test (Posttest I) was administered individually to each child during the study's ninth week. The test required the child to echo the test song in phrases and then the song in its entirety. A second treatment occurred during week 11 in order to present the song material to the subjects in the opposite manner. A second test (Posttest II) concluded the study in week 12. Repeated Measures ANOVAs, t-Test for Independent Samples, t-Test for Correlated Samples, and Newman-Keuls Post-Hoc Comparisons were used to measure mean differences and interaction in the data. Results of the study indicated no significant difference of scores between the treatment groups due to the method of instruction. However, a closer investigation comparing differences between age groups revealed that the 4-year-old children scored significantly higher when singing the text of the song. Finally, a significant difference was found for all subjects when comparing phrase performance scores to whole song performance scores for Posttest I and Posttest II. The results suggest that 4-year-old children sing more accurately when performing songs with text. Further, it appears that young children are more accurate when singing a song in phrases then when singing a song in its entirety.

This correlational study examined the relationships between undergraduate music education students' early field experiences and student teaching performance. Subjects were 40 music student teachers from eleven universities. Student teaching performance was determined from video samples using two teacher effectiveness forms, the Rehearsal Effectiveness Scale and the Survey of Teaching Effectiveness. Two independent judges were used and interjudge reliability was found to be .73 on the Survey of Teaching Effectiveness and .69 on the Rehearsal Effectiveness Scale. Reliability between forms is .88. Subjects were interviewed to collect data on both curricular and non-curricular undergraduate field experiences. These data were correlated with each subject's score on the teacher effectiveness forms. No significant correlations were found between total early field experience and student teaching performance. Significant correlations were found between early field experiences with feedback and student teaching performance (r = .439 and .507; p < .01). A significant negative correlation was found between early field experiences without feedback and student teaching performance (r = -.316, p < .047). No significant correlations were found to exist between the non-curricular index and student teaching performance. Based on their average student teaching performance ranking, five subjects were identified as a subsample for closer analysis. Data on dieir backgrounds, high school experiences, curricular experiences, and non-curricular experiences is presented. Conclusions include the following: 1. Early field experience widi feedback and peer microteaching are positively related to student teaching performance. 2. Early field experience regardless of feedback, non-curricular experience, degree type and student background are not related to student teaching performance. 3. Early field experience without feedback has a negative relationship with student teaching performance. 4. A methods/conducting lab is an effective setting for microteaching experiences. Implications for education and future research are presented.

This document examines the marimba music of Dr. Daniel W. McCarthy. The focus is on his compositional techniques, his musical style, and his innovative textural and technical uses of the marimba as represented in the compositions: Rimbasly (1990), Concerto for Marimba, Percussion and Synthesizers (1992), Chamber Symphony for Marimba and Winds (1993), and Song of Middle Earth (1995). This discussion is directed toward the advanced marimba performer. Chapters one and two present a biography and a discussion of McCarthy's compositional style and technique--with focus on his compositional use of four-mallet marimba techniques. Chapter three presents his marimba compositions in chronological order and discusses performance requirements and style characteristics of each work.

<p>What is musical improvisation and what can we say of its effect upon musicians, listeners, and the world? This paper explores the relations between Jungian psychology, chaos theory, and pure musical improvisation, positing that the unconscious dynamics of the psyche, as well as the process and content of musical improvisation, are both examples of chaotic dynamical systems. The paper goes on to present the potential implications of such. By drawing upon psychological insights into symbology, the implications of the advancement of chaos theory, and the experiences and thoughts of various musical improvisors, this paper seeks to elucidate and further the study and practice of musical improvisation in the world. </p>

<p> Ulysses Simpson Kay (1917-1995) was an African American composer, conductor, and professor. His compositional output contains more than 135 works that have been performed, recorded, and have earned him several awards, fellowships, and commissions. This document includes a descriptive analysis of three works for flute by Ulysses Kay: <i>Prelude for Unaccompanied Flute, Suite for Flute and Oboe</i>, and <i>Aulos for Solo Flute and Orchestra</i>. </p><p> The purpose of this study is to increase awareness of Kay's flute repertoire, to stimulate more frequent programming, to provide relevant historical information about these works and resolve discrepancies surrounding incorrect data. The discussion will provide flutists and teachers with a descriptive analysis that contains suggestions for performance practice. The procedures used closely examine the musical elements of tonality, pitch, rhythm, timbre, texture and form. This analysis will help flutists understand the historical context in which these works were written, and can assist in developing a clearer interpretation, yielding a more authentic performance. At the conclusion of each discussion, performance notes will provide a summary of technical challenges for the flutist, and recommendations for teachers to facilitate selecting appropriate repertoire for their students. </p><p> This investigation also includes an interview conducted with renowned flutist John Solum, the commissioning artist of the <i>Aulos</i>. Solum worked closely with the composer and has performed all of Kay's works for flute. The interview serves as a source of historical information and performance practice interpretations as told by one of the last living flutists to have worked personally with the composer. As there is very little written material surrounding Kay's compositions for flute, this study will serve to augment the current research concerning African American composers of flute literature.</p>

<p> The purpose of this heuristic study was to explore and describe conservatory-trained violin performance major students' perceptions of their lived experience in violin learning from childhood to the music schools in New York City. The seven participants were undergraduate, graduate-level violin major students selected from the three major music schools in New York City. The primary data was collected via face-to-face audiotaped interviews, which became the narrative data.</p><p> The first question addressed students' perceptions of one-to-one violin instruction regarding expectations and values. The findings suggested that (1) autonomous thinking, boosted confidence, and transcultural learning were invaluable gains from instruction; (2) a reciprocal relationship existed between the amount of new ideas gained and one's performance outcome in lessons, which connoted students' recognition of self-responsibility in determining the quality of lessons; and (3) an ideal teacher encourages independent thinking, provides honest feedback, and respects students' individuality.</p><p> The second question asked students' perceptions toward power relationship and degree of autonomy in decision-making. The findings suggested that (1) interpretive demands seemed to cause a stronger impact to student-autonomy when compared to repertoire and technique-related demands; and (2) students adopted different reactive patterns and conflict management strategies to deal with conflicts and power struggle in the violin studio. </p><p> The third question explored students' perceptions toward the helpfulness of other courses to violin performance. The findings suggested that while all students were adept at independent learning, some students reported music theory/history courses were helpful in empowering interpretive/performance autonomy.</p><p> The last question investigated students' perceptions toward the interrelationships among self, music, violin performance, and culture. The findings suggested that (1) students' self-concept of ability in violin playing might be correlated with degree of autonomy and self-perceived technical competency; (2) the meaning of violin performance was to attain self-fulfillment in two domains: personal and social; and (3) performance autonomy might be circumscribed by socio-cultural expectation and economic condition.</p><p> This study implies that students' continued participation in violin learning might be influenced by economic concern, competitive environment, and self-concept of ability in violin playing. Violin teachers may need to help students maintain a sound professional development.</p>

<p> The purpose of this research is to document the use of chest voice in sound recordings of sopranos from the early 1900s through the twentieth century and to survey the vocal pedagogy informing performance practice of chest voice throughout the twentieth century. The research includes a survey of the chest voice in vocal pedagogy treatises from the seventeenth century through the twentieth century, and the performance practice of singers throughout the twentieth century in regard to the use of chest voice. The research also includes recording practices as they pertain to the different time periods of sound recordings used in this study. Three singers from each recording era are documented in regard to their rise to fame, voice teachers, training, use of chest voice in recordings, and approach to singing. Three arias will be used to trace the use of chest voice throughout the different eras of recorded history to document changes in style and approach to chest voice singing. The arias are "Una voce poco fa" from Rossini's <i>Il Barbiere di Siviglia </i>, "Salce, Salce" from Verdi's <i>Otello</i>, and "Air des bijoux" (The Jewel Song) from Gounod's <i>Faust</i>. The views about the use of chest voice over the past four hundred years inform the modern vocal pedagogue in regard to the changes in methodology, ideology, and practice due to the advances in vocal science and technology used to explore the voice and its function. However, until the beginning of sound recording the only form of documented historical performance lay in the opinions of critics and those who wrote about the performers of their day. In the research of this document the archival recordings provide the impetus for comparing vocal pedagogy instruction with performance practice in the use of chest voice.</p>

<p> The purpose of this study was to examine whether there is significant evidence suggesting that participants benefit more in their learning when musical art education is included in the curriculum. This nonexperimental correlational design was selected in anticipation that participation in the music program would lead to a greater increase in academic achievement, as measured by the Graduate Exit Examination. This study examined English Language Arts and mathematics test scores of 10^th grade participants who received instrumental music instruction and those participants who received no instrumental music instruction during the 2010-2011 academic school year. Three school districts located in southeast Louisiana participated in this study. School district 1 presented a total of 89 participants (<i>N</i>=89) who were administered the GEE during the 2010-2011 school year. There were 13 participants (<i>n</i>=13) who were members in an instrumental music ensemble during the same school year. There were 76 participants (<i> n</i>=76) who were recognized as not being enrolled in an instrumental music ensemble. School district 2 presented a total of 225 participants (<i> N</i>=225) who were administered the GEE during the 2010-2011 school year. Of 225 test takers, 16 participants (<i>n</i>=16) who were members in an instrumental music ensemble. There were 209 participants (<i> n</i>=209) who were recognized as not being enrolled in an instrumental music ensemble. School district 3 presented a total of 317 participants (<i> N</i>=317) who were administered the GEE during the 2010-2011 school year. Of the 317 test takers, 31 participants (<i>n</i>=31) were identified as members in an instrumental music ensemble. There were 286 participants (<i>n</i>=286) who were recognized as not be enrolled in an instrumental music ensemble. The methodology of this study consisted of comparing the mean scores of participants receiving instrumental music instruction at their school with the mean scores of participants who did not receive instrumental music instruction. Although findings of this study indicated the mean scores of instrumental music students were higher than non-instrumental music participants, results displayed no significant differences between mean scores of instrumental music participants and non-instrumental music participants where (<i> p</i>&lt; .05).</p>

La Vega represents Isaac Albeniz's compositional transformation from a salon-style composer for the piano into a composer of large-scale works employing sophisticated harmonic vocabulary and thematic development. The piece was published by A. Diaz and Cia. in San Sebastian, Spain, and was edited by an anonymous editor who copied the manuscript inaccurately. All of the subsequent publishers of the piece duplicated Diaz's printing, and consequently their inaccuracies. A new edition including the revisions that were made to La Vega as well as a publication history and catalog of editorial alterations follow.