The purpose of this study was to describe the nature of the higher education music administrator's work in terms of specific administrative activities, characteristics of his managerial work, and managerial roles performed. / Data were collected via a literature review of higher education music administration, educational administration, and management theory, and on-site structured observation of three in-service, higher education music administrators of middle-sized public university schools or departments of music for three days each. The field study employed some of Mintzberg's('1) research methodology by utilizing his descriptions of managerial roles and the format of his tables. / Results of the case studies revealed that, on the average, the content of a typical workday included the following administrative activities: 17 desk work sessions (at 9 minutes each) in which 30 pieces of mail were processed; 13 brief (at 3 minutes each) telephone calls; 3 scheduled meetings (at 6 minutes each); and 1 tour (at 9 minutes). The average administrative workday (that is, excluding teaching responsibilities and nonadministrative activities) was 6 1/2 hours in duration, during which an average of 49 distinct activities occurred. / Some observed characteristics of the managerial work of music administrators include: steady pace of the work; random juxtaposition of trivial and important activities; brief duration of the activities; 58% of administrative work time was spent in verbal contact media; desk work sessions consumed 40% of the administrative work time; scheduled meetings consumed the largest part (44%) of the total time spent on administrative contacts; interactions were primarily on a one-to-one basis; and interactions with subordinates consumed 60% of all contact time. / Ten managerial roles, classified under 3 categories (Interpersonal,Decisional, and Informational), were observed. The Informationalroles (specifically Monitor, Spokesman, and Disseminator) wereutilized 54% of the administrative work time. The Interpersonal role,Leader, and the Decisional role, Resource Allocator, were the five / most important of the ten roles observed. / ('1)Mintzberg, H. The nature of managerial work. New York: Harperand Row, 1973. / Source: Dissertation Abstracts International, Volume: 43-03, Section: A, page: 0717. / Thesis (Ph.D.)--The Florida State University, 1982.

The study sought to determine which of twelve music activities were used most frequently by elementary classroom teachers in six school districts of northeastern Mississippi. Questionnaires were returned by 322 (80 percent) teachers from 31 schools in four counties. / The analyzed results showed that over half of the teachers were "regularly" or "sometimes" using (1) singing unaccompanied, (2) singing with records, (3) listening to records, (4) using musical audio-visual materials, (5) using motor movements, (6) correlating music with other subjects. Less than 44 percent used music to develop learning skills, planned musical programs, helped children create music, used rhythm, melody and folk instruments. Primary grade teachers used most of the activities more frequently. Intermediate teachers preferred to use recordings and other audio-visual materials; fifth grade teachers used the fewest activities. Teachers with over ten years experience used more activities; those with 4-6 years experience used fewer activities. Score on NTE and the highest degree held showed little relationship to activities' use. Teachers without the services of a music specialist used singing and moving activities more frequently. The largest number (99) of teachers worked with a specialist on planning musical programs. / Over 90 percent of the teachers had taken a methods course, and over 65 percent felt well or adequately prepared to use singing and listening activities, and to correlate music with other subjects. Over half felt prepared to use audio-visuals, motor movements, and music to develop learning skills. / When asked to choose five activities as areas for inservice workshops, over half chose using music to develop learning skills, correlating music with other subjects, using motor movements. Correlating music was ranked as first choice by the largest number (70). / Recommendations were that methods courses provide teachers with materials and methods for integrating music activities into the daily teaching of children. Music educators should not expect teachers to provide the same musical experience to their students as those provided by trained music specialists. / Source: Dissertation Abstracts International, Volume: 43-07, Section: A, page: 2269. / Thesis (Educat.D.)--The Florida State University, 1982.

A musical composition in one movement scored for woodwind, brass and percussion instruments and written specifically to be choreographed for modern dance. / Source: Dissertation Abstracts International, Volume: 43-10, Section: A, page: 3254. / Thesis (D.Mus.)--The Florida State University, 1982.

The purpose of this study was to investigate the history of Wolfgang Amadeus Mozart's Grand Mass in C Minor K. 427/417a and to compare performance editions of this work. / The first chapter outlines the procedure and reason for the study. Unavailability of the manuscript for study between World War II and the late 1970s contributed to limited recent research of the Mass, K. 427. Since the "finding" of the manuscript it has been housed in East Berlin's Deutsche Staatsbibliothek. However, expense of travel to East Berlin has prohibited further research by some scholars. A facsimile of the autograph was made available to the public in 1982. / Historical background and circumstances surrounding the Grand Mass in C Minor compromise the content of the second chapter. Topics for discussion include Mozart's reasons for writing the Mass, stylistic influences, and conjectures about the work's incompletion. In addition, the relation of the Mass and Davidde penitente is explained. / In the third chapter H. C. Robbins Landon's edition of the Mass--the most recent performance edition-- is analyzed. The first part of the chapter includes descriptions of formal structures. The second part of the chapter analyzes the Mass using the method of analysis developed by Julius Herford. / Landon's edition of the Mass is compared with the edition by Alois Schmitt in the fourth chapter. Differences and similarities between the two editions are identified. Further, both of these editions are compared with primary resources--a facsimile of the manuscript, reproductions of original sketches and fragments, and a handwritten copy of the organ and trombone parts of the Mass (which include corrections in Mozart's hand). Through comparisions it was determined that Landon's edition is in closer agreement with Mozart's manuscript than is Schmitt's edition. / The author of the present study hopes the data compiled will promote a scholarly approach to future performances of Grand Mass in C Minor K. 427/417a. Although Landon's edition (1956) of the Mass is an improvement over Schmitt's edition (1901), the former editor did not have the manuscript available for study. Recent research and publication of the facsimile indicate a need for a new performance edition. / Source: Dissertation Abstracts International, Volume: 45-06, Section: A, page: 1677. / Thesis (Ph.D.)--The Florida State University, 1984.

Many different methods for implementing melodic dictation have been suggested and are in use but the superiority, if any, of one over another required empirical verification. In addition, research investigating whether inaccurate reports are a function of poor perception of the aural stimuli or misuse of the notational symbols was also thought to be necessary. / One hundred and thirty-six freshmen and sophomore theory students participated in a melodic dictation experiment. Subjects were randomly assigned to one of six dictation strategy groups contrasted by simultaneous writing, concentration before notation and singing before writing. The task within the experiment consisted of notating 3 warm-up melodies and 12 experimental melodies presented aurally. During the first two warm-up melodies, subjects were allowed to take dictation using that method to which they were already accustomed. On the third warm-up melody and 12 experimental melodies, subjects were instructed to use the strategy for the particular group to which they were assigned. Experimental melodies contrasted in construction (tonal and atonal), motion (conjunct and disjunct), and length (6, 10, and 16 tones). / Strategies were combined across single and dual melodic presentations to see if any of three methods were significantly better regardless of number of presentations. Results of the analysis revealed no significant differences (.05) between the strategies. When the six groups were analyzed individually, significantly higher scores were revealed for groups 4 (writing while hearing the melody twice) and 5 (writing after hearing the melody twice). Tonal, conjunct, and 6 note melodies also contributed to significantly higher scores (.05). Written response accuracy overall for the six groups was 48 percent. Subjects in singing groups (3 and 6) sang ("perceived") the melodies at a 43 percent level of correctness. The written responses by the subjects in these two groups matched their vocal responses 61 percent of the time. It was found by observing subjects' preferred method on the warm-up melodies that the progressive approach wherein students write while they hear was the most used approach. / Source: Dissertation Abstracts International, Volume: 45-09, Section: A, page: 2794. / Thesis (Ph.D.)--The Florida State University, 1984.

The purpose of the study was to evaluate the effects of four feedback conditions on the development of a single competency: leading group singing using guitar accompaniment. Seventy-four university students, enrolled in eight beginning guitar classes, participated in the study. / The feedback conditions were implemented after weekly "checkups," performance examinations during which students led classmates in singing folk songs while accompanying on guitar. The four conditions were: Checklist Only, Videotape Only, Videotape and Checklist, and Contact Control (Standard Instructor Feedback). The performances were evaluated using: a Behavior Checklist, i.e., 15 pinpointed accompanying skills; a Music Score, percent of intervals musically accurate; and a Songleading Score, percent of intervals of correct songleading. A questionnaire assessed students' attitudes toward videotaping and self-perceptions of their guitar accompanying skills. Students rated the course and instructor using a standardized form. / Pretest analyses revealed no significant differences among groups. Posttest analyses indicated that the Checklist Only and the Videotape and Checklist Groups attained significantly higher scores on the Behavior Checklist and on Songleading Scores. No significant differences were evident among groups on the Music Scores. Two follow-up checkups were reported, with similar results, but lower scores overall. / A summary of attitude items from the questionnaire indicated positive student attitudes toward videotape feedback. In evaluating their own accompanying skills, students in the Checklist Only group outscored all other groups and mentioned significantly more checklist behaviors than any other group. The students' ratings of the course and instructor were uniformly favorable, with no significant differences among groups. / Findings indicated that the use of the Behavior Checklist alone was as effective as its use in conjunction with videotape feedback in improving the guitar accompanying skills of the students. Additional investigation should seek to verify those variables which are the most crucial for successful accompanied songleading in applied settings. / Source: Dissertation Abstracts International, Volume: 45-09, Section: A, page: 2793. / Thesis (Ph.D.)--The Florida State University, 1984.

The purpose of this study was to assess differences in precollegiate music training, employment experiences, career aspirations, curricular content and attitudes of doctoral music students. Specifically, contrasts were examined between Doctor of Musical Arts and Doctor of Philosophy degree programs in music as well as among doctoral performers, music educators, and those categorized as others: musicologists, composers, theorists, and ethnomusicologists. A survey questionnaire with a response rate of 49% (N = 413 doctoral students) was used to obtain data. / Results of the study revealed no significant differences among doctoral music students in precollegiate music training or career aspirations. A majority of performers (68%) and those in the other category (13%) indicated that unemployment was the pirmary motivation for doctoral pursuit. Eighty-four percent of all doctoral students desired to become college music professors. / More music educators (94%) had held full-time music employment than both performers (51%) or those in the other category (45%). No differences in degree selection were found among students who had been employed primarily as concert artists. Nor were there differences in the students who held primary employment as teachers. / Few doctoral students except music educators had taken courses in music education, pedagogy, or methods. Performers and music educators agreed that an applied music course should be required of students who intend to teach on the college level, whereas, doctoral students in the other category disagreed. Both performers and persons identified as others strongly disagreed that at least one music education course should be required for students who intend to teach at the college level. / The study findings indicated that students enrolled in doctoral performance programs did not necessarily anticipate a performing career, but rather a career in teaching. Similarly, students in the other category expected to obtain teaching positions. It appeared that the traditional core of courses required within the specialized doctoral curricula for performers and others does not include music education courses despite the fact that 83% of them aspire to teach. / Source: Dissertation Abstracts International, Volume: 45-09, Section: A, page: 2793. / Thesis (Ph.D.)--The Florida State University, 1984.

The purpose of the study was to investigate the effect of programmed materials with adjunct listening examples on the vocal development of children's choruses. A programmed text was designed, tested, and revised in several pilot studies. The text, developed by means of the systems approach model was effective as measured by pretest to posttest gains by all subjects in summative and formative pilot testings. / Phase two of the study represented a field extention concerning the amount of methods and material presented in the text which could be implemented under experimental conditions. / Forty music teachers and their respective choruses served as subjects. All choruses were tape recorded singing the National Anthem as a pretest. Judges ratings of the performances were used as the main variable to match groups; other variables included length of rehearsal, grade levels included, and size of the chorus. / Two matched groups were created; a no-contact control and an experimental group. Teachers in the experimental group were given copies of the programmed materials and alloted a ten week interval to implement materials of their choice during rehearsals. The posttest taping utilized the same song and another of the teacher's choice. / Results of data analysis indicated that there was no significant difference in the overall choral sound between groups. Written posttests did indicate a significant gain by teachers in the experimental group of knowledge contained in the text. It was concluded that the lack of significance was attributed to an inability to transfer concepts from the text to the rehearsal setting. / Source: Dissertation Abstracts International, Volume: 45-09, Section: A, page: 2795. / Thesis (Ph.D.)--The Florida State University, 1984.

The purpose of this study was to investigate the effects of vocalization on the intonation of college wind players under performance conditions. The interactive effects of sex and instrumental grouping (woodwind and brass) were also of interest. / All wind instrumentalists currently performing in the symphonic band and wind ensemble at The Florida State University served as subjects (N = 94). An equal number of subjects began testing in each condition, play and sing/play. In the play condition, subjects performed the selected exercises instrumentally. In the sing/play condition, subjects vocalized the selected exercises for a period of 30 seconds immediately prior to instrumental performance. During the vocalization procedure, subjects were permitted to use any syllable with which they were comfortable (e.g., la, loo, dah, solfeggio). Subjects served as their own control by performing all four exercises, two in each condition. Exercises began on the root, third, fifth, and octave of a concert B major arpeggio. / Results of the BMDP2V Analysis of Variance with Repeated Measures Program (1982) indicated that there were no significant differences between exercises which were performed instrumentally and exercises which were vocalized prior to instrumental performance. The results also indicated no significant differences in the intonational deviation of male and female subjects. There were, however, significant differences in the intonational deviation of woodwind versus brass instrument performers. The cent deviation of woodwind performers decreased slightly in those exercises vocalized prior to instrumental performance. Brass performers, however, evidenced a considerable increase in cent deviation in the sing/play condition. / Source: Dissertation Abstracts International, Volume: 45-09, Section: A, page: 2794. / Thesis (Ph.D.)--The Florida State University, 1984.

Purposes were (1) to describe personal and educational characteristics of adult choral participants; (2) to determine levels of participation in various types of music education activities; (3) to describe content of general music and high school choral classes; and (4) to determine present musical involvements. / A 40-item questionnaire was developed and distributed to ten community choruses selected as sample population from large and small cities in Florida, Georgia, and Alabama on the basis of population, ethnicity, manufacturing output, and higher education facilities. Four hundred thirty-five surveys were completed and returned. Return rate was 80%. / Responses revealed twice as many females as males, and minorities were very underrepresented. A majority had completed at least a Bachelors degree. Approximately one-third had been college music majors. Most common experiences before high school graduation were church choir, keyboard lessons, and high school chorus. Women reported more involvement in vocal activities and keyboard lessons, while men were more involved in instrumental ensembles. / Younger participants reported greater school music opportunities and more use of popular music in listening activities and repertoire. A capella singing was seen to decline. Music majors were more likely to have listened to classical music in general music class, studied keyboard, and sung a cappella in high school chorus. Non-music majors reported a higher percentage of sight-singing in high school choral class. / Source: Dissertation Abstracts International, Volume: 53-07, Section: A, page: 2288. / Major Professor: Clifford K. Madsen. / Thesis (Ph.D.)--The Florida State University, 1992.