Contemporary Canadian music is rarely performed and studied in school music programs (Bartel, Dolloff, & Shand, 1999; Shand & Bartel, 1998; Varahidis, 2012) and post-secondary institutions (Andrews & Carruthers, 2004; Carruthers, 2000). This is primarily because the music of modern professional composers is inaccessible to students (Andrews, 2004; Bowden, 2010). In other words, composers are trained in such a way that their pieces are only playable by professionals for specialized audiences (Hatrik, 2002; Colgrass, 2004; Terauds, 2011). This study examines what eight wind-composers learned from writing educational music for young musicians. Using a narrative framework, grounded in John Dewey’s theory of learning as expressed by Clandinin and Connelly (2000), data was collected through interviews. These were then interpreted and analyzed with the aid of the composers’ biographies and questionnaires. Four story categories emerged from the data regarding how to write pedagogically valid educational music: 1) The composer must desire to compose technically appropriate, challenging and enjoyable music for young musicians; 2) The composer must collaborate and have direct contact with students; 3) The composer must have a working knowledge of the instruments; and 4) The composer and teachers can use the Music Complexity Chart (MC²) as numerous benefits are associated with it.

This dissertation explores the influence that nineteenth-century tenets of Kunstreligion exerted on Felix Mendelssohn Bartholdy's aesthetic thought. Widely defined as the merging of religious and aesthetic notions in writings about the arts, Kunstreligion has frequently been interpreted as a manifestation of spiritual beliefs and a movement with which Mendelssohn was not affiliated. The aid of this thesis is to challenge these claims, and to establish the rootedness of sacralised conceptions of music in non-religious inspirations and particulars of language use. Placing Mendelssohn's fascination with church worship, religious morality as well as the human and the divine in the context of wider philosophies of art and religion, the dissertation explores how the composer availed himself of art-religious vocabulary in his correspondence, examining his use of language both in terms of his own religious upbringing and the intellectual discourse of his age. Mendelssohn's Kunstreligion was very practically oriented. reflecting his belief that music was a religious language of feelings and proclamation, his performance of Bach's St. Matthew Passion and subsequent compositions manifested a concern to serve educative purposes related to historicism as well as religious edification and instruction. An analysis of how he viewed these activities in his correspondence reveals that comparisons of concerts with church sermons were not only meant metaphorically but point to objectives that he hoped to accomplish as a man and an artist. His reflections on attributes oft he 'human' and the 'divine' elsewhere suggest a belief that artists were blessed by God and that superior works of art were either God's creation or deserved to be described as 'divine' in the sense of 'excellent.' As these overlapping religio-aesthetic concepts and meanings indicate, in Mendelssohn's writings, Kunstreligion could be both a form of religion that was associated with Schleiermacher's theology and an eclectic verbal language that was creative, often qualitiative, sometimes irons, and, to that effect, typically Mendelssohnian.