<p>What is musical improvisation and what can we say of its effect upon musicians, listeners, and the world? This paper explores the relations between Jungian psychology, chaos theory, and pure musical improvisation, positing that the unconscious dynamics of the psyche, as well as the process and content of musical improvisation, are both examples of chaotic dynamical systems. The paper goes on to present the potential implications of such. By drawing upon psychological insights into symbology, the implications of the advancement of chaos theory, and the experiences and thoughts of various musical improvisors, this paper seeks to elucidate and further the study and practice of musical improvisation in the world. </p>

<p> Ulysses Simpson Kay (1917-1995) was an African American composer, conductor, and professor. His compositional output contains more than 135 works that have been performed, recorded, and have earned him several awards, fellowships, and commissions. This document includes a descriptive analysis of three works for flute by Ulysses Kay: <i>Prelude for Unaccompanied Flute, Suite for Flute and Oboe</i>, and <i>Aulos for Solo Flute and Orchestra</i>. </p><p> The purpose of this study is to increase awareness of Kay's flute repertoire, to stimulate more frequent programming, to provide relevant historical information about these works and resolve discrepancies surrounding incorrect data. The discussion will provide flutists and teachers with a descriptive analysis that contains suggestions for performance practice. The procedures used closely examine the musical elements of tonality, pitch, rhythm, timbre, texture and form. This analysis will help flutists understand the historical context in which these works were written, and can assist in developing a clearer interpretation, yielding a more authentic performance. At the conclusion of each discussion, performance notes will provide a summary of technical challenges for the flutist, and recommendations for teachers to facilitate selecting appropriate repertoire for their students. </p><p> This investigation also includes an interview conducted with renowned flutist John Solum, the commissioning artist of the <i>Aulos</i>. Solum worked closely with the composer and has performed all of Kay's works for flute. The interview serves as a source of historical information and performance practice interpretations as told by one of the last living flutists to have worked personally with the composer. As there is very little written material surrounding Kay's compositions for flute, this study will serve to augment the current research concerning African American composers of flute literature.</p>

<p> Society attaches gender stereotypes to musical instruments, which may influence students&rsquo; selection of an instrument for study. The purpose of this study was to examine the effect of model gender on instrument preference of beginning band students during the selection process. I used two research questions to guide the study: 1. Do student instrument preferences prior to an instrument demonstration reflect typical trends in gender stereotypes of instrumental performers? 2. Does the gender of the person modeling the instruments during a demonstration and selection process affect the instrument choice preference of the student? </p><p> Participants (N = 171) from six schools with five instructors from the Northeast were grouped into four treatment groups. First, I designed a questionnaire containing a pretest and posttest. In the pretest, the participant responded with demographic information consisting of grade, sex, and whether or not a parent played an instrument, and if so, which one. Next, participants rated their preference for six band instruments on a scale of 1 to 5 with 1 representing no desire to play the instrument and 5 representing a strong desire to play the instrument. After observing the instrument demonstration, the participants rated their preferences for the instruments in the identical format as the pretest. Participants next answered an open-ended question that asked why they most preferred the instrument they did. </p><p> I conducted a pilot study with 23 participants and determined that the research instrument was suitable. Next, I administered the research instrument to four treatment groups. Treatment 1 (n = 76) observed all instruments demonstrated by a female modeler. Treatment 2 (n = 30) observed all instruments demonstrated by a male modeler. Treatment 3 (n = 23) observed all instruments demonstrated by typically associated gender stereotype modelers. Treatment 4 (n = 42) observed all instruments demonstrated by atypically associated gender stereotype modelers. </p><p> I determined the internal reliability of the research instrument with Cronbach&rsquo;s Alpha (? = .68). After determining a mean gain score by subtracting the pretest preference score from the posttest preference score, I performed a series of ANOVA tests. Students preferred instruments along typical gender stereotype lines initially with females preferring flute and males preferring trumpet most. I determined that there was no effect of model gender on instrument preference of beginning band students. While some changes in preference existed from pretest to posttest, especially for trumpet, none of the changes were significant. I determined in the posttest that while males continued to prefer trumpet most, females most preferred trumpet and clarinet equally with flute their next choice. Instruments played by parents followed typical gender stereotype assignments with most mothers playing flute followed by clarinet and most fathers playing percussion followed by trumpet. The majority of participants who responded to the open-ended question (66%) stated that tone was the reason for their instrument preference. By addressing the gender stereotyping of instruments, music educators may lead students to have more successful and satisfying experiences as instrumental performers. </p>

<p> This study examines the music programs in liberal arts colleges through the historical lens of three Catholic Universities in the state of Florida. Although there are numerous historical dissertations and theses written about individual music schools and departments, and a few that compare music programs in similar types of institutions, none have compared music programs in Catholic universities within the same state. After teaching at Saint Leo University and experiencing the process of rebuilding a music program after it was almost completely lost in the mid-1990s, I wanted to study the histories of Saint Leo and other Florida Catholic institutions that have struggled through similar circumstances, but with very different outcomes.</p><p> I examined each music program through interviews with past and current faculty, administrators, and students; archival documents; published histories; school newspapers and yearbooks; and local newspapers and magazines. I visited each campus, photographed the physical facilities, and observed faculty and students. Gradually the stories of three music programs emerged. By comparing the data from each institution I was able to address the following research questions: 1. When and how did each music program begin? 2. How did each one develop (i.e., organization, curriculum, faculty, facilities, performing groups)? 3. What are the relationships between the Catholic affiliation of each of these institutions and the development of their respective music programs/departments? 4. What are the similarities and the differences between the music programs of these schools (i.e., structure, faculty, facilities, curriculum and degrees offered, performance groups, and students)? 5. What role does music play in the overall vision of the universities and their development? 6. What are the implications of this study for music education in these and other liberal arts colleges?</p>

<p> The applied music lesson remains a revered symbol of Western European tradition in American music education. Very little research exists assessing its continued viability as a method in its current form. This paper examines eight author observed assumptions about applied music lessons which flaw the learning process. Through available research, the assumptions demonstrate that the traditional applied lesson is teacher centered and difficult to assess. Exposing the resultant delusions of the eight assumptions reveals how a holistic approach in a studio can engage students in critical thinking and enhance student self-awareness. These primary goals place the educational emphasis on the process rather than the technically perfect performance as the terminal experience. Sample lesson techniques for undergraduate viola students will incorporate critical thinking methods to transform the weekly encounter into a student-centered experience which develops skills for continued self-directed study.</p>

<p> The purpose of this study was to investigate the sources of variation in music preferences as defined by Leblanc (1980, 1982), provide a comprehensive review of literature as it relates to the variables under investigation, and make recommendations for future research in the field of music preference. Participants (N=420) were undergraduate students (<i>n</i>=354) at a large southeastern university and high school students (<i>n</i>=66) in the southeastern United States. A questionnaire was used to collect demographic information and data for this study. Using a Semantic differential, participants to indicated the influence of twenty-one variables on their musical preferences and an open-ended question at the end allowed them to mark any important influences that may have been left off of the questionnaire. Using demographic information participants were placed in unmatched groups for comparison. </p><p> Results showed stark differences between the groups' responses of certain variables. The most salient of comparisons was made between the groups of Music Major and Non-Music Major, and Musician and Non-Musician. The Music Major and Musician groups rated the variables of Teachers, Quality, Musical Ability, and Musical Training significantly higher. This may be due to the groups' development as musicians, creating a paradigm of influence that is based on musician-oriented variables. Alternately, Non-Music Majors and Non Musicians rated the variables of Mood, Personality, and Incidental Conditioning higher. Unlike the musician-centric paradigm, these groups seemed to base influences on self, social interaction, and emotion. Future research should investigate the relationship of the hierarchy of influential variables between the population of Musician and Non Musician.</p>

<p> American composer Charles Ives was first and foremost a bandsman. Having been raised in the band world by his father, his first works were for band. Though only four of Ives's original works for band survive, many of his other works have been transcribed or arranged for band. Among these <i>"Country Band" March</i> is unique. Originally written between 1904-05 for theater orchestra, this work chronicles the events, circumstances, and realities of Ives's experience in the "band world." Ives's use of polymeter, polytonal passages, and multiple layers of rhythm, pitch, texture, distinguishes it as among the first of Ives's instrumental works to do so. Additionally, these characteristics provide considerable performance challenges for conductors and their ensembles. This study provides an overview of <i>"Country Band" March </i> including historical context, stylistic considerations, and rehearsal strategies. An exploration of the historical context will allow the conductor and ensemble member to understand the 19th-century band and thus more accurately perform the nuances Ives uses to portray these "country bands." It will also inform the conductor's ability to make accurate stylistic choices. A discussion of significant performance challenges and possible solutions to these challenges allows a more diverse level of ensembles to perform the work. Thus,<i> "Country Band" March</i> will be appreciated by more conductors and ensembles as among the best works for band.</p>

<p> Directors of school concert bands continue to program new and emergent works alongside pieces considered to be part of the core and traditional repertoire. The purpose of this dissertation was to discover what criteria directors consider important in their review of new and emergent concert band works for use in rehearsal and performance. A secondary objective examined if director experience and educational background influenced the evaluation of this music used in high school instrumental settings. </p><p> In order to evaluate this recent repertoire, the Concert Band Repertoire Evaluation Criteria (<i>CBREC</i>) was developed by the researcher, and reviewed by a panel of collegiate directors. The review of the <i> CBREC</i> revealed it to be a reliable tool for the purposes of the study. An independent panel of experts in concert band repertoire selected three works to be reviewed by participants. Invited participants comprised band directors who hold membership in an international band fraternity. The teaching responsibilities of these directors included conducting concert bands at American senior high schools. Participant directors rated each work using the <i> CBREC</i> after viewing an image of the music score and listening to an audio recording of the piece. The participant directors had the option of rating their familiarity with each piece used and answering three open-ended questions regarding repertoire selection. </p><p> Data collected from the participants indicated favorable mean ratings for the works used in the study. When the participant data were analyzed in sub-groups, several statistically significant findings were reported. Sub-groups including older directors, directors teaching only one ensemble, and directors who answered open-ended questions in the study demonstrated more stability in their ratings of the repertoire used in the study than did younger directors, directors teaching multiple ensembles, and directors who did not respond to open-ended questions. </p><p> Results suggested participant directors reached a consensus regarding several aspects of the pieces used in the study, indicated by the <i> CBREC</i> Ratings and open-ended comments. The correlational analysis of <i>CBREC</i> Items demonstrated that directors are considering multiple aspects of a work during the evaluation process. Data supported that melodic material, pedagogical use, as well as timbre and orchestration influence how this group of directors estimate the longevity of new concert band works. </p>

<p> As researchers learn more about the human mind, educators adapt their curriculum to accommodate those findings. As these changes take place, school districts are offering different types of classes to help more students find success in their classes. One of the ways that music educators can contribute to these changes is to offer music classes other than the traditional band, choir and orchestra class. By adding a guitar class to the music curriculum, music teachers are opening the doors for more students to be able to learn about music and learn to play an instrument. Particularly, a guitar class is an effective way to include students with special needs in a music program. </p><p> This thesis will investigate adaptations designed for three students with special needs in a high school guitar class. Student A has been diagnosed as Autistic, Student B has been diagnosed with Asperger's disorder and also has behavioral issues and Student C has been diagnosed with a specific learning disability as evidenced in the areas of auditory processing and expression. The case studies provide an example of how accommodations and adaptations can easily be implemented within a guitar class curriculum for students with these types of learning disabilities.</p>

<p> This thesis is directed toward teachers who work primarily with music degree students on the collegiate level. Pedagogy is simply too often "hit or miss" in a student's degree curriculum, and yet the reality is that most musicians will have to teach at some point in their careers, whether they realize it as students or not. </p><p> This thesis provides a model for how to holistically integrate pedagogy into all aspects of the performance curriculum, so that string performance students are provided with the necessary tools to be both excellent performers and teachers, regardless of whether they ever take a pedagogy class. This is accomplished through: the examination of survey results regarding how schools are incorporating the National Association for Schools of Music requirements and recommendations for the integration of pedagogy into course curricula; an overview of survey results reporting how string performers and educators feel about the quality of the education they received in regards to preparedness for artist string teaching; and a discussion of how to create a holistic curriculum for performance and pedagogy that encompasses the three main areas of most string performance curriculums (the private studio, chamber music, and orchestra). </p><p> The overarching goal of this thesis is to build on the rich tradition of string playing and teaching that already exists, by introducing a curriculum that will holistically educate the student as both performer and pedagogue. At the heart of this approach is the need for fostering a "see one, do one, teach one" mentality in students.</p>