abstract: Opera education is a relatively new addition to opera companies in the United States, introducing children and adults to opera and spreading the message that operas are dramatic stories told through music. This paper focuses on the opera education group OperaTunity and its relationship with the company Arizona Opera, which is based in Phoenix and Tucson, Arizona. The majority of the paper consists of a history of Arizona Opera, the establishment of its Opera Education Department, and the inception and activities of OperaTunity. The information in this account comes from interviews with personnel involved with OperaTunity and from documents pertinent to the program. This study also examines the reception and success of the group in Arizona and includes examples of educational materials to provide to teachers who are introducing children and adults to opera. This account of the history and activities of OperaTunity is intended to aid future educators and opera companies in developing opera education programs. / Dissertation/Thesis / Doctoral Dissertation Music 2016

abstract: The College Band Directors National Association (CBDNA) began holding national conferences in 1941, and the organization's six divisions have held biennial conferences on alternating years beginning in 1950. The CBDNA Statement of Purpose specifies, "CBDNA is committed to serving as a dynamic hub connecting individuals to communities, ideas and resources." The regional and national conferences are one of the strongest means to that end. This study presents a history and documentation of the events of the College Band Directors National Association Western/Northwestern Divisional Conference held in Reno, Nevada from 1990 to 2016. The events leading up to the first conference are reported. The details of the clinics and concerts are chronicled to provide a foundation for analyses of various trends and threads regarding number and types of ensembles that performed, types and content of clinics presented, trends in repertoire selection, details of featured composers and commissions, and a discussion of gender disparity across all of these facets. / Dissertation/Thesis / Doctoral Dissertation Music Education 2016

abstract: This study investigates the lived experience of competition in high school band and the manner in which competition influences and frames band curricula. A hermeneutic phenomenological method based on the works of van Manen and Vagle was used to investigate what it was like for participants to be in competition. A theoretical framework organized around Schwab's commonplaces of education was used to interpret findings related to the curricular areas of the teacher, learner, subject matter, and milieu. I examined data through a lens incorporating principles of John Dewey's philosophy related to each of the commonplaces. Twelve individuals participated in the study representing experiences had both as students and as music educators. Participants lived and taught in communities throughout the United States and brought differing levels of teaching and competitive experience. Data were generated through in-depth interviews and collaborative phenomenological texts. Research questions included: What is the lived experience of competing in a high school band like?; and, How does competition frame and influence high school band curricula? Findings indicate that competition was a meaningful and influential part of participants' work as band directors and educational experiences as students. Competition was approached with tension as participants acknowledged negative concerns over the influence of competitions on their students, yet chose to engage in competitive activities. Marching band contests offered a creative outlet where directors could develop custom materials and they did so with a significant motivation to win. Competition was perceived as an influence on band directors' professional reputations, feelings of competence, and how band programs were viewed in the community. Students were motivated by competitions and reacted strongly to competitive results such as rankings, ratings, and other distinctions. Findings also indicate that band curricula emphasizing competition share similar curricular facets: (a) teachers carefully control and manage classroom activities and curricular choices; (b) students are viewed as skilled performers who are dependent upon their teachers for learning; (c) subject matter is narrowly considered around measurable behavioral objectives and repertoire selection; and, (d) the educational environment is dominated by the teacher who may use competition to motivate students to work and practice more. / Dissertation/Thesis / Doctoral Dissertation Music Education 2016

abstract: The dearth of young bassoonists in America can be felt at every level of expertise, whether it be at professional levels where there are fewer qualified bassoonists compared to other woodwinds, or in local communities where interested pupils cannot find a teacher to guide them. In order to alleviate this scarcity, we must solve the problem at its root: young bassoonists. There have been many attempts to provide better instructional material for beginner-level bassoonists and to produce better reeds to entice more students to study the bassoon and to sustain their playing beyond the first few years. These attempts, however, fail to address another critical issue: the cost and availability of the bassoon itself. Most bassoonists in America begin their journey in public school; however, many school music programs cannot afford to purchase bassoons due to their cost. To combat this obstacle, Fox Products produced their first bassoon made of polypropylene—a synthetic material—in 1961 at a relatively low price point. This is an innovation that no other bassoon manufacturer has accomplished. An analysis of sales numbers from major instrument suppliers indicate that these bassoons have been very successful. Their availability has allowed schools to purchase instruments to educate more young bassoonists and, as a result, participant numbers of students in Texas (where public music programs are known for their strength) competing at regional and state competitions have increased over the past fifty years. Fox, through their focus on affordable student bassoons, is revitalizing young students’ interest in playing the bassoon and thus is a major factor in the reversal of the decline of bassoonists in America. / Dissertation/Thesis / Doctoral Dissertation Music 2017

Orientador: Marisa Trench de Oliveira Fonterrada / Resumo: Nesta pesquisa estuda-se o desenvolvimento da habilidade de leitura e escrita musical, a partir dos trabalhos de Emilia Ferreiro e Ana Teberosky, que demonstram a existênciaa de fases conceituais antecessoras á plena compreensão do sistema alfabético. O objetivo da pesquisa foi averiguar a existência de fases semelhantes no processo de aprendizagem da lecto-escrita de música. A metodologia empregada foi a pesquisa participativa, com crianças com idade entre 6 e 7 anos, na qual se utilizou o piano como instrumento principal. O tempo de realização deste estudo não foi suficiente para que se conclua quais são estas fases, mas pode-se afirmar que há diferentes comportamentos psicológicos nas crianças-sujeitos do estudo, observados no processo ao qual foram submetidas. Acredita-se que o trabalho possa contribuir para a Educação Musical, ao revelar hipóteses de leitura e escrita de partituras e, principalmente, para a Pedagogia do Piano, ao demonstrar que alunos iniciantes, mesmo antes de compreenderem plenamente a notação tradicional, pensam acerca de como podem ser os registros gráficos para o instrumento. / Abstract: This research is a study of the development of the ability to read and write musical language. Its is based on the estudies of Emilia Ferreiro and Ana Teberosky which present the different cognitive levels through which a student passes before being able to understand the alphabet system. It investigates if there are similar levels in the process of learning, reading and writting music notation. The method for this research was centered on six and seven year old piano students. The studyþs time period was not enough to name the levels of learning, but it is possible to say that there are psychological behaviors in the children of this study. This work migh contribute to Music Education as it demonstates hypotheses about reading and writing scores and, mainly, because it contributes to Piano Pedagogy demonstrating that beginner piano students think about the piano scores even before they completely understand them. / Mestre

abstract: The purpose of this study was to investigate the attitudes, preferences, and practices of Arizona high school choral directors towards sight-singing skills, and student success in group sight-singing evaluations, the teaching of sight singing including preference for a specific sight-singing system, and the instructional practices employed in daily rehearsals. High school choral directors from the state of Arizona (N = 86) completed an online researcher-designed questionnaire that gathered demographic information as well as information regarding directors' attitudes towards sight-singing instruction, which exercises are used for sight-singing instruction, and directors' self-perceived ability not only to sight sing but also to teach sight singing. Independent variables such as teaching experience, level of education, the system they were trained to use as a student, the system they currently use in the classroom, their self-perceived ability to sight sing, their self-perceived ability to teach sight singing, their choir's sight-singing rating at festival, and their daily instructional practices (as measured by minutes per week of sight-singing instruction) were used to investigate potential differences in attitudinal responses. Multivariate analyses of variance were conducted to investigate potential differences in responses according to various independent variables. Significant differences were found in responses to statements of the importance of sight-singing instruction according to level of teaching experience and time spent on sight-singing instruction in the classroom. No significant differences were found for statements of directors' attitudes toward sight-singing instruction according to level of education or prior training. Results indicate that Arizona high school directors are a seasoned and highly education group of professionals who understand and believe strongly that sight-singing instruction should be a part of their choral music rehearsals. These directors use a variety of systems and resources to teach sight-singing and all dedicate time to sight-singing each week in their rehearsals. Despite the overwhelming support for teaching sight-singing in daily choral rehearsals, there is a lack of participation in choral adjudication festivals where group sight singing is assessed. Further research is suggested to investigate the lack of participation of Arizona high school choral teachers in the group sight-singing component of the state choral adjudication festivals. / Dissertation/Thesis / D.M.A. Music Education 2013

<p> The purpose of the qualitative single-case study was to explore and gain deeper understanding of instructor responsibility within hybrid learning courses from the perspective of higher education music students. Two research questions guided the case study: (a) How do higher education music students perceive their instructors&rsquo; responsibility for cognitive, social, and instructional presences along with their expectations of content development and quality of feedback in hybrid learning courses? (2) What do higher education music students perceive as valuable instructor responsibilities in hybrid learning courses? From a triangulated case study, data were collected via demographic and Community of Inquiry questionnaires along with individual one-on-one interviews with participants. Data were analyzed using Atlas.ti8 software with open and list coding. Themes were derived from the codes to adequately arrange, analyze, and organize participant perspectives. The exploration led to discovering the five main themes representing a large spectrum of expectations students had of their hybrid instructor&rsquo;s responsibilities including, (a) assignments, (b) communication and online presence, (c) engagement, (d) feedback, and (e) curriculum. Through the nature of the in-depth case study investigation, various perceived and expected hybrid instructor responsibilities, qualities, and values were also revealed from the students including an overall view of the hybrid learning structure. As more distance and hybrid courses were built, higher education institution leaders increasingly needed to be in tune with their students&rsquo; instructor expectations and learning needs. </p><p>

<p> The purpose of this study was to examine the factors that motivate high school students to participate in school band. The relationships between music education, academic success, and social engagement in school were explored. A survey questionnaire and interview questions were used to generate response data from 45 high school band members. Data were gathered, coded, and analyzed using qualitative survey and structured interview design techniques. A systematic approach was used to create a viable narrative that, when added to existing literature, provided a better understanding of the topic for those decision makers struggling to find justifications for how and why band is an important option for high school students. Findings from this study support earlier research and provide a strong case for the claim that many students are intellectually, emotionally, expressively, and musically nurtured by membership in school band. Stress relief was a powerful theme throughout student responses and many students indicated that band was an important place where they were able to build their strongest support relationships. The information acquired from this study provided insight into student perceptions about the value of band participation from environmental, behavioral, and cognitive viewpoints and highlighted the importance of band as a social and emotional support space where students are able to find sanctuary from the stressors of their lives. </p><p>

<p> Elementary music teachers often have students who are hard-of-hearing participating in their classes. Teachers need to be aware of what hearing impairments are and how these hard-of-hearing students have entered the music classroom. The present text explores assistive hearing technology, general music education for students with hearing loss, adaptations for the general music classroom, instrumental music for students with hearing loss and a brief explanation of song signing. The author attempts to better understand which strategies can be used to improve the music education of hard-of-hearing students. </p><p>

This study sets forth a procedural model for general music education which is intuitive, principle-driven, learner-centered, co-constructed and literature-based in contrast to any pre-designed method, yet encompasses the teaching traditions of Dalcroze, Kodaly, Orff, and Willems, among others. The model is constructed according to fundamental principles of the acquisition of musicality discovered or elaborated by selected scholars from musical and related disciplines. These principles focus on how the teacher and the learner may interact with music as a body of literature for optimum musical learning in purposeful yet flexible ways. This search for undergirding principles is driven by several questions arising from observations of musical teaching and learning experiences. These questions may be grouped into the following categories: (1) Potential relationships of music to other subjects in the curriculum; (2) Notions of talent, aptitude and intuition in the development of general musicianship; (3) Underlying cognitive processes by which musicality is developed in learners; (4) The nature of musical meaning, how it is constructed by the learner, and how teaching should facilitate this construction; and, (5) Issues of conceptualizing and organizing music as a body of literature in order to enable efficient construction of meaning. Data undergirding this study were gathered primarily through comparative analyses of key writings and musical compositions or collections, qualitative interviews of music pedagogues, and exploratory studies. These data were triangulated, then cross-compared to parallel issues in other disciplines, especially cognitive psychology and language literacy acquisition. The resulting interpretation of this information suggests that music is co-equal with other subjects, a position which implies redefining the place of music in the general school curriculum. Further, all learners are capable of some degree of musical acquisition, regardless of native talent. Additionally, learners become musical through three interdependent operations: Expressive/Experiential, Aural and Literate. The deployment of these musical operations is overarched by an artistic supra-mental intuition which can be greatly cultivated by the use of carefully organized musical literature of high quality. Musical operations are especially facilitated through observance of principles of aural and visual predictability applied to musical literature.