Institutions of higher education in the field of music are developing music entrepreneurship courses, certificate programs, and majors in greater numbers than ever before. Researchers have begun to assess the types of skills relevant to this field and educators are creating curricula to reflect this consensus. Few researchers have yet undertaken an investigation of how this education is experienced by students themselves. This study uses interviews from a number of administrators and students, as well as observations of courses and an assessment of the numbers of men and women within the field of music entrepreneurship, to examine the experience of women students in particular. Data were collected from participants from three institutions of higher music education in the United States over the course of 1.5 years. The data are interpreted to reflect emergent themes, which demonstrate the extent to which women experience bias and empowerment in the field of music and music entrepreneurship.

The purpose of this project dissertation was to research, create and assess a hypothetical two-year musical theatre/music theater (MT) curriculum to serve as a model for future implementation at community colleges. As one of the fastest growing and most prolific forms of popular entertainment today, the 21st Century musical is uniquely poised to depict artistically and culturally diverse narratives. Vividly reflecting the sociopolitical context surrounding their production (Kenrick, 2017, p. 2), both new musicals and musical revivals, viewed through a more contemporary lens, may permit increasing employment opportunities for historically minoritized persons. As the relatively new baccalaureate credential in MT increasingly becomes the baseline criteria for entrance to the MT industry, competitive conservatory programs continue to face difficulty in matriculating more inclusive freshman cohorts. The American community college has a long tradition of supporting demographically diverse populations as well as “atypical” learners such as the differently abled, adults returning to school, veterans and first-generation college attendees in the pursuit of vocational training, terminal credentials in the form of a certificate or associate degree, or, increasingly, students aiming to transfer to four-year degree programs. However, accredited, two-year programs dedicated to the study and practice of MT remain virtually nonexistent in the United States, and, due to the relative newness of the discipline as an area of scholarly interest, have little precedent or pedagogic research to guide best practices. To address this need, this project created a two-year program for MT study according to the practical restraints of the State University of New York and Dutchess Community College’s collective guidelines for curricular development, as well as the dual recommendations of the National Association of Schools of Music and National Association of Schools of Theatre. All stages of the project design were subject to peer review by a varied panel of tertiary MT educators and MT practitioners, tasked to assess academic and artistic potential of such a program if formally implemented. Upon conclusion of both formative and summative evaluations, a series of general guidelines for the development of similar programs were generated to inform similar future initiatives within both two-year and four-year settings.

This study is about music teaching strategies for students with low vision, including blindness. Based on a two-case ethnographic design, this study focuses on understanding what decisions in terms of activities, lesson plans, and curricula, six participants from two different schools adopted for their students, as well as how these decisions relate to these students’ special needs and the context of these two schools. One of these school was located in Santiago, Chile, while the other in New York, USA. Data collection included observations and fieldnotes, interviews and informal conversations, artifact and document collections, and the use of a reflective journal. Findings encompass a variety of strategies recorded in several formal learning spaces such as instrumental private lessons, music theory lessons, instrumental ensemble rehearsals, choir rehearsal, accessible music technology lessons, braille lessons, general music lessons. These strategies, in turn, seemed to be highly conditioned by the students’ special need as well as the social, political, economic, and cultural contexts of the two schools observed.

Language is a cultural construct, and the relationship between words is taught. Priming research has long investigated the relationship between related and unrelated words. Similar research has been seen in music relationships, but most of these investigate harmonic relations despite the melodic relationship being the one listeners are mostly likely to describe. Further, these studies typically measure existing relationships and do not attempt to teach a new relationship, nothing that most adults are experienced musical listeners. This study seeks to establish a new melodic relationship (the enigmatic Scale) in addition to a familiar one (the major Scale) while measuring response time to the musical sequences. A baseline was conducted in which participants listened to a musical sequence and selected via response box if the final note is consonant (major Scale) or dissonant (enigmatic Scale). Following baseline a training section occurred in which participants heard sequences ranging from 2-7 notes and were provided feedback for correct and incorrect responses. Following completion of the training participants completed a post-test identical to baseline. Behavioral results are discussed in relation to Palmer's (2009) concept of the repertoire.

Throughout the history of Western Music, composers have written works on rural and agricultural subjects. The first half of this dissertation examines a number of important works from the Baroque era through the present day and the composers who have chosen this specialized subject matter. Rural communities are underserved where the arts are concerned. Yet, rural audiences have perhaps the best chance at identifying with the subjects of this particular subset of vocal art music. The second half of this dissertation examines reasons why it is important to reach rural communities with vocal art music. Four sample recital programs appropriate for rural audiences are included.

Orientador: Sonia Regina Albano de Lima / Banca: Elcie Aparecida Fortes Salzano Masini / Banca: Iveta Maria Borges Ávila Fernandes / Resumo: Este estudo discute os processos de ensino de música para alunos com deficiência visual. Para tanto, foram traçados quatro objetivos: (1) descrever os conceitos e princípios gerais que se aplicam à deficiência visual e ao ensino musical destinado a estes alunos; (2) verificar como o ensino de música para estes alunos está sendo oferecido no Brasil, sob o ponto de vista pedagógico e legislativo; (3) avaliar as adaptações empregadas neste processo de ensino; (4) refletir acerca das competências e habilidades necessárias ao educador musical para a docência de alunos com deficiência visual. A metodologia seguiu os pressupostos da pesquisa qualitativa, utilizando como ferramentas para a coleta de dados a pesquisa bibliográfica e documental; a pesquisa de campo sob a forma da observação participativa, realizada na organização Laramara; e a entrevista, realizada com educadores musicais de referência no ensino de música para tais indivíduos. A revisão de literatura concentrou-se em três eixos: leitura e aprofundamento nos textos nacionais e internacionais voltados para a temática; levantamento bibliográfico das teses e dissertações sobre a temática defendidas no Brasil; e leitura dos ordenamentos legais que norteiam o tema. Na etapa inicial da pesquisa, verificou-se que os cursos de Licenciatura em Música/Educação Musical das Universidades Públicas do Estado de São Paulo não oferecem disciplinas voltadas ao ensino de música para pessoas com deficiência visual, embora a legislação vigente determine que estes indivíduos estejam incluídos na sala de aula. A partir desta constatação, passou-se a refletir a respeito de como os educadores musicais poderiam trabalhar com alunos com deficiência se não há este preparo na Universidade. A análise das aulas observadas, a opinião dos entrevistados e o referencial teórico permitiu elencar as competências e habilidades necessárias ... / Resumen: Esta investigación analiza los procesos de educación musical para los estudiantes con discapacidad visual. Para esto, se establecieron cuatro objetivos: (1) describir los conceptos y principios generales que se aplican a la discapacidad visual y la educación musical para estos estudiantes; (2) examinar cómo se ha ofrecido la educación musical para estos estudiantes en Brasil, de acuerdo con el punto de vista pedagógico y legislativo; (3) evaluar adaptaciones empleadas en este proceso educativo; (4) reflexionar sobre las habilidades y capacidades necesarias para el educador musical para enseñar a los estudiantes con discapacidad visual. La metodología empleada considera las hipótesis de la investigación cualitativa, utilizando como herramientas la investigación bibliográfica y documental; el trabajo de campo en la forma de la observación participante realizada en la organización Laramara; y entrevistas con educadores musicales de referencia en la educación musical de estas personas. La revisión de la literatura se centró en tres áreas: lectura y profundización del tema centrado en textos brasileños e internacionales; análisis de las tesis y disertaciones sobre el tema publicados en Brasil; y en las leyes brasileñas que rigen la materia. En la etapa inicial de la investigación, se constató que las Universidades de Música del Estado de São Paulo no cuentan con cursos dirigidos a educación musical para las personas con discapacidad visual, aunque la actual legislación requiere incluir a estas personas en las clases. A partir de esta constatación, se reflexiona sobre cómo los educadores musicales puedan trabajar con los estudiantes con discapacidades si no hay una preparación en estas Universidades. El análisis de las lecciones observadas, las opiniones de los entrevistados y el marco teórico permitieron listar las habilidades y capacidades necesarias para el educador ... / Mestre

Orientador: Marisa Trench de Oliveira Fonterrada / Banca: Maria Helena Villas Boas Concone / Banca: Sonia Regina Albano de Lima / Resumo: Esta pesquisa foi realizada na cidade de Campinas-SP, com idosos que frequentavam aulas de música do Curso de Extensão em Música Litúrgica da Arquidiocese de Campinas - CEMULC. O objetivo inicial da pesquisa foi saber qual a influência da educação musical na memória, concentração, coordenação motora, socialização e disposição, colhendo opiniões dos idosos que participaram das aulas. Buscou-se ainda compreender suas percepções e representações simbólicas acerca da música e do fazer musical, conhecer seus gostos e preferências e entender suas relações com a música. A pesquisa foi de caráter qualitativo, adotando-se a metodologia de estudo de caso. Usou-se a observação direta não participante e a realização de entrevista semiestruturada, com quatro idosos de diferentes turmas do curso, para a coleta de dados. O referencial teórico utilizado para a análise dos dados e a fundamentação da pesquisa se baseou em Ecléa Bosi, para tratar das questões referentes à memoria e lembranças; Simone de Beauvoir, que contribuiu com suas análises sociais e históricas a respeito do envelhecimento e da velhice; e no Tratado de Geriatria e Gerontologia, compêndio de artigos abordando diversos temas relacionados ao envelhecer. Na área de Educação Musical, buscou-se apoio em John Paynter e Murray Schafer, educadores musicais da segunda geração, que trabalham com a proposta de um ensino de música baseado na criatividade, no fazer musical e na escuta. A análise dos dados destacou alguns aspectos interessantes a respeito da educação musical e dos idosos, como a busca das aulas de música para a satisfação de um desejo ou necessidade, como se fosse a realização de um sonho que não pôde ser vivido anteriormente; a importância do apoio familiar para iniciar e dar continuidade aos estudos; a constatação de que os idosos têm capacidade de aprender coisas novas; e a contribuição da música para a melhoria da qualidade / Abstract: This research was held in Campinas-SP, with ederley who attended music classes in the Extension Course in Liturgical Music of the Roman Catholic Archdiocese of Campinas - CEMULC. The initial goal of the research was to know the influence of musical education in memory, concentration, motor coordination, socialization and provision, reaping reviews of seniors who participated in lessons. Also, it tried to understand their symbolic representations and perceptions about music and making music, to know their tastes and preferences, and to understand their relationship with music. The research was qualitative, adopting the methodology of case study. It was used the direct non-participant observation and semistructured interviews, with four elderly of different classes of the course, to collect data. The theoretical reference used for data analysis and research basis was based on Ecléa Bosi, for issues relating to memory and recollections; on Simone de Beauvoir, who contributed with her social and historical analyses regarding aging and old age; and on Tratado de Geriatria e Gerontologia, compendium of articles addressing various issues related to aging. In the field of music education, we sought support in John Paynter and Murray Schafer, second-generation musical educators who worked with the proposal of music education based on creativity, making music and listening. Data analysis has highlighted some interesting aspects about musical education and elderly, as the pursuit of music lessons for satisfying a desire or need, as if it was a dream that could not be lived previously; the importance of family support for starting and continuing studies; the fact that the elderly have the capacity to learn new things; and the music's contribution to improve quality of life when promoting integration and socialization, filling out free time and the use of intellectual and emotional capabilities / Mestre

Orientador(a): Marisa Trench de Oliveira Fonterrada / Banca: Maurício Funcia de Bonis / Banca: Maria Consiglia Raphaela Carrozzo Latorre / Resumo: O presente trabalho estudou o projeto pedagógico de ensino da composição musical de Willy Corrêa de Oliveira, em duas configurações distintas: em sua conformação observada na virada do século XXI - últimos anos de sua atuação enquanto professor da Escola de Comunicação e Artes da USP -, e também a partir da nova abordagem, recentemente elaborada pelo professor, baseada no uso do dodecafonismo como código musical para a prática criativa. O estudo se deu à luz do pensamento marxista, visando compreender a maneira como o professor trata do problema da ausência de uma linguagem musical universalizante na Música Erudita Ocidental, surgido em paralelo com o desenvolvimento da sociedade capitalista / Abstract: In this research we have studied Willy Corrêa de Oliveira's pedagogical project for the teaching of musical composition, considering two distinct configurations: in the turn of the 21th century - his latest years working as a professor at ECA (Escola de Comunicações e Artes da USP) -, and also considering the recently elaborated approach, which is based on the usage of the twelve-tone composition as a musical code to creative practice. The study has been carried on by Marxist thought, aiming to comprehend the way in which the professor deals with the problem of the absence of a common-practice musical language in Western Contemporary Classical Music, which aroused concomitantly with the development of capitalist society / Mestre

This was a descriptive study that was completed to gather information about musical backgrounds of orchestral concert attendees, and to determine if those attendees perceived relationships between past participation in school music programs and current patronage of classical music concerts. Participants completed a survey about their musical experiences from childhood through adulthood, as well as memories from school music programs. Results and analysis of the responses identified common themes among participants' childhoods, their schooling and private lessons, experiences that served as gateways to classical music listening, the aesthetic benefits that they found in concert attendance, and negative responses that they had to music participation. Results also found a large number of pieces and composers that participants recalled from past participation in school music programs. Findings from this study analyze why these experiences were important to participants and why they might serve as motivation to attend classical music concerts or continue to support them. Implications of this study include suggestions for professional music organizations, school music educators, professional classical musicians, and church music directors. Suggestions for further research based on this study's findings are also included.

The purposes of this study were (1) to develop and evaluate a self-instructional program designed to assist choral conducting students in improving their ability to detect rhythmic errors during rehearsal, (2) to analyze the data acquired from a pre-test, a mid-test, and a post-test given in connection with the evaluation of the program, and (3) to determine the relationship of initial error detection ability, and gains in error detection ability, and each of several variables representing prior conditions which might be expected to affect an individuals error detection ability.