In 1995 Charles Timothy Sivils completed his study, "Notable Percussion Excerpts of the Twentieth Century Wind-Band Literature." Sivils' intention was to create a formal list of percussion excerpts from substantial, originally composed wind-band literature that could supplement the study of orchestral excerpts. However, because of the continuingly increasing amount of literature being written and published for wind-bands, Sivils' original list no longer reflects recent or current trends in percussion writing for the wind-band. The objective of this study is to expand upon Sivils' excerpt list.The parameters outlined in Sivils' document have been adopted for this study with only minor adjustments. This paper will examine only the following wind-band compositions: (1) Compositions written between 1980 and 2005; (2) Compositions generally considered part of the standard wind-band repertoire; (3) Compositions originally conceived for the wind-band; (4) Compositions which do not feature a soloist in a concerto format; (5) compositions that are considered "concert marches" or movements entitled "March" from a multi-movement work.To provide the author with a body of information from which to start the research, a survey was sent to approximately forty wind-band conductors and percussionists throughout the United States asking them to list pieces, following the parameters previously outlined, from the wind-band repertoire that they feel contain the most significant percussion excerpts. Thirty-eight percent of those surveyed responded. Twenty-four of the suggested works were included in this study, creating a combined list of seventy-six excerpts from this and Sivils' document.Through the use of music notation software, a portion of each part has been reproduced as it appears in the original score. No attempt has been made to correct misprints or improve upon the composer's original notation. The excerpts have been formatted to create a single practicable part that contains all of the concerns discussed in the preceding pages. As with Sivils' study, a major component of this project has been to make the performer aware of these excerpts and to give insights into their performance. / School of Music

The primary purpose of this study was to compare two methods of instruction for teaching music listening to upper elementary children--an experimental approach utilizing the 4MAT instructional model of Bernice McCarthy and a conventional approach based on textbook materials. The investigator employed the 4MAT model for incorporating a holistic and whole-brain approach into music listening instruction. The study compared mean differences on two dependent variables, attitude and achievement test scores, between two groups (teaching methods) and two grade levels (fourth and fifth grades). Analyses of variance (ANOVA) were used to assess both primary and secondary data regarding gender, grade, and teacher. The researcher also analyzed subjective observations of participating teachers.Subjects were 440 fourth and fifth grade students from two suburban schools randomly assigned to intact classes and equally divided between grades to 4MAT or conventional instruction. Each class heard three classical music selections within a six-lesson framework. The investigator assessed subjects' attitudes toward classical music and their music knowledge after instruction.No significant effects resulted for instructional method. Further investigation of gender, grade, and teacher suggested some interactions for attitude: attitudes of 4MAT-instructed males of Teacher A tended to be more positive than those of conventionally-instructed males; the fourth grade sample produced greater gains for Teacher A in the 4MAT condition and for Teacher B in the conventional condition; three-fourths of the fifth grade cells in the 4MAT condition showed gain, and three-fourths in the conventional condition showed decline.Regardless of instructional method, males showed a significantly more positive attitude than females; fifth grade subjects tended to be more positive than fourth grade subjects; significant difference in attitude between students of the two teachers might be ascribed to socioeconomic standard or academic achievement level.Conclusions: (1) furnishing students with opportunities for hearing classical music is likely to produce improved attitudes toward classical music; (2) if the goal of music listening instruction is to provide students with cognitive and affective experiences, and to benefit from findings regarding musical behavior, brain research, and individual differences, the 4MAT instructional model offers a viable approach for listening lessons. / School of Music

The purpose of this study was to compare specific aspects of music in general education between selected residential and non-residential public two-year colleges in the United States. The comparison was made by conducting a nationwide mail survey to see how well each college fulfills ten guidelines for specific aspects of music education for the non-major. These guidelines were determined by the National Association of Schools of Music (NASM) for music departments in higher education. A stratified random sample consisted of 140 colleges.One-hundred fifteen music educators completed surveys. In order to determine if a significant difference existed between residential and non-residential colleges, a two-way factorial analysis of variance was performed on the groups with region and group as factors. The analysis was carried out for each question of the survey. Respondents were given the option of making comments after each question. These qualitative data were compiled and compared for similarities and differences.Many similarities were discovered between the two groups. A significant difference (p<.05) was found between the groups regarding the involvement of the music department in institutional admissions and counseling processes used to convey opportunities for student participation in music studies and activities. / School of Music

Jazz musicians traditionally learned jazz improvisation by transcribing other musicians they admired in order to absorb, assimilate and retain important stylistic elements of jazz. Indeed, many famous jazz musicians have testified to the importance of transcribing as part of their jazz education. By the latel960's, jazz increasingly gained acceptance as a legitimate American genre within academia. As jazz studies programs became more formalized in colleges and universities, a plethora of methods and materials have followed suit. Lately, critics of these programs claim that many of the procedures, methods and materials used have abandoned the aural-imitative tradition. This study examines the current use of and the viability of future jazz education methods based primarily on aural-imitative procedures.Forty-one jazz faculty from universities and colleges throughout the United States participated in an interview process. An open-ended questionnaire survey was used to elicit responses. Each was asked a series of questions directly related to transcribing. The responses were recorded via cassette and were transcribed verbatim. In addition, four music teachers at schools at four schools for the blind were asked a similar series of questions. Their interviews responses were analyzed for similarities and differences.The results suggest that current methods do not contain adequate aural representations and that transcription could be a viable alternative to current methods. A practical system based on the transcription paradigm could and should be developed. Current digital technologies and Internet developments may help facilitate an all-transcription based methodology. Certain recordings and solos have become recognized as `masterpieces' that deserve to be transcribed and studied. The insights gained from school for the blind suggest that certain musical aspects may be beet gained from an aural-centric perspective. / School of Music

Piano proficiency students who are required to memorize music take different approaches in their learning process. They may not be aware of how they memorize or how these approaches are related to their learning style preferences. Seventeen test subjects (N=17) who volunteered from a private university in north central Indiana were _ tested for their learning style preferences and then were given a sample of music to memorize. A video camera recorded the memorization process for observation of the learning approaches each subject used while memorizing. In addition, each subject completed 1) a brief experience and task ease pretest, 2) an interview while observing the video of what took place during the memorization process, and 3) a posttest questionnaire on learning approaches used.The purpose of this study was to observe which learning approaches to memorization were being used by group piano students and which of these were most effective in short memorization tasks. Investigation of existing literature of piano pedagogy found that the most common ways in which pianists memorize are by using aural, visual, tactile and analytical approaches.Subjects who were observed for this research had a tendency-to memorize more from the visual and tactile approaches. Out of the 17 class piano students who were observed, 15 or 88% used visual and or tactile memory as their preferred approach. Students also assessed their own procedure of memorization by rating the approach as to how much they used it. Findings in this posttest questionnaire indicated that the aural and visual approaches to memory were rated by the students as being the preferred ways of memorizing. Thirteen subjects or 76% indicated that they preferred the aural and or visual memory approach to memory.The effectiveness of these approaches was indicated by the subjects receiving a memory performance rating. This research showed that there was more tendency for subjects using visual approach memory to receive the best memory scores (excellent, no errors). This study also indicated that students using the analytical approach to memory tended to have the highest percentage of best performance score (two of three received excellent/no errors scores). / School of Music

The purpose of this study is to investigate the g-d-G-C scordatura tuning for the double bass. The study will survey the historical use, develop a theoretical rational, investigate the pedagogical implications, and explore the compositional opportunities of the scordatura tuning.Though there are many unanswered questions concerning the historical use of this tuning system, it is clear that the double bass has a long history of using scordatura tunings. The sympathetic/fifths tuning (g-d-G-C) was the basis of Violoncello Suite No. 5 by J. S. Bach, and there are three known later uses of it.After a brief history of temperament, the study concludes that this particular tuning greatly improves the resonance and intonation of the double bass. The placement of the g/G strings between the d and C strings strengthens the sonic output and vibrancy of the bass because of the close relationships between the natural harmonic series of each string. The proximity of the tuning to the upper part of the circle of fifths (C/G/D) is an additional benefit.Though the scordatura tuning creates more difficult technical challenges than the all-fourths tuning, this tuning system works well in orchestral, solo and jazz performance. The scordatura tuning is easily adapted to the bass guitar and offers many new opportunities for jazz improvisation. This tuning system is not particularly effective in popular commercial music venues.Since the 1960's new pedagogical approaches to sequence of instruction, concepts of position and approaches to fingerings have emerged. This new school of bass pedagogy suggests how a method could be developed for learning the scordatura tuning.Most of the traditional orchestral, ensemble, solo and jazz literature can be adapted to the tuning. Though it may be technically possible to play a work originally written for the all-fourths tuning using sympathetic/fifths, such a transcription may not be appropriate.Finally, the study includes four original compositions with analysis and discussion that demonstrate the idiomatic possibilities of the tuning: Sonata No. 5 for Scordatura Double Bass, Quartet No. 3B for Mixed Double Basses, Overture for Jazz Combo, and Concerto No. 3 for Scordatura Double Bass.Total Words of Abstract: 347 (does not include title) / School of Music

The purpose of this study was to determine the status of jazz programs in secondary schools of Indiana for the 1991-1992 school year. Data were gathered by means of questionnaires sent to the directors of twenty-six successful Indiana high school jazz ensembles. Information sought was divided into five major sections: (1) General Information, (2) Teacher Profile, (3) Facilities and Equipment, (4) The Jazz Program, and (5) Budget and Finance. Responses were obtained from 76.9 percent of the total sample, and the data were tabulated and presented with comparison of the findings.The majority of the performances by the successful jazz programs surveyed were for public relations purposes, festivals, and formal concerts. One-half of the jazz band directors were members of IAJE. IAJE members were more active academically. Ninety-five percent of the jazz band directors indicated that their jazz ensembles attend an average of 3.3 competitions each year. Seventy percent of the jazz ensembles rehearsed in the fall during marching band season. Eighty percent of the jazz band directors had their students sing their parts during rehearsals. Sixty-five percent of the jazz band directors had their jazz ensembles sight-read at least 1-2 times weekly. Eighty percent of the jazz programs operated on a budget of $1,000 or more per year. / School of Music

There is no abstract available for this dissertation.

The purpose of this study was to identify pieces by Twentieth-Century Latin-American composers suitable for performance by Youth Orchestras in the United States. Scores available at the Indiana University Latin-American Music Center were primarily used. This allowed a more comprehensive search while limiting the scope of the study.Orchestral pieces were selected and examined for the study in order to provide insight into particulars of their individual styles and offer them together with pertinent information on the various composers.FindingsThe study identified five Latin-American composers who have written pieces suitable for performance by youth orchestras. The advantages of including Latin-American music in the repertoire of youth orchestras was demonstrated. Social, cultural and political as well as musical reasons for this inclusion were stated.Characteristics of the music of those countries that make it very attractive to young players were taken into consideration in the study, as well as the influence that hispanic traditions have exerted upon the culture of the United States for more than two centuries.It was demonstrated that this cultural interaction, stronger in certain regions of the country, offers added justification for the inclusion of Latin-American repertoire.The analysis of the works selected demonstrated the availability of works of quality that are suitable for performance by youth orchestras, even though they may not have been originally conceived with that in mind.Ancillary identification of information The nature and the author's knowledge of States.Theto the findings listed above was the of substantial omissions in primary sources and reference works consulted for the study. location of these omissions helped to confirm contention that there is very little general art music of Latin-America in the United study also revealed the need for updating current sources of information in order to include more references. The necessary might be to Latin-American composers and their music. project revealed that adjustments in some institutions, both in the United States and the neighboring countries, in order to promote better the music of Latin-American composers in this country. Also, in some cases, the standards of publication and/or copying of materials in the country of origin needs to be upgraded. / School of Music

The purpose of this study was to provide a series of teaching units to assist the high school band director in integrating music theory into the daily rehearsal schedule. These units provide a workable alternative to the teaching of music theory within the large performing ensemble.Teaching Units1. All musical examples in these units were written to reinforce the explanations of the given lesson material, and all musical exercises were written to be sung and to be played on the student's own instrument.2. The organization of the teaching units was designed to be flexible enough to meet the individual needs of teachers and students in the band rehearsal.3. Representative material for this study included intervals, modes, major and minor scales, pitch-class and interval-class, triads, seventh chords, and transposition.4. These lessons provided short, sequential units of instruction which were designed to provide opportunities for creative musical development and understanding of our musical languageConclusions1. The systematic utilization of theoretical material and creative exercises will promote an understanding of the relationships between the visual and aural elements of music; it will provide an aid in the performance of the students' musical duties; it will increase the overall musicianship of the ensemble.2. There is a tremendous need for an integrated music curriculum from grades K-12.