"Music for every child. Every child tor Music." How many time have we heard that? Fundamentally, however, it does not go deeply enough into the objectives and purpose of music in the schools today. Every conceivable kind of music is being used in modern schools, and every type of ensemble group is singing or playing this music. Are the schools creating the best possible music environment for the students? Are the students receiving from their music classes the maximum of increases in social competency, which is, after all, the most important objective of all education? Should small ensemble groups both instrumental and vocal be encouraged or put out of the music curriculum? Should money be spent by the school board for uniforms and instruments? Should marches and popular music predominate in the band and orchestra? Can we achieve technical perfection and enjoyment at the same time? Is there value in an A Cappella Choir? These and other pertinent questions arise wherever music teachers meet and very often when administrators meet. These questions should be answered as scientifically as possible, that is, scientifically with regard to the educational values of the subject discussed. It is the sincere hope of the writer that this paper might be service in answering some of these questions. First, a valid questionnaire sent to a representative portion of the high schools in Washington, Oregon, and California will be reviewed in order to tabulate and graph the present tendencies in the music field. Second, an attempt will be made to show the weaknesses of the present methods and courses in music and the reasons why the present music curriculum is unsound. Third, a curriculum for the music department will be presented which would be educationally sound and therefore should be acceptable to teaches, administrators, and laymen interested in developing a socially competent individual, and yet believing whole-heartedly in the slogan given at the beginning of this paper. If these things are done satisfactorily and sincerely, possibly there will be value in the paper for some person with problems such as these.

Wil Offermans is a flutist-composer with a holistic approach to contemporary flute pedagogy. At present day, there are very few English-language publications on Offermans; thus, in comparison to his contemporaries, the broader English-speaking flute community knows very little of the Dutch flutist-composer. The purpose of this treatise is to present Offermans's pedagogical ideas as a modern day flutist-composer so that his knowledge, creativity, and unique perspective may be made available to a larger flute population. A brief overview of the development of contemporary flute music will set the stage for the emergence of Offermans's role in the flute world. A biographical sketch of Offermans follows, along with a discussion of his teaching philosophy and four pedagogical themes that reoccur in his teaching and methods: extended techniques, interculturalism, improvisation, and body movement. Other pedagogical applications associated with these themes are discussed in addition. Finally, the concept of holism in education is explored using Offermans as an example of a holistic pedagogue. / A Treatise submitted to the College of Music in partial fulfillment of the Doctor of Music. / Spring Semester, 2015. / April 7, 2015. / contemporary, flute, improvisation, movement, pedagogy, world music / Includes bibliographical references. / Eva Amsler, Professor Directing Treatise; Richard Clary, University Representative; Patrick Meighan, Committee Member; Deborah Bish, Committee Member; Frank Gunderson, Committee Member.

The purpose of this study was to identify strategies, or pedagogical methods used for teaching basic music skills to urban secondary public school choirs by investigating three successful choral master teachers who routinely adapt instruction based on the unique needs of their urban students. Research questions guided this study: (1) What choral sight-reading materials are used to teach independent music reading to students? (2) What concept/skill developmental sequence is used to promote basic skill growth and how frequently are they evident in a rehearsal? (3) What social factors best establish a classroom/rehearsal climate that nurtures student learning in the complex environments found in most urban schools? (4) What relationships, exist between music reading skill development and music performance repertoire selections? Results identified multiple strategies that urban choral teachers used to accomplish this goal. Participants included three master choral teachers from the South East, Midwest, and West Regions of the United States who were selected by any one of the following measures: (1) nominated and/or recommended by university faculty (2) county/districts music supervisors, and/or (3) awarded excellent or superior rating on the sight-reading portion of the state performance assessment or festival. The three selected master teachers provided insight into exemplary practices used with urban secondary public school choirs. The master teachers electronically responded to survey, and interview questions and then the interviewer observed and recorded their rehearsals to observe teacher behavior leading to successful choral singing by urban students. The data revealed these three master teachers use different curriculum to teach basic music skills, such as notation, staff, clefs, and key and time signatures, etc. However, all participants used modified versions of the Kodály method to teach pitch and rhythm reading. In addition, repertoire selections for participants were a mixer of contemporary pop, renaissance, multicultural, baroque, gospel, R&B and spirituals were selected based on their students' music skills and cultural background. Implications for urban choral teachers and recommendations for future research are discussed. / 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 14, 2015. / Music Education, Music Skill Development, Pedagogy, Public Schools, Secondary Schools, Urban Schools / Includes bibliographical references. / Judy Bowers, Professor Directing Dissertation; Marcía Porter, University Representative; André Thomas, Committee Member; Clifford Madsen, Committee Member.

The purpose of this study was to examine the emergence of choral music in Ireland since 1922, focusing specifically on the settings that were based on, or influenced by Irish songs and airs. It describes the culture of music in Ireland through instrumental music, dance, and the song tradition. It establishes the genres of song, the languages used, the stylistic characteristics, and the performance practices. It also looks at how the music was collected, and by whom. The study examines how singing was used in schools and communities as a language and culture-promoting exercise. It had almost no success linguistically, and limited success musically. It did however, result in the arranging and composing of Irish songs, and the establishment of part-singing as common practice in schools, primarily in the Irish language. The key composers and arrangers of these early decades are investigated. In the early years of independence Ireland's main focus was cultural reestablishment, but the State gave very little consideration to formal policy for the Arts. The 1950s brought change in this regard. This study investigates the role of An Comhairle Ealaíon (The Arts Council), who supports two key choral organizations, and funds other ventures and projects that promote and encourage choral performance and composition. In addition the roles played by the Department of Education and Skills, Ireland's key Choral Festivals, and Raidió Télifís Éireann (Radio Television Ireland), the country's national radio and television broadcaster, are also considered. The researcher's investigation into the composers and arrangers, who have used songs and instrumental airs upon which to base their choral compositions or arrangements, disclosed 105 composers and arrangers since 1922. In total, 822 settings were located. Twenty of the most popularly set choral arrangements are reviewed in this study, and the transition from solo song to ensemble setting is examined under a range of musical headings: a) treatment of the melody and rhythm, b) language and treatment of the text, c) use of accompaniment and resulting vocal textures, d) tonality, and e) structure, use of dynamics, phrasing and articulation. This investigation will serve as a guide for those wishing to learn about the characteristics of Irish songs and airs, and how these may be appropriately embraced in choral settings. / 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 8, 2015. / Choral Music, Irish Arrangers, Irish Choral Music, Irish Composers, Irish Music / Includes bibliographical references. / André Thomas, Professor Directing Dissertation; Wanda Brister, University Representative; Judy Bowers, Committee Member; John Geringer, Committee Member.

The inclusion of electronic equipment in the performance of traditionally acoustic instruments has sparked a new genre of musical possibilities. Through an exploration of the history of the electroacoustic musical genre, the technologies employed, performance practices, and the experiences of a representative sample of bassoonists currently performing within the field, this treatise demonstrates how the addition of electronics in music has developed the genre of electroacoustic bassoon performance. The experiences of four representative bassoonists, Michael Burns, Jeffrey Lyman, Jim Rodgers, and Paul Hanson, are highlighted to demonstrate how each uses electroacoustic performance in his career, as well as the specific technologies and equipment employed to transform the traditional acoustic bassoon into an electroacoustic instrument. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Fall Semester, 2014. / November 10, 2014. / Bassoon, Electric Bassoon, Electroacoustic, Electro-acoustic / Includes bibliographical references. / Jeffrey Keesecker, Professor Directing Treatise; Deborah Bish, Committee Member; Eric Ohlsson, Committee Member.

It has often been said that radical changes are needed in other areas of education, but that there is only one way of teaching music-- that music is different and therefore requires an approach differing from that of other educational fields. However, if music is to be a part of education, then those who teach it must keep in step with the other educational trends. / Typescript. / "August, 1954." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Marian Black, Professor Directing Paper. / Includes bibliographical references (leaves 46-49).

Teacher modeling is a widely used pedagogical approach in music education. Several studies have sought to assess the effectiveness of modeling strategies on instrumental learning and have examined the effects of modeling. Nonetheless, not enough scholarly attention has been paid to the comparative effectiveness of such strategies when they are used to teach music composition during one-on-one lessons. The majority of existing research has focused on the successful use of composing techniques as an efficient way of reinforcing composition skills, not as a means of stimulating a learner’s creativity. The purpose of this study is to provide a comprehensive understanding of the modeling strategies that are being used by music composition teachers. The composition teachers (N = 15) who have been teaching composition in a one-on-one setting at university for five years or more participated in semi-structured, one-on-one interviews. The study found that in composition lessons, modeling was mainly used for two different purposes, which include “modeling for exercise” and “modeling for actual composing.” In the case of using “modeling for exercise,” all the composers agreed that modeling works as a positive influence on the students by helping them learn musical concepts through imitation. However, in the case of using modeling for actual composing related to creativity, the opinions were varied. The study also found that choosing the appropriate timing, amount, and types of modeling play a crucial role in using modeling strategies while avoiding any possible negative effects.

"The general music class is considered by many music educators to be the most challenging area in the profession today. Although not an entirely new concept in education, it has come to represent in the minds of an increasing number of music teachers, as well as general educators, the most direct and effective application of music to the educational program. It has become a custom to think of public school music in terms of performing groups--the so-called "specialties," such as bands, orchestras, and choral ensembles. The present status of school music has been achieved almost exclusively through the success of these organizations, and their importance must not be underrrated. They have a role in education; their future seems assured. Whether they can continue to dominate the entire music curriculum, however, appears doubtful"--Leaf 1. / "August, 1955." / 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: Robert L. Briggs, Professor Directing Paper. / Includes bibliographical references (leaves 77-79).

The purpose of this study was to explore continuous and summative ratings of listener enjoyment across a variety of genres and to examine the roles of musical training and familiarity. A secondary purpose of the research was to explore possible relationships between musical training and enjoyment (preference) and estimations of excerpt duration. Specific research questions were 1) Does genre influence ratings of listener enjoyment? 2) Does genre influence initial listener response time? 3) Is there a difference between summative and continuous ratings of enjoyment based on genre? 4) Do patterns in the continuous rating of listening enjoyment emerge as a function of genre? 5) Does musical training influence preference ratings or response time? 6) Is there a relationship between familiarity and preference ratings or response time? 7) Does preference affect estimations of excerpt duration? Twelve musical excerpts were selected such that the genres of classical, popular, and world music were each represented by four unfamiliar and varied excerpts. Excerpts were edited to be 60 seconds in duration and were played for participants (N = 150) in a counterbalanced presentation order. Participants provided preference ratings using the Continuous Response Digital Interface in either a continuous or summative response condition. After each excerpt, participants provided a rating of their familiarity with the excerpt on a pencil-and-paper Likert-type scale and also provided a written estimate, in seconds, of each excerpt's duration. A mixed model analysis of variance revealed significant main effects for genre and major in preference ratings, as well as a significant interaction between genre and major. Participants most preferred the classical genre, followed by popular, and world music. Music majors also tended to rate excerpts significantly higher than nonmajors. The interaction occurred primarily in the popular music category, in which nonmajors rated the excerpts nearly as high as the majors. Majors also responded faster than nonmajors in the continuous response condition. Correlations between preference and familiarity were moderate and uniformly significant, whereas there appeared to be no association between familiarity and response times. Correlations between preference ratings and estimates of excerpt duration also indicated no association. The present study is situated amongst a large body of research on music preference. While some findings support previous research, other findings raise more questions and encourage further exploration. Implications of current results and suggestions for future research are discussed. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2016. / March 24, 2016. / Classical, Musical Training, Popular, Preference, World / Includes bibliographical references. / John M. Geringer, Professor Directing Dissertation; Bruce Holzman, University Representative; Alice-Ann Darrow, Committee Member; Steven N. Kelly, Committee Member.

ADr. Augustus J. Pearson is widely known as choral music educator who made significant contributions to choral music education and influenced many of his students. Moreover, his far-reaching influence as a choral conductor in various institutions, organizations, and communities is noteworthy. This study documents Pearson's contributions within the field of choral music education. Augustus J. Pearson was born in Topeka, Kansas on February 8, 1944 to Jamie and Augustus J. Pearson, Sr. He received his earliest musical training from his mother. He was a graduate of Topeka High School, where he was a member of the band and choir. He also played the organ and the piano. He served as the organist at Shiloh Missionary Baptist Church in Topeka, Kansas, where his father was pastor. He went on to pursue graduate study at the University of Michigan, where he earned a Master of Music degree in Voice. Later, he received a graduate assistantship and university endowment scholarship to complete a Doctor of Musical Arts degree from the University of Kansas. He was a member of the Phi Kappa Lambda National Honor Society, the American Choral Directors Association (ACDA), MENC, and the National Association of Negro Musicians. His college-teaching began in 1974 at Morris College. Afterwards, he taught at Fayetteville State University from 1979-1989 and at the Florida A&M University from 1991-1995. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2016. / April 11, 2016. / Includes bibliographical references. / André Thomas, Professor Directing Dissertation; Michelle Stebleton, University Representative; Judy Bowers, Committee Member; Kevin Fenton, Committee Member.