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The purpose of this study was to examine general music teachers' practices and attitudes regarding the use of multimodal pedagogy in music instruction. A survey design was used to explore the extent to which general music teachers, in a delimited geographical area in southeastern Pennsylvania, use multimodal pedagogy and their attitudes towards it. Data were gathered by contacting 600 potential participants via email and inviting them to take part. Of the 600 contacted, 170 respondents participated in the study (28% response rate). In total, 127 completed the survey and were considered by the researcher to be appropriate for analysis. General music teachers reported that the most frequent teaching modalities used while planning, teaching, and assessing their students were, in decreasing order of frequency, aural, multimodal, visual, and kinesthetic modality. However, this array of modalities was used less frequently while assessing students than planning and teaching. The majority of respondents favored the use of aural modality while assessing their students. The availability of movement materials predicted general music teachers' use of multimodal pedagogy while planning, teaching and assessing students. Gender, teachers' educational degree, professional development, the availability of percussion instruments, and iPad and tablets predicted general music teachers' use of multimodal pedagogy while assessing students. Attending Orff, Kodály, and Dalcroze professional development programs had a significant relationship with general music teachers' use of multimodal pedagogy while planning and assessing their students. Responses to the open-ended questions provided evidence of how general music teachers actually experience the application of multimodal pedagogy in the classroom. Specifically, the responses showed how individual teachers considered students' learning styles while planning and teaching, and assessing to secure students' success. General music teachers reported a generally positive attitude towards the use of multimodal pedagogy. The availability of Orff instruments was a positive predictor, and guitar was a negative predictor for general music teachers' attitudes towards the use of multimodal pedagogy. Attending Orff, Kodály, and Music Learning Theory (MLT) professional development workshops had a significant relationship with the music teachers' attitude towards the use of multimodal pedagogy. These factors that contributed to general music teachers' positive attitudes towards the use of multimodal pedagogy partially because Kodály, MLT, and Orff techniques including Orff instruments encouraged general music teachers to incorporate different learning modalities inside the music classroom. The open-ended question captured the participants' voices and provided further evidence of general music teachers' positive attitudes towards the use of multimodal pedagogy and how they recognize the benefits of using it. These results have implications for music educators that include developing professional development programs designed to assist in the use of multiple modalities. Recommendations for further research include examining the effects of multimodal music pedagogy on elementary students' acquisition of specific music skills (e.g., singing voice, rhythmic achievement). / Music Education

American music education is focused primarily on music written by White men (Baker, 2003). However, women are more likely to believe they can find success in a career in the arts when they have positive female role models (Quimby & DeSantis, 2006). Similarly, college students are more likely to name career role models who match their own ethnicity (Karunanayake & Nuata, 2004). If young women and students of color do not get to see composers who remind them of themselves, then they will be less likely to feel confident as potential composers. The purpose of this study is to determine undergraduate music education students’ commitment to promoting the music of diverse composers in their future classrooms. A pilot study conducted in 2017 supported the need for this research. Participants in that study expressed the belief that composer diversity is important, but that their undergraduate program is not adequately preparing them to incorporate diverse composers in their teaching. The research addresses the following questions: 1) To what extent do preservice music teachers believe that composer diversity is important? 2) To what extent do preservice music teachers feel prepared to teach their students about diverse composers? 3) Are women preservice teachers and/or preservice teachers of color more likely to believe composer diversity is important than teachers who are men and/or White? All participants (n=34) were junior and senior undergraduate students studying music education at a university in the mid-Atlantic states. These preservice music teachers completed an online survey, answering Likert-style questions about how they value composer diversity, and if they feel prepared to teach music written by composers of all genders and composers of color. They were also asked to name women composers, composers of color, and women composers of color they have studied in their undergraduate program. The participants’ responses were analyzed by gender and race, and the data was analyzed with a series of Kruskal-Wallis analysis of variance tests. The results of the study suggest that while preservice music teachers believe that teaching their students about diverse composers is important, they are not enthusiastic about how prepared they are to teach about these composers. They are especially unprepared to teach their students about women of color, suggesting a need for a more intersectional approach to diverse learning (Matsuda, 2013). No differences were found between participants of different races. There were no significant differences between gender nonbinary participants (n=2) and participants of other genders. There were four significant differences between men (n=19) and women (n=13). Men responded with higher levels of agreement to the statements “I look forward to incorporating music by composers of color into my classroom” and “I look forward to incorporating music by composers of all genders into my classroom.” When asked about what factors influence their repertoire selection, women placed more importance on “The audience will enjoy the music” and “Composers of all genders are featured equally.” The median number of composers of color participants named was 5. The median number of female composers was 2.5, and the median number of female composers of color was 0. / Music Education

The research for this study entails a systematic classification of all significant instances of the 6-6 pattern in Mozart's symphonies. This data is further categorized according to embellishment types, and discussed with respect to Mozart's application of the model in his complete symphonies. Comparing Mozart's usage with that of Haydn's Paris and London symphonies, one finds that both composers often implemented the model as a means of developing material. Although Mozart and Haydn used the pattern in a variety of conventional ways in thematic and transition sections, there are some striking differences of treatment between the two composers. Haydn applied the pattern as retransitional material to a return of the opening theme. Likewise, his usage is predominantly diatonic. On the other hand, Mozart treated the 6-6 pattern with a high degree of stylization. As his symphonic technique became more distinctive, we find increasingly complex chromatic embellishments of the model. This study reveals that the 6-6 pattern is an important aspect of Mozart's symphonic technique throughout his career as symphonist.

Chi soffre speri (1637, 1639) was twice produced by the Barberini family as part of the festivities surrounding the yearly Roman Carnival. The opera's music resulted from a collaboration between two composers, Virgilio Mazzocchi and Marco Marazzoli. The librettist for the opera was Giulio Rospigliosi, and Gianlorenzo Bernini designed sets for the 1639 Act II intermedio, La Fiera di Farfa. The extensive influence of the Commedia dell'arte, most evident in the use of masked characters, distinguishes Chi soffre speri from its operatic predecessors. The Commedia borrowings affected the musical and textual style of Chi soffre speri, resulting in a merging of the dramatic traditions of opera and the Commedia dell'arte. The popularity of the Commedia dell'arte in Rome and the city's unique cultivation of a dramatic sub-genre known as the Commedia ridicolosa may help explain why this fusion of opera and the Commedia dell'arte occurred there in the late 1630s.

<p> The purpose of this mixed methods study was to explore elementary music teacher perspectives of subdivision and its instructional value in the general music classroom. This study aims to answer the questions: (a) How does the perceived definition of subdivision influence instruction? (b) How do elementary music teachers relate subdivision to other concepts? (e) How does training and professional development influence teacher perception? Elementary general music teachers (<i>N</i>=26) from an inner-city Title 1 school district in Central Texas participated in a descriptive survey. Results indicated that while participants explained that important relationship between subdivision and other concepts and marked it as extremely significant (88%), they ranked it seventh out of eight and allotted less than five minutes for instruction during lessons. In addition, the greatest influence on teacher perception of subdivision was the amount of training in Dalcroze Eurhythmics, Kod&aacute;ly and Orff Schulwerk, While Kod&aacute;ly teachers primarily related subdivision to rhythm, and thought that it was too complicated for young students, Orff and Dalcroze teachers were more likely to teach it in every concept. This study along with previously conducted studies suggest that elementary music teachers believe that subdivision aids in student learning. However, elementary music teachers appear to be hesitant to utilize subdivision during instruction.</p>

This study investigated student performance ratings of rehearsal preparation for an adjudicated festival performance as well as components of teaching sequences used during rehearsals of two beginning and two advanced high school choral ensembles. Of particular interest to this investigation were (a) choral performance ratings during rehearsals leading to and including District Festival performance, (b) frequencies and percentage of teaching sequence components during improvement of rehearsal performance rating, and (c) student performance time with teacher "conducting only" and with teacher verbal assistance as rehearsal performance rating increased. / School X beginning chorus and advanced chorus (a) improved performance rating (4.60 to 1.22; 4.66 to 1.29), (b) decreased teacher verbal instruction (51% to 24%; 58% to 46%), (c) increased student rehearsal performance (28% to 64.5%; 32% to 50.5%), (d) increased teacher "conducting only" during student performance (67.5% to 97%; 35% to 99.5%), (e) decreased teaching sequences per minute (2.43 to 1.62; 2.22 to.75), and (f) decreased sequences ending with positive reinforcement (35% to 11%; 27% to 0%). / School Y beginning chorus and advanced chorus (a) improved performance rating (4.81 to 1.46; 4.51 to 1.14), (b) increased slightly (beginning)/decreased (advanced) teacher verbal instruction (45.5% to 49%; 42% to 36%), (c) increased student performance (46% to 49%; 49% to 60%), (d) increased teacher "conducting only" during student rehearsal performance (4% to 100%; 8% to 94%), (e) decreased teaching sequences per minute (1.44 to.97; 2.18 to 1.83), and (f) decreased sequences ending with positive reinforcement (29% to 0%; 16% to 7%). / Source: Dissertation Abstracts International, Volume: 54-07, Section: A, page: 2500. / Major Professor: Judy Kay Bowers. / Thesis (Ph.D.)--The Florida State University, 1993.