This study shows stylistic traits of Stephen Paulus's choral writing by providing an analysis of six of the composer's fifty-eight multi-movement works. The context in which each work was written (with regard to the commissioning ensemble and in relation to Paulus's career) is explored briefly, followed by textual and music analysis, focusing on unique qualities of the works as well as characteristics that carry over to his other works. The full fifty-eight multi-movement choral works are catalogued. A summation of Paulus's stylistic traits as represented by these works is presented as well as suggestions for further research. Additionally, a biography and full catalog are included. / 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 J. Thomas, Professor Directing Dissertation; Evan A. Jones, University Representative; Judy Bowers, Committee Member; Kevin Fenton, Committee Member; John Geringer, Committee Member.

The purpose of this project was to create an original composition for high school level band, to create a set of teaching materials specific to the composition, and to provide an analytical method for the creation of literature-specific teaching materials others can use to develop similar projects for the band repertoire. The center of the project is the composition True Love of Mine—A Fantasy on Scarborough Fair for Symphonic Band. A rationale regarding choice of literature, a connection between the warm-up process and music rehearsal, and a creative design for concept teaching is 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 15, 2016. / band, composition, concept, instructional, literature, teaching / Includes bibliographical references. / Clifford Madsen, Professor Directing Dissertation; Alexander Jimenez, University Representative; Richard Clary, Committee Member; Patrick Dunnigan, Committee Member; William Fredrickson, Committee Member.

The realm of education is steadily changing from the influence of ideas, theories, research, and technology. Revisiting theory and practices and reinvigorating them with the knowledge gained in research and the advances in technology continue to improve the opportunities of the students. With increasing expectations for teachers to incorporate and understand audio technology and its use in the classroom, educators must familiarize themselves and feel comfortable in using digital audio, recording and audio production techniques. Digital audio technology is now used ubiquitously for the delivery and distribution of musical compositions. As educators, the understanding of digital audio technology is paramount. This technology can be deployed to enhance both the opportunities and instructional resources available to students as well as an observational tool for teachers. The impetus for this dissertation was to create a comprehensive instructional design for both pre-service and in-service music educators as well as for applied instructors. The method of this instructional design utilizes experiential learning to introduce the theoretical ideas of digital audio theory and techniques. Through this project based, results-driven instruction, the understanding of core concepts is bundled into practical instructions that are of immediate use to an instructor's classroom and students. / 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 13, 2016. / Audio, Audio Technology, Commercial Music, Education, Music, Technology / Includes bibliographical references. / Brian Gaber, Professor Co-Directing Dissertation; Clifford K. Madsen, Professor Co-Directing Dissertation; Bruce Holzman, University Representative; John Geringer, Committee Member.

Classroom instructional styles are a frequently discussed issue in education. Calls by professional organizations have encouraged teachers to take a more learner-centered approach to classroom structure. Research has shown that there are many benefits of a learner-centered environment. Historically, music ensembles have had a dominantly teacher-centered approach. The scope of the study was to determine what effects learner-centered instruction may have on a wind band performance, student attitudes, and student perceptions. A high school band was divided into two similar bands. The divided bands were assigned the same piece of music to rehearse for ten-minutes three times a week for six weeks. One band director was assigned a teacher-centered instructional style (control) and another band director was assigned a learner-centered instructional style (treatment). Following the six week rehearsal period, high school band directors (N = 47) evaluated pre and post-test performances based on performance characteristics (note accuracy, rhythm accuracy, tone quality, intonation, expressiveness, and overall performance). The researcher conducted t-tests for statistical differences between the two bands. The study's results indicated that there was a significant difference showing greater improvement toward the teacher-centered ensemble on all of the performance characteristics except rhythm accuracy where no difference between ensembles was reported. The results appear to be contrary to previous research. Students rated their attitudes toward their band experiences using a pre-test and post-test questionnaire. The students in the teacher-centered ensemble indicated decreased class enjoyment and decreased anticipation to band class but the students did report increased musical enjoyment and at home practice. The students in the learner-centered ensemble indicated increased at home practice but decreased class enjoyment and anticipation to band. A report of decreased class enjoyment in the learner-centered ensemble does seem to be contrary to previous research. Student perceptions of musical growth were compared between the teacher-centered group and learner-centered group. Students rated their musical growth as a result of their band rehearsals. The results were compared and no significance was indicated between groups. Suggestions on possible reasons why the present study appears to contrast previous 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 23, 2016. / Band, Instruction, Instructional, Learner-Centered, Student-Centered, Teacher-Centered / Includes bibliographical references. / Steven Kelly, Professor Directing Dissertation; Alexander Jiménez, University Representative; Alice-Ann Darrow, Committee Member; Patrick Dunnigan, Committee Member.

This study aims to broaden awareness of the contributions of one of America's prominent African-American choral composers, arrangers, educators, and conductors—Roland Marvin Carter. Carter, known by many as the "Dean of African-American Music," is often recognized for his efforts to preserve African-American music and traditions. Carter devoted his life to preserving Negro folk music and its identity in American culture through his teaching, conducting, composing and arranging of choral music. He taught at several respected institutions, including Hampton Institute, later named Hampton University (1965-1989), and The University of Tennessee at Chattanooga (1989-2013). In his 50-year career as a choral music educator, Carter has influenced many students who have become choral conductors in a variety of venues, continuing his legacy in the preservation of choral music composed by African-Americans. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2017. / April 10, 2017. / Charles Flax, Hampton Choir Directors and Organists' Guild, Hampton Institute Choir, Negro Spirituals, Roland Carter / Includes bibliographical references. / André J. Thomas, Professor Directing Dissertation; Michelle M. Stebleton, University Representative; Clifford K. Madsen, Committee Member; Judy S. Bowers, Committee Member; Katarzyna "Kasia" Bugaj, Committee Member.

The purpose of this study was to investigate the effects of vibrato and pitch-varied vocal models on acoustic measures of high school and undergraduate singers' vocal performance. Participants' perception of vocal models was also examined to explore a possible relationship between perception and production. The following primary questions guided this research: 1) Is singers' intonation affected by vibrato or pitch-varied vocal models? 2) Is singers' vibrato rate affected by vibrato or pitch-varied vocal models? 3) Is singers' vibrato extent affected by vibrato or pitch-varied vocal models? 4) Is singers' intensity affected by vibrato or pitch-varied vocal models? Secondary questions under investigation were: 1) Do singers respond differently to vocal models of pitch patterns versus song phrases? 2) Does age and experience influence singers' response? 3) Do singers perceive the differences in vocal models? Participants (N = 76) were male (n = 38) and female (n = 38) singers who were undergraduates (n = 40) currently participating in a choral ensemble at the Florida State University or high school students (n = 36) currently enrolled in the choral program at a nearby high school. Participants responded to twelve vocal models of the same gender that were varied in melody, vibrato, and intonation conditions. Vocal models consisted of either a short pitch pattern (sol-la-sol-fa-mi-re-do) or familiar song excerpt (Are You Sleeping?), both performed on the neutral syllable "tah." Model melodies were sung in vibrato and minimal vibrato conditions, with each model having a specific 3rd and 5th scale degree that was presented in tune, sharp, or flat (mistuned pitches ± 25 cents relative to equal temperament). After responding to vocal models, participants were asked via written questionnaire if they perceived differences in vocal models and, if so, to describe them. Audio recordings of participants' responses were analyzed acoustically, with the specific 3rd and 5th scale degrees in each model analyzed for the dependent measures of intonation, vibrato rate, vibrato extent and intensity. Repeated measures analyses were conducted on the acoustic measures. An alpha level of .01 was used in all statistical tests. Written responses on the questionnaire were analyzed for keywords reflecting vocal technique or musical elements. Keywords were then identified and coded for frequency of response. Significant differences in intonation were found, with responses to minimal vibrato models performed more flat than responses to vibrato models. Main effects were also found for gender, with male participants showing overall more flatness than females. Responses to pitch-varied models tended towards flat intonation, with flat models producing the greatest deviation particularly with male participants. Two interactions, both involving melody condition of models, also produced differences in intonation. Significant differences in measures of vibrato rate and extent were also observed. Vibrato rates were faster and vibrato extents were wider in response to vibrato models. High school participants responded with similar vibrato rate and extent to both vibrato model conditions, whereas undergraduates responded with significantly faster vibrato rate and wider extent to vibrato models. Undergraduate vibrato rates were similar between genders, however high school males were significantly slower in vibrato rate than high school females. Intensity results for both high school and undergraduate participants showed significantly higher intensity levels for 5th scale degrees than 3rds. High school males performed both scale degrees at similar intensity levels, while high school females sang 5ths with higher intensity. Significant differences in intensity were also found with undergraduates, with responses to vibrato models yielding higher intensity. Male undergraduates were found to sing with higher intensity in response to vibrato models, whereas females sang with similar intensity between vibrato-varied conditions. Interactions involving scale degree or melody condition of models also produced significant differences in intensity. Analysis of written questionnaires showed that 71 (93%) participants perceived differences in models. The most frequently used keyword(s) was vibrato/straight tone, with 36 participants (51%) noting this as a perceived difference between models. Timbre/tone quality was the next most used word(s) by 13 participants (17%), followed by intonation/pitch used by 12 participants (15%). More males noticed changes in tone quality, intonation, and vowels than females, whereas the latter recognized vibrato changes more than males. Undergraduates perceived vibrato changes and intonation differences more than high school participants. Many complex factors were thought to contribute to results of this study, including perception, experience, vocal development, and vocal production. While some findings support prior research, other results raise questions that warrant additional investigation. Implications and ideas for future inquiry 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 2017. / April 12, 2017. / choral pedagogy, intonation, modeling, pitch accuracy, vibrato, vocal models / Includes bibliographical references. / John M. Geringer, Professor Directing Dissertation; Christopher R. Moore, University Representative; André J. Thomas, Committee Member; Judy K. Bowers, Committee Member; Clifford K. Madsen, Committee Member.

The purpose of this study was to investigate high school music teachers' perceived influence of student enrollment in accelerated learning programs on student enrollment, participation, and attitude in band and choir. Participants (N = 100) were Florida high school band and choir directors. The dependent measure was a researcher-developed questionnaire asking for directors' perceptions of the three research questions as they related to students enrolled in Advanced Placement, International Baccalaureate, Dual Enrollment, or Advanced International Certificate of Education courses. Respondents also provided what types of accommodations they use within their own program to allow the successful participation of these students. Results indicated that some music educators did perceive a negative influence of accelerated learning program enrollment on all three measures, yet variability in the sample was indicated by high standard deviations on nearly all questions. Further, the study yielded evidence that not all accelerated learning programs affected students similarly. Students in AP courses, for instance, were perceived as having fewer issues with enrollment in both primary and secondary ensembles than students in IB courses. The most commonly reported accommodation was permitting tardiness or absence from required events. Though the results of this study demonstrated a lack of agreement amongst Florida's music teachers about the influence of accelerated learning program enrollment on student participation in music, perhaps this disagreement itself is the most significant finding. If music study is a valued part of a complete education, then music educators and related parties should develop strategies that encourage and allow students to be successful in both music and accelerated learning programs. / A Thesis submitted to the College of Music in partial fulfillment of the Master of Music Education. / Spring Semester 2017. / April 14, 2017. / accelerated learning programs, advanced placement, enrollment, international baccalaureate, scheduling / Includes bibliographical references. / Kimberly VanWeelden, Professor Directing Thesis; Alice-Ann Darrow, Committee Member; Steven Kelly, Committee Member.

The purpose of this study was to evaluate the effects of a six-week music curriculum focused on pre-reading and writing skills among three- to five-year-old children in an inclusive day care setting. Music and language have much in common, which is beneficial in the classroom with typically developing children and children with developmental delays or disabilities for pre-reading and writing skills. The commonalities between music and language as well as the role of rhythm in language lend themselves well to using music as a teaching tool for language-related skills such as pre-reading, pre-writing, and overall literacy. This study was conducted at an inclusive day care center in the Preschool (ages 3-4; n = 8) and Voluntary Pre-Kindergarten (VPK; ages 4-5; n = 12) classes. The experimental group (n = 11) received reading- and writing-focused music therapy sessions twice a week for six weeks and the control group (n = 9) received regular instruction without music. Each group contained children from the Preschool and VPK classes. Data were collected for each student with three measures of pre-reading and writing skills: the Print Awareness for Words (PAW) measured word recognition, the Print Concepts Checklist (PCC) measured knowledge of book concepts, and the Developmental Writing and Language Skills Checklist (DWLS) measured pre-writing skills. This study utilized a matched experimental design with pre- and post-testing. Non-parametric statistical analyses were used to determine if there were differences between the experimental and control groups regarding the effects of the music curriculum on children's pre-reading and writing skills. While no statistically significant differences were found, the findings from the present study are discussed in relation to typical academic and literacy development as well as to the literature on music and literacy. / A Thesis submitted to the College of Music in partial fulfillment of the Master of Music. / Spring Semester 2017. / April 12, 2017. / Inclusive, Literacy, Music Curriculum, Pre-reading, Preschool, Pre-writing / Includes bibliographical references. / Jayne M. Standley, Professor Directing Thesis; Alice-Ann Darrow, Committee Member; Kimberly VanWeelden, Committee Member.

Florida has a rich history of traditional old time fiddling and the fiddle was the most popular musical instrument among early pioneers in Florida. Fiddlers were revered members of the community, often playing for social dances called frolics. Slaves that were brought from Africa mingled with settlers from Western Europe in the Southeastern United States, their different fiddle styles blending into a new genre of music that incorporated aspects of both cultures. Dances on plantations served as one of the few places where whites and African Americans socialized together. Fiddlers also played at home with their families, sharing music across generations. After the development of radio, musicians would often perform as part of live radio shows and record companies produced old time music recordings featuring fiddlers that influenced musicians near and far. Contests became popular after Henry Ford began promoting traditional dance and fiddling in the 1920s and 1930s and cities across Florida held contests or fiddlers conventions as part of community celebrations. The Future Farmers of America sponsored string bands which often included a fiddle player in the 1950s. The Florida Folk Festival has promoted traditional music and dance, featuring many fiddlers since its beginning in 1953. The Florida State Fiddlers Association holds the official state fiddle contest every year along with an annual convention that brings musicians together from all around the region. Further incorporation of traditional music in the curriculum could offer multiple advantages, including creating a more equitable learning experience for students. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2019. / February 18, 2019. / diversity, education, fiddle, Florida, Old Time, traditional / Includes bibliographical references. / Clifford Madsen, Professor Directing Dissertation; Bruce Holzman, University Representative; John Geringer, Committee Member; Kasia Bugaj, Committee Member; Alice Ann Darrow, Committee Member.

Bibliography: pages 133-138. / Sight-reading is generally regarded by guitar teachers as a problem area of instruction. The aim of this thesis is to address the problem through a fourfold approach: 1. defining sight-reading in terms of its historical context ; 2. providing a rationale, and proposing an alternative method, for teaching sight-reading on the guitar based on a language teaching model ; 3. developing the proposed method ; 4. evaluating the proposed method experimentally. Music and language share many common characteristics. It is for this reason that Suggestopaedia, a method validated in language teaching, has been adapted for teaching the guitar with sight-reading skills as the central focus. Suggestopaedia has been chosen because it stimulates the whole personality, and all brain systems, of the learner.