The purpose of this study was to develop a commercial singing guide that could be used as an aid in teaching selected elements of commercial singing. It addressed itself specifically to the following problems: determining how the selected elements of the commercial vocal style are produced, developing a guide for teaching the production of this vocal style to trained and untrained singers and evaluating the effectiveness of the guide.

The educational progress of pupils is of deep concern to pupils, parents, and teachers alike. If one is teaching in an Indian community, he knows that the teaching of music to such children will require different methods from those used in some other community. Often the pupils have had little or no experience with music. The effective school adjusts its curriculum to the abilities and needs of all pupils. The general music class in the junior high school is the heart of the music program. The pupil’s growth in musical values is the teacher’s responsibility. The materials and methods of the music teacher cannot be effective unless they are chosen and used with a total picture in mind of the child and his background. Classroom situations must be set up which consider and encompass as well as possible the student’s environment, his personal needs, and his present interests and attitudes.

The purpose of this study is to investigate the history and development of the curriculum of the Conservatory of Music of the University of the Pacific from 1924 to 1954, and to indicate change as they occurred. The beginning point of this study was chosen because it coincides with the move of the institution from San Jose, California, to its present location in Stockton, California. Specific problems to be investigated are: (1) The history of the Conservatory of Music.; (2) Curriculum changes from 1924 to 1964 as revealed in selected Bulletins of the University of the Pacific.; (3) The Aims and Objectives of the Conservatory from 1924 to 1964 as revealed in selected Bulletins of the University of the Pacific. An understanding of the development of the past curriculum may aid in the future evaluation and development of the curriculum of the Controversy.

The objective of this project was to develop the necessary materials to facilitate the use of The Music Writer in the music theory class of Sacramento High School’s Visual and Performing Arts Center. The materials were designed to correct the deficiencies in the programs’ documentation, and include tutorials that sequentially introduce beginning students to the basic features of the program. The course is designed to teach skills and techniques in music fundamentals while providing students with practical experience involving the current technological advances in the field. These materials will enable the students to utilize professional level software in their study of basic music theory. Specifically, they will be able to use the program to write a simple diatonic melody, which has been composed as an assignment for the course.

The purpose of this study is to create a curriculum for beginning instrumentalists who have no background in music and are young students not yet capable of deciphering highly technical and academic sentences, phrases, and terms. This method is designed to give the student a foundation in theory without taking undue time from the instrumental phase of the curriculum and at the same time to increase the tempo of training in both phases.

This study is a progressive series of string quartets for children ages six to eight. A picture and a story for the child accompany each of the twenty lessons. The stories are written about animals, birds, and incidents that exist in the child's world. They are designed to arouse associations between familiar subjects or incidents and unfamiliar problems at hand. The second section of this work is entitled "Instructions to the Teacher." A child's interest is sacrificed when he is burdened with too many technicalities. Thus the teacher is fully informed of the difficulties in each lesson, and suggestions are given for solving the problems that arise.

The purpose of this work is not to justify the teaching of music in the public schools; that has been done by the authorities to the extent that music in some form is in the curriculum of the majority of American public schools today. The purpose of this study is to determine the effect of certain music activities on the total adjustment of a group of third grade children and to show possible advantages of the teaching of music as a part of the regular teacher's load.

The problem of the study was to investigate the comparative effectiveness of two methods of teaching harmonic dictation to beginning college music students. The methods were (1) the conventional teacher-classroom approach as suggested by Robert Ottman's Elementary Harmony, and (2) a linear programed book to be used in conjunction with a series of tape recordings.

For a long time there has been a growing conviction among the music graduates from colleges in Texas that the training of music teachers has been limited both from the standpoint of the number of hours offered in music for a degree and of the adequacy of the training received. The trends in music teacher education in Texas need to be evaluated in order to determine whether or not teacher training in this state is adequate. In comparing the adequacy of the school curriculum as far as the number of hours and courses is concerned, McEachern's A Survey and Evaluation of the Education of School Music Teachers in the United States will be used as a source of comparison, since this study is inclusive of the curricula of colleges over the United States.

Music education policy and administration attempts to shape the musical sensibilities of young people. Yet the logics of music education from a socioeconomic standpoint are inadequately understood. This dissertation focuses on the relationship between music education nonprofits and public schools and on the public and private policies that have shaped the formation and perpetuation of these relationships. I analyze the logics of policy documents alongside the discourses and narratives of private organizations that support music education within the specific contexts of New Jersey, a state that mandates music education access for all students, and the COVID-19 pandemic, which has exacerbated societal inequalities, to illuminate how policy makers and administrators shape student experiences in the proto-democratic space of the classroom. I use policy analysis and institutional ethnography, approaching data primarily through the lenses of neoliberal critiques of marketization, critical whiteness studies, and analyses of the intersection of class and race, which I outline in chapter one. I also consider the design of music education programs within the theoretical framework of culturally relevant pedagogy. Education systems are adapting to shifting racial discourses as schools continue to construct citizens within racialized and classed hierarchies. Music historically has been invoked in the construction of societal stratifications to mark ethnic and cultural boundaries. In chapter two, I examine these narratives that have shaped the formation of music education in the United States as a culturally hegemonizing force and persist in debates around the purpose of music education in under-resourced schools that mainly serve students from minoritized communities. Music education remains a site at which policy makers, administrators, educators, and community members negotiate the role of culture in shaping new citizens. State music education policy in New Jersey specifically struggles to support the progressive vision it professes as it continues to suggest a strongly hegemonic curriculum and perpetually underfunds music programs in schools. Within this context, the third chapter considers how funders and advocacy groups are so frequently focused on short-term funding needs that they persistently struggle to address systemic issues in music education, such as issues with administrations that do not represent the communities being served, colonial content and pedagogy, and unsustainable funding solutions. As such, the limited services and non-democratic leadership of privately funded music education programs in public schools reinforce the role of public schools as gate-keepers of exclusionary citizenship norms. At the same time, privatization has also opened opportunities for non-normative, anti-oppressive forms of music pedagogy to enter public schools. In the fourth chapter, I investigate how, though their very existence reinforces the marketizing trends that rank and exclude, some nonprofits do attempt to serve students in culturally relevant ways within this environment, and can even work in ways that support publicly funded programs. Altogether, my research provides insight into the role that the privatization of public spaces within neoliberalism plays in the formation and reproduction of classed and raced citizens, as policy makers, funders, and program administrators determine which young people are given access to which forms of education.