No description available.

No description available.

The purpose of this thesis is to integrate for the prospective teacher still in college, and the teacher in service, the theory and practice of the leading band teachers in the country through the medium of the ensemble class method.

The two basic needs which motivated this study were instructional material and instruments. By investigating these problems the writer hopes to improve not only his own techniques of teaching, but to present a useful source of information concerning the tuba. Analysis of the problem statement led to subordinate questions, or sub-problems, which may be stated as follows: 1. What do the authorities consider to be the desirable physical and mental characteristics in the tuba player? 2. How do the authorities teach the specific techniques of tuba performance. 3. What are the authorities' opinions concerning tubas and tuba mouthpieces? 4. What are the authorities' recommendations concerning instructional materials for tuba students?

No description available.

No description available.

For an untold number of years the vocalise has had an integral place in many of the methods used for the training and development of singers. Commonly referred to and used as "warm-ups" in the choral rehearsal, vocalises are considered by many conductors to have a usefulness that surpasses that of simply preparing voices for the singing which is immediately at hand. It remains a tendency in many cases, however, for vocalises to be used in an indiscriminate fashion without a clear understanding of the purposes of the vocalises used and/or using a method of presentation of vocal exercises that can diminish their usefulness or perhaps even have detrimental effects on the singers. A common additional plight facing many choral conductors seems to be the lack of availability of practical, printed resources for choral vocalization. Conductors can feel forced to rely only on exercises passed onto them by colleagues or by their own teachers. Either because of this lack of understanding of purpose or because of a lack of knowledge of vocalise repertoire, or both, a conductor might choose to limit or avoid entirely the use of vocal exercises in the choral rehearsal, depriving the conductor and the singers of what is perhaps one of the best tools for vocal development and conditioning. This study attempts to contribute toward the alleviation of the problems mentioned above. The study provides an extended collection of vocalises arranged with optional piano accompaniments by the author for use in the choral rehearsal, including original exercises, as well as those borrowed from colleagues in the solo and choral music fields and from selected printed sources. In addition, through a review of the writings of noted authorities in the field of voice education, the study discusses the usefulness of vocalises in the development of specific elements of good singing, with reference to the vocalises contained in the collection. Included in this discussion is a determination, based on these writings, of certain principles for the effective use of vocalises in the choral rehearsal. Finally, this study provides a selected list of known, available resource material that specifically contains vocalises for choir.

No description available.

The purpose of this study was to examine the effect of a contingent live music intervention on full term infants’ amount of crying and parent-infant interaction in the first six weeks of life. Subjects (N = 65) were parent-infant dyads who were randomly assigned to either a no-contact control or experimental treatment group. The researcher wrote an original lullaby with each mother in the experimental group and gave instructions as to how to use the lullaby as reinforcement for infant quiet, non-crying behavior. All subjects participated in an assessment for infant crying behaviors once a week for six weeks as well as a six-week follow up video of parent-infant interaction. Infant crying behavior was measured by recording the total number of minutes each infant cried one day a week for six weeks. Parent-infant interaction was measured by observation using the LoTTS Parent-Infant Interaction Coding Scale (Beatty, Stacks, Partridge, Tzilos, Loree, & Ondersma, 2011). All participants were asked to complete a Value of Music survey, and the Edinburgh Postnatal Depression Scale (Cox, Holden, & Sagovsky, 1987). All subjects in the experimental group were assessed once a week for six weeks for total number of times the contingent music was used. Results indicated that training in the contingent music intervention significantly reduced infant crying duration while increasing mother-infant interaction behaviors for mothers in the experimental group. Analysis by demographic variables such as mother parity, socioeconomic status, and marital status showed no significant group differences on infant crying or interaction scores despite the body of research showing these variables usually affect the quality of caregiver/infant involvement and attachment. Mothers that used the contingent music intervention were more motivated to sing and valued the use of music with their infants more than did mothers in the control group. The outcomes of this study warrant the need for further research on additional benefits of decreased crying time on the infant/caregiver relationship including infant sleep time and caregiver stress. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2017. / June 23, 2017. / Contingent, Crying, Interaction, Mother, Music, Newborn / Includes bibliographical references. / Jayne Standley, Professor Directing Dissertation; Bruce Holzman, University Representative; Clifford Madsen, Committee Member; John Geringer, Committee Member.

Many new sounds and new instrumental techniques have been introduced into music literature since 1950. The popular approach to support developments in modern instrumental technique is the catalogue or notation guide, which has led to isolated special effects. Several authors of handbooks of technique have pointed to an alternative, strategic, scientific approach to technique as an ideological ideal. I have adopted this approach more fully than before and applied it to the cello for the first time. This handbook provides a structure for further research. In this handbook, new techniques are presented alongside traditional methods and a ‘global technique’ is defined, within which every possible sound-modifying action is considered as a continuous scale, upon which as yet undiscovered techniques can also be slotted. The ‘map’ of the title is meant in the scientific sense of the word; connections are made between: ‘actions that a cellist makes’ and ‘sounds that a cello can produce’. In some cases, where existing scientific theory is insufficient to back up these connections, original empirical research has been undertaken and areas for further research have been suggested. Within this system there are no special effects, rather a continuum of actions with a clear relationship to sound.