The integrated method proposed and worked out consisted of integration of vocal and voice-speech teaching techniques as well as integration of the empirical and mechanical methods of teaching. Balance and co-ordination between external and intra-pharyngeal articulation were considered as a framework for integration of various methods of teaching. Magnetic resonance imaging (MRI), along with spectral analysis, was used to demonstrate the work of intrapharyngeal muscles while singing and to assess the quality of vocalization. 54 MRI expositions were generated for the set of vowels, pitches and modes, of which over 400 MRI images were synthesized and measured. When switching from amateur to professional way of singing, radical transformations of size, shape and to some extent, changes in the surface properties (density, porosity) of muscular tissue of intra-pharyngeal cavities were observed. New acquired MR images clearly showed that the axial section of the back cavity appears indeed much larger in the professional mode than in the amateur mode. Statistical analysis showed that this difference is statistically significant. It is shown that the work on muscles development and use of mental images/imagination must progress in close collaboration. The strategy for the gradual mastering technique of the opening of the vocal tract was suggested, and developed. A new approach was developed to be applied for students to get stable repeatability when they work with mental images. Obtained MR images were used as a part of visualization method during experimental work with students. MR images helped students to create proper mental images. The theory of tangible images was suggested and then successfully applied in the form of experimental work with students. Experimental work with students of the ethnic group Maori was conducted. This experimental work with Maori students demonstrated that the integrated method of teaching helped to overcome some physiological and psychological specific problems which require special techniques of training. Case studies were carried out to assess individual and students' group perceptions, along with interview techniques and a survey questionnaire. The results of the survey are presented graphically, and statistical processing of the data was performed. The results of the survey are interpreted and discussed.

The purpose of the study was to determine the composition and characteristics of employer and employee negotiating teams during initial stages of legislated collective bargaining for public schools in Indiana. Study participants included superintendents and trustees and 204 presidents of identified exclusive representatives of bargaining units of Indiana school systems.Participants responded relative to the number, race, sex, previous negotiating experience, and professional employment positions held by negotiating team members; positions held in professional employment, previous negotiating experience, race, and sex of negotiating team spokesmen; remuneration of negotiating team members and spokesmen; and extent of use, position held on negotiation teams, basis of selection, previous negotiating experience, amount and basis of remuneration of outside experts in negotiations.Findings of the study were:1. Teacher negotiating teams were larger than teams representing boards of education. Teachers' teams increased in number as pupil enrollment of school systems increased.2. Almost all negotiating teams had one individual identified as negotiating team spokesman.3. School board member participation on employer negotiating teams increased as pupil enrollment of school systems decreased.4. Slightly more than 25 per cent of all superintendents participated on employer negotiating teams. Only one superintendent served as spokesman in school districts serving 12,000 or more students.5. The number of principals serving as spokesman increased as the pupil enrollment of school systems decreased.6. The number of business managers serving as spokesmen increased as the pupil enrollment of school systems increased.7. Assistant Superintendents for Personnel and/or Directors of Employee Relations served as spokesman only in districts serving 6,000 or more pupils.8. Attorneys served as outside experts on one-half of employer negotiating teams.9. Negotiating team membership reflected all segments of employer and employee groups.10. Slightly less than one-half of team spokesmen reported they had no previous negotiating experience. Almost 100 per cent of team spokesmen for school systems with 6,000 or fewer students were inexperienced.11. The years of previous negotiating experience of outside experts increased as the pupil enrollment of school systems increased.12. Almost 100 per cent of employer negotiating team spokesmen outside experts and team members were white males.13. Slightly more than three-fourths of employee negotiating team spokesmen were males.14. Employee negotiating team membership was composed of about one-half white males and one-half white females.15. Almost 100 per cent of the outside experts and spokesmen for employee negotiating teams were white males.16. Remuneration of outside experts ranged from $23,000 to $500. Per diem compensation ranged from $300 to $100. Per hour compensation ranged from $55 to $20.17. Almost one-half of employer team outside experts were paid on a per hour basis plus expenses.18. Outside experts serving employee negotiating teams were reimbursed in salary by state and/or national teacher organizations.Size of school district is a major factor in determining the composition and characteristics of negotiating teams.The amount or basis of remuneration paid to outside experts, spokesmen, or team members is not positively related to size of school system.Large amounts of tax dollars are being expended to carry out mandated negotiations.Employer negotiations are conducted by white males. Employee negotiations spokesmen are predominately white males.As of 1975 the status of negotiations in Indiana is one of attempting to implement a process; therefore, the level of sophistication in negotiations is minimal.Management personnel have lacked adequate preparation for negotiations and consequently have turned to outside experts until competent in-house negotiators are developed.Teacher groups rely heavily upon assistance provided through national networks of teacher organizations.

The purpose of this study was to investigate the current programs in precollegiate instruction within the 463 Full- and Associate-member institutions of National Association of Schools of Music in the United States. A nation-wide survey was conducted in 1978-1979 to investigate the status of existing preparatory programs, and to develop an annotated directory, documenting this aspect of music enrichment opportunities for students in grades prekindergarten through twelve. The response rate was 89.4 percent.FindingsThe study revealed the following findings:1. Of the 463 NASM member institutions, 178 offer organized precollegiate instruction in music by the faculty of the school of music.2. Of these precollegiate programs, 60.6 percent are separately organized as a Preparatory Division.3. In one-third of the precollegiate programs, the administrative and developmental responsibilities are vested in a director other than the administrative head of the school of music.4. Over 45,000 students receive music enrichment through precollegiate programs in music at NASM member institutions.5. Over 60 percent of the precollegiate programs have an enrollment of one hundred or less.6. Nearly 80 percent of the institutions with precollegiate programs have experienced a five-year trend in enrollment gains.7. Of the ancillary course offerings, general musicianship is offered by slightly more than one-third of the precollegiate programs, followed by ensembles, prekindergarten programs, dance, and appreciation, respectively.8. In the institutions offering general musicianship, slightly more than one-third of the students are enrolled.9. While over 80 percent of the students receive private instruction, less than one-sixth are automatically assigned to a general musicianship class.10. In slightly more than one-fifth of the precollegiate programs, there is no extra tuition fee for the general musicianship class for students enrolled in private instruction.11. Piano, followed by voice, violin, guitar, and flute, respectively, represented the most frequently taught performance media.12. Some type of evaluative procedures are available at two-thirds of the precollegiate programs.13. Accelerated credit is available at 40 percent of the institutions.14. Less than one-fifth of the precollegiate programs have sufficiently structured evaluative procedures leading to a diploma or certificate.15. The financial support at nearly 90 percent of the institutions is by tuition alone.16. Less than 10 percent of the institutions are currently conducting research in precollegiate instruction. 17. Of the nearly one-third of the precollegiate programs that are the result of deliberate planning and organizing by the parent institution, 60 percent have originated since 1970.ConclusionsThe following conclusions are based' upon the findings of this study.1. Preparatory divisions may be found in any community regardless of geographic or demographic considerations, and in any parent institutions regardless of enrollment.2. Precollegiate instruction is limited where it does not have separate organization and a designated director other than the administrative head of the school of music in areas of program design, scope, publicity and financial development.3. Most preparatory divisions do not support a comprehensive music enrichment program. While they offer ancillary courses, their main thrust is private instruction.4. Adjunct faculty, hired solely in the preparatory division, decrease the likelihood of integrated activities with the collegiate faculty of the parent institution.5. Historically, most preparatory divisions originated as a conservatory, or as the result of deliberate planning and organizing. The growth trend in the field of preparatory programs is evidenced by the nearly 20 percent of the 178 parent institutions which have organized division division since 1970.6. Tuition fees generate the operational funds for the preparatory division in most institutions, although facilities and equipment are provided by the parent institution.Recommendations. Recommendations for program development and improvement include:1. A statement of philosophy and objectives for an organized preparatory division must be determined by administrators, from which operational procedures will be developed to determine the scope of the program.2. The designated director should receive load allocation in proportion for administrative and developmental responsibilities.3. Sources of funding should be sought for specific programming for ethnic groups within the community.4. A program structure which leads to a recognition of program completion, provides opportunity for ancillary course requirements. Performance levels and evaluative procedures would provide checks both for the teacher and parent on the progress and achievement of the student.5. The preparatory division personnel must continuously analyze and evaluate all components of the program. Lines of communication between adjunct and full-time faculty are a vital link in constructive program growth.

Pianists have often noted differences in fingering among several editions of a given piano work. Numerous reasons could be cited for this phenomenon including variations in the sizes and shapes of hands, and differences in technical abilities and interpretations, factors which tend to suggest the importance of individual needs and preferences in fingering. The purpose of this study was to formulate an approach to fingering which would be adaptable to individual requirements and at the same time be applicable to all styles of piano writing. The system was designed in such a way that all practical solutions to a given passage could be found. An element common to all piano literature upon which the system could be based was chosen--the interval as realized by the fingers on the keyboard.The impetus for this study was provided by portions of L'Enseignement musical de la technique du piano (The Musical Teaching of Piano Technique), by Blanche Selva. In this work the author dealt with technical studies practiced by empreinte or "imprint" as it may be translated into English. Imprint was used to denote the spacing of the fingers as they correspond to and accommodate themselves to the intervals on the keyboard. Also included in the concept were the differences in contact points of the fingers as they touch the keys. Whereas Selva chose a fingering to produce an imprint, this study used imprint to find alternative fingering possibilities for musical passages.The study contains an historical survey of fingering which places the subject of fingering in an historical framework wherein the development of modern concepts can be seen as they emerged in the literature. A review of literature, in which the writer critically surveyed some forty-five sources from music periodicals and books in English of the twentieth century, set forth the contributions made by writers in recent times and at the same time demonstrated the need for a more systematic approach which could be adapted to the needs of the individual pianist. No sources were found which provided a system for finding alternative fingerings. However, several valuable concepts did emerge which approach the imprint idea, such as the grouping and blocking of notes in passages.The major contribution of the study was the adaptation of Blanche Selva's imprint analysis to a system of fingering piano music. Translations were made of key portions of L'Enseignement musical de la technique du piano which were extracted and adapted to fingering. In order tooffer a means of finding many alternative fingering solutions to fingering problems a mathematical system of grouping imprints according to the number of notes in the passage was used. Fingerings were thus determined by (1) the fit of the pianist's fingers to the passage and (2) the mathematical possibilities which are compatible with the fit of the hand to the keyboard. All of the concepts presented were illustrated with musical examples from the standard piano literature.The writer concluded that the study provided a useful approach to fingering for the following reasons: (1) the procedure for using imprint analysis provides a means for finding fingerings suitable to all pianists because the choice is left to the needs of the individual; (2) the system is based only upon the conformation of the hand to keyboard intervals; (3) it is not limited to a specific type of passage or style of writing; (4) the approach incorporates both grouping and blocking which many teachers believe helpful for security of learning and memorizing; (5) it can be as systematic and comprehensive as needed for difficult passages because of the use of mathematical groupings; (6) the naturalness of hand position which is a part of the imprint concept in many cases minimizes the need for rigorous searching.

The typical high school choral director of today is expected to know a great deal about the various types of music that exist as well as the appropriate techniques to create those genres in such a way that their student’s performances are realistic and stylistically accurate. What most undergraduate students are taught in pursuit of a choral music education degree misses the mark in that the show choir genre is nearly ignored throughout the curriculum. Yet, the nation’s new teachers are expected to strike out into the world of teaching and often find themselves in very large, competitive programs with the show choir at the very center. This study begins by identifying a number of questions that a first year teacher with no show choir directing experiences might ask, identifying the “how and why” of the daunting task of creating an artistic product in this new American modern choral genre. These questions also served as a guide to formulate a profile of the ideal show choir director. Then utilizing the established profile of the ideal show choir director, several experts – those who have an established reputation for a high level of success – were interviewed and their responses were documented, studied, and organized into categories that correspond with those found in the profile of the ideal show choir director. The correlation of these elements provided an in-­‐depth look into the processes of these successful directors that have proven to be effective over the course of many years, giving the reader a revealing look into how to build a program from the beginning, and to see it through to the end with ultimate success. As young teachers attempt to create musical experiences that are appealing to their students, they often find themselves competing with an idea that singing in choir should be like what can be seen on television in shows such as GLEE or American Idol, and other similar programs. While this is not an entirely real reflection of what choral music education is about, there is some truth to what is shown, and to a degree, what can be done. The focus of this project is to provide our new teachers a knowledge base to draw from that can assist them in their own development toward becoming a truly well balanced musician and educator. This project can assist these young teachers in developing into those who have knowledge of the show choir art form, and know how to teach the various techniques necessary to engage students and keep them interested in singing choral music. / Access to dissertation permanently restricted to Ball State community only / School of Music

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The role of music analysis is to enlighten our understanding of a piece of music. The role of musical performance analysis is to help us understand how a performer interprets a piece of music. The current work provides a tool which combines music analysis with performance analysis. By combining music and performance analysis in one system new questions can be asked of a piece of music: how is the structure of a piece reflected in the performance and how can the performance enlighten our understanding of the piece's structure? The current work describes a unified database which can store and present musical score alongside associated performance data and musical analysis. Using a general purpose representation language, Performance Mark-up Language (PML), aspects of performance are recorded and analysed. Data thus acquired from one project is made available to others. Presentation involves high-quality scores suitably annotated with the requested information. Such output is easily and directly accessible to musicians, performance scientists and analysts. We define a set of data structures and operators which can operate on musical pitch and musical time, and use them to form the basis of a query language for a musical database. The database can store musical information (score, gestural data, etc.). Querying the database results in annotations of the musical score. The database is capable of storing musical score information and performance data and cross-referencing them. It is equipped with the necessary primitives to execute music-analytical queries, and highlight notes identified from the score and display performance data alongside the score.

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