This study explored the educative impact of a music study abroad program, specifically, what role music plays in encounters between students from diverse cultural backgrounds, and how such programs can help shape the identity of a global citizen and lead to a more socially just global community. If programmatic efforts can be impactful, preparing young people for life in a more interdependent, complex, and fragile world, then how can such values be informed, fostered, and even stimulated by engaging in international music travel? How is “difference” experienced and rendered meaningful? This qualitative case study followed U.S. music and music education students on a trip to Malaysia where they collaborated with Malaysian peers in bamboo instrument-making as well as music-making in traditional Malay styles. Perspectives, commentary, and reflections of and by all participants were recorded and investigated. Pre-trip interviews were conducted two months prior to embarking on the international trip. During the program abroad over the course of three weeks, I interviewed four U.S. music students, five Malaysian music education students, and both a U.S. and Malay music professor. Additionally, a focus group was conducted with the Malay student-participants. This study posited two primary benefits to studying music abroad and then analyzed data that would illuminate to what degree these benefits were achieved. The first of these benefits is the well-known enhancement in broader experience and new knowledge that will inform students’ practice and musical life going forward. The second class of benefits has to do with building agency as global citizens, along with an appreciation of the entailed challenges. The interaction between visitors and residents, between students and a diverse cohort of educators, all begin to construct a sense of interconnectedness that goes far beyond the accumulation of musical knowledge. The findings substantiated the initial hypotheses and created new avenues of inquiry as well. One finding that went beyond the original scope of the study was that in reflecting on their experiences, participants began to build on a sense of global citizenship and a broadened civic consciousness. This in turn leads to investigations into the broader definition of education itself.

The purpose of this study was to learn more about specific features of the home environment of high school band members in former band members in two neighboring communities in southwestern Oregon: Coquille, and Myrtle Point. It was hoped that the effort might provide a specific contribution to more efficient selection of students in those communities, aid in improvement of parent-teacher relationships, and be of general interest to others in similar situations.

Information received, during interview with eight prominent music educators and from questionnaire responses of ninety-two music educators, indicates almost unanimously that there are four general problems of the senior high school boys’ glee club which need serious consideration: organization, maintenance, vocal problem and selection of music. It has been the purpose of this study to investigate the foregoing four general problems, report findings and to recommend procedures to aid senior high school boys’ glee club directors in solving their problems.

The object of this thesis is to discuss musical rudiments and their importance, to demonstrate to what extent these rudiments are being taught in the selected Stockton schools and to inquire into the musical background and musical attitudes of the teachers of the fourth, fifth, and sixth grades of these particular schools.

The object of this book is to provide the beginner with a background of musical experience to strengthen his own musicianship so that he may possess confidence in his own ability and venture to be a creative person. The work in this book is strictly preparatory and is intended as a starting point.

The purpose of this mixed methods study was to investigate perceptions of choir members (N = 86) who participated in a one-day choral festival designed to bring together salient racial/ethnic groups. Specifically, this study sought to document: (a) singers' perceptions of intergroup contact conditions--equal status, common goals, cooperation, institutional support, and friendship potential; (b) singers' perceptions of group social cohesion in relation to musical selections performed; (c) singers' stated reasons for participating in the event; and (d) themes emerging from responses to open-ended questions. Data were collected from choir members through a survey instrument adapted from the literature. Category mean score rankings indicated the perceived presence of intergroup contact conditions, from greatest to least, as common goals, cooperation, equal status, institutional support, and friendship potential. In terms of group social cohesion in relation to repertoire, music categorized as African American was perceived as most socially cohesive, followed by music shared by multiple traditions and music categorized as European American. Black/African American, female, and older participants perceived music, no matter the category, more socially cohesive than White/Caucasian, male, and younger participants. Singers indicated being motivated to participate in the event because of musical and social factors, with responses classified as enjoyment of singing and community building most common. Free-response qualitative data was analyzed and coded into six subthemes: formation of a community comprised of diverse peoples, exposure to something new, personal enjoyment, expressed desire for event to continue, criticism of event philosophy and schedule, and disappointment over attendance. Suggestions for future research were provided. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2015. / April 17, 2015. / African American Music, Choral Music, Gospel Music, Group Social Cohesion, Intergroup Contact Theory, Western Hymnody / Includes bibliographical references. / Kevin Fenton, Professor Directing Dissertation; Christopher Moore, University Representative; Judy Bowers, Committee Member; André J. Thomas, Committee Member.

A music teacher’s place of work—the school, the geographical focus of this dissertation—is always in a state of reform and thus what constitutes quality work within this space is also in constant flux. Contemporary schooling exists in and as a marketplace shaped by neoliberal policies, with goods managed by a cacophony of entities from governmental programs to private organizations. These policies are not only a structural change, but also a method of forming and reforming teachers. Necessarily—inevitably— policy changes what learning looks like, how it is accomplished, and who the music teacher is. The purpose of this study is to explore the lived experiences of music teachers who work and interact within the phenomenon of contemporary neoliberal-influenced schools. I examine how music teachers operate and think, maneuver and resist, choose and refuse, submit and comply within the forces that define the conditions of contemporary schools. This topic was examined through a phenomenological case study of a private non- profit organization that manages music teachers in public school settings. Data came from the lived experiences of 8 music teachers, which were elicited through interviews and observations, as well as participant-researcher journals and document collection. Analysis indicated that the phenomenon of contemporary schooling is unique in the ways that teachers enter into the new space, the ways in which work towards or in opposition to performance expectations, and the ways in which they find support in working through perceived contradictions. Implications reveal the ways that education policies shape teacher identity and quality teaching and learning.

The problem of this study is the development of a theoretical structure underlying a conceptual approach to teaching with special consideration given to vocal teaching.

Music has been a constituent of the public school curriculum in Pinellas County for a period of many years. The success of the program is clearly showy in terms of the place it has achieved in the community. Church choirs, symphony orchestras, and music recreation programs are being maintained. Secondary school students have shown a continuing interest in music throughout college and many have elected it as a career or vocation. However, the county school administration and teaching staff are not confident tha.t these evidences of' the effectiveness of their program are complete proof that it is an adequate one. The Supervisor of Music and the Director of Instruction have initiated a study with the co-operation of music instructors in the country, designed to improve the present program and equalize music opportunities of children in county schools. / "May, 1956." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Music Education." / Advisor: Wiley L. Housewright, Professor Directing Paper. / Includes bibliographical references (leaves 67-68).

This study is a phenomenological study about band. Stories of band are told through three people of different ages and generations who chose to continue playing an instrument after graduating from high school. A review of the literature and a lack of research from the perspective of the individual led this study to two broad research questions. First, is there such a thing as a “band identity?” I wanted to know how band shaped the lives of three individuals who have spent their lives playing, experiencing, and performing band music. I wanted to discover if there was some sort of essence to band and to understand more about how the concept of self is shaped through participation in band. Second, I wanted to be open to the idea that the telling of stories of band might intersect with my own. The final chapter of the study reflects on my journey as a teacher. On the surface, band may look like any other group activity. But the powerful combination of mastering an instrument, learning how one’s instrument fits into a larger ensemble, and navigating the social and family-like drama as one’s life story unfolds makes the band experience unique. The three study participants were interviewed over nine months using a theoretical “mix tape” approach blending phenomenological inquiry with elements of case study, narrative, short written responses, reflections, and the collecting of artifacts. The participants showed that the band experience is inextricably woven into the identity of individuals who continue to devote time and energy to instrumental music. The band identity is wrapped around and melded with concepts of the power of the group dynamic, the magic and memories formed from devoting time to the activity of music making, the power of music on memory, and the relationships that are built through the activity. This thesis shows that band directors should pay much closer attention to and nurture the value of the individual by listening to the individual soundtracks of their students and working to understand the stories and life experiences that the individual brings to the traditional large ensemble band setting.