The primary purposes of this study were (1) to determine the effect of three encoding conditions (singing, playing, studying silently) on participants’ music memorization accuracy, and (2) to examine potential differences between choral, jazz, and concert band musicians’ accuracy in completing the music memorization task. Secondary purposes were (1) to determine the strategies participants used to accomplish the music memorization task, and (2) to assess possible relationships between participants’ ensemble affiliation and stated memorization strategies, and relationships between these strategies and participants’ memorization accuracy. Three folk melodies were selected for memorization under the three encoding conditions. Participants (N=81) had 1:15 seconds to commit each melody to memory while studying silently, singing, or playing on a keyboard. Participants then notated the three melodies using conventional staff notation. Finally, participants provided a ranking of cognitive strategies used to complete the memory tasks. A two-way ANOVA revealed significant differences based on participants’ ensemble affiliation. A Tukey HSD post hoc test revealed the jazz group made significantly higher accuracy scores on the music memory task than the choral group and the band group. No significant differences were found based on encoding conditions and no significant interactions were found between the encoding conditions and ensemble groups. A sum of ranks and a Kruskal-Wallis H test revealed participants in the three ensemble groups approached the memorization task using significantly different cognitive strategies: the choral and band groups used ‘solfège labeling’ significantly more than the jazz group, while the jazz group used ‘harmonic analysis’ significantly more than the band and choral groups. A Spearman Rank Correlation revealed significant relationships between stated strategies and memorization accuracy. A significant positive relationship was found between identification of patterns and accuracy on the memorization task. A significant negative relationship was found between ‘labeling with solfège or numbers’ and accuracy on the memorization task. Results of additional Spearman Rank Correlation tests indicated that specific strategies functioned differently for the three groups of musicians. For example, there was a significant positive relationship between ‘hearing the whole melody’ and the band group’s memorization accuracy, though no relationships were found between this strategy and the memorization accuracy of choral or jazz groups. The present study is situated amongst a large body of research on music memory and the role it plays in music literacy. As a reading and writing memory task, the experiment is framed by questions of how musicians identify meaning in written music. While some findings support previous research, other findings raise more questions and suggest further exploration is needed. Implications of the 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. / Summer Semester 2018. / June 14, 2018. / ensemble affiliation, music cognition, Music literacy, music memory / Includes bibliographical references. / Alice-Ann Darrow, Professor Directing Dissertation; Bruce Holzman, University Representative; John Geringer, Committee Member; Kimberly VanWeelden, Committee Member.

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The diversity present within K-12 classrooms in the United States presents teachers with students from many backgrounds and musical traditions. Traditional undergraduate music education programs which prioritize the Western canon provide little opportunity for students to address diversity, both in pedagogy and in content. Prospective music teachers in the choral or general music areas experience vocal education that focuses primarily on the classical bel canto vocal technique. This education fails to prepare teachers to teach students from diverse backgrounds and musical traditions. Because music plays an important role in adolescents’ identity formation, teachers who are unprepared to recognize and teach diverse vocal styles may unknowingly alienate or silence their students. The purpose of this study was to develop an understanding of how two groups of music students, in early adolescence, and from a diverse urban public school, perceive the singing and the music teaching in their general music classrooms. By discovering their perspectives, I hoped to shed light on the ways in which music teaching influenced their musical, vocal, and cultural identities, particularly during the malleable time of adolescence. Over the course of three months, I conducted semi-structured interviews with 14 students and two teachers as well as twice-weekly classroom observations. Three research questions informed the data collection process: (1) How do students in a diverse urban public school describe their own singing and musical background? (2) How do they describe the vocal (and music) teaching in their general music class? (3) How do they describe an effective or ideal music teacher? The interview data and field notes from the observations were coded, organized, and analyzed into the following categories: (1) Music and Self Expression; (2) Music and Family; (3) Culturally Congruent and Incongruent Teaching; (4) Student Vocal Profiles; (5) If They Could Teach the Music Class, How Would They Teach? The overarching conclusion from this study is that the congruence or incongruence of a teacher’s musical epistemology — “the norms, logic, values, and way of knowing” music (Domínguez, 2017, p. 233) — along with the musical epistemologies of her students was the primary factor for student exclusion or empowerment in the classroom.

The Southern Baptist Convention's Music Department and state associations, with their vast influence yet often modest resources, educated generations of pianists and organists in the arts of accompanying and service playing. Chapter 1 examines the genesis of this education movement, beginning with B. B. McKinney's interest through the Southern Baptist Convention's Music and Worship committee. Chapters 2 and 3 contain an overview of previous studies and the materials of other protestant American denominations and Baptists used to train keyboard musicians. These include Lutheran, Nazarene, Methodist, and independent Baptist. Chapter 4 covers the results of the work of the Music and Worship Committee to the establishment of the Music Week at Ridgecrest, a Southern Baptist retreat, the formation of the Church Music Department and Music Week's expansion to Glorieta, another Southern Baptist retreat, and the decision to begin

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