This project focused on the rate of growth in reading skills of two first grade classrooms. The goal of this project was to improve the reading skills of below grade level students through musical activities.

This qualitative dissertation identifies musical strategies that black theatre singers use when presenting and representing music that integrates western classical vocal aesthetics with stylistic genres of traditionally black forms like gospel, jazz, and blues. This study investigates the use of the voice by five black opera and musical theatre performers and the approaches that they take in the representation of music that requires integrated vocality, which integrates elements from western classical traditions with those from black popular and folk idioms. Data were collected through audio/visual analysis, interviews, and video stimulated recall, presented through narrative analysis. Three emergent themes are explored are as follows: Authenticity is rooted in the singer’s experience of cultural traditions and expression; technique is a means of personal and cultural expression and provides the opportunity for personal liberation, and; a singer positions themself at the nexus of their cultural legacy as a learner, exemplar, advocate, and transmitter of culture. The implications for educators at the tertiary level are discussed in the final chapter. Alignment of technique, personal expression, and identity infuses a singer’s sound with meaning; fostering the black singer’s use of their cultural capital helps them transform their life experiences into artistic interpretation. Representation, the use of signs that link a person to their cultural circles, is an act of re-humanization, combating dehumanization caused by systematic and societal exclusion by placing positive images at the center of their cultural legacy. In higher education, pre-professional training becomes humanizing when expression is viewed as a means of critical understanding of a student’s lived experience. Also, inspiring persons with marginalized identities requires re-centralizing power toward those who can imagine themselves transforming the entertainment industry into a more inclusive artistic space.

The specific problem prompting this investigation is the creation of a method of music criticism. The purposes for the investigation are three in number. First and foremost, the purpose of the investigation is to develop an unrestricted method of music criticism. The development of such a method fulfills the second reason for the investigation. Although Mortimer Adler and the Paideia Group have clearly stated the classes and pedagogy to be utilized in a Paideia curriculum, they have done little to suggest specific class content. This study resolves the content problem for one class. It is recommended that the music masterworks class be treated as a course in music criticism. Through such treatment of the class, students will meet the goals of the Paideia Group and develop the tools for societal reconstruction. Finally, the goal of establishing a method of music criticism harmonious with the educational philosophy of reconstructionism is the end to the previous two "means" purposes.

The first purpose of this study was to investigate whether different modeling conditions (Aural and Aural/Notated Transcription) produced significant differences for improvisation achievement. Another purpose was to investigate whether music learning theory-based improvisation instruction had an effect on students' self-efficacy for improvisation and for instrumental music. Participants (N = 76) from an accessible population of 6th through 8th grade instrumental music students were assigned to either an aural model group or an aural and notated transcription model group based on scores from Gordon's Harmonic and Rhythmic Readiness Records (1998). All students were administered two researcher-designed self-efficacy scales before and after a 10 treatment session music learning theory-based improvisation instruction. Following the treatment sessions, each participant was individually recorded and assessed by three experienced music educators. The posttest improvisation scores were subjected to an ANOVA, while the pretest to posttest scores of the students' self-efficacies for music improvisation and instrumental music were subjected to two repeated measures ANOVAs. The Bonferroni technique was used to adjust the alpha level from .05 to .017. The statistical analysis showed that there was no significant difference in improvisation achievement for the modeling conditions of aural and aural/notated transcription. Further statistical analyses showed there were significant increases in students' self-efficacy for improvising and for instrumental music following improvisation instruction. This study's results suggest that music educators should consider using either modeling technique for improvisation learning experiences. Results also suggest that music educators may wish to consider using a music learning theory-based improvisation approach to facilitate greater confidence in improvising. Additionally, results suggest that classroom music educators may wish to consider improvisation instruction as a means for achieving greater student confidence in instrumental music. This study concludes with issues for further study.

This study is an experimental investigation of two groups of junior high school students in an effort to evaluate the advantages of workbooks in their music classes. The comparison was made with two classes composed of thirty-two students each from the two junior high schools in the Beaumont Independent School District. One class used the workbooks in conjunction with the regular singing and appreciation work, but the other class did not use formal workbooks. They discussed the theory and notation of the music in relation to the work they were doing.

The purpose of this study was to describe 11th- and 12th-grade high school string orchestra students in Texas public schools in terms of their decision to enter the field of string orchestra teaching as a possible career choice or to pursue another field of study. Convenience sampling techniques were used to secure a study population of 1,683 high school string orchestra students. The Junior and Senior High School String Orchestra Student Survey (researcher designed) was used to gather demographic characteristics, students' perceptions on selected intrinsic/extrinsic work values, tangible elements of teaching, intrinsic characteristics of string orchestra teaching, and individuals assisting in students' career choices. Selected elements of teaching cited by students for their lack of interest in string orchestra teaching were also reviewed. Analysis procedures for descriptive statistics included measures of central tendency, crosstabulation, frequencies and percentages. Consistent with prior research, it was found that a larger number of female students over male students were interested in string orchestra teaching. Students interested in fields outside of string orchestra teaching reported higher class grades, more honors and advanced classes and higher SAT/ACT mean scores. Students interested in string orchestra teaching reported a higher percentage of brothers/sisters, mothers and fathers who played instruments and relatives who were teachers. These students also reported a greater importance of a career that was self-rewarding, that would be directly helpful to society and where they could help contribute to the welfare of society. Students interested in string orchestra teaching expressed the great importance of their deep devotion to music and their desire to be a positive role model for children. Students interested in string orchestra teaching reported the great importance of their high school orchestra director as one of the individuals assisting them in their career decisions. Also consistent with prior research, the number one cited reason for a lack of interest in string orchestra teaching was found to be that teacher's salaries were perceived as too low. Examinations of ethnic group differences relative to the characteristics under investigation were also explored.

This study compared a task analytic versus a traditional approach to teaching a musical instrument to emotionally disturbed children. Students' musical performance and attitude toward the instruction were compared between conditions. Six severely emotionally disturbed boys, 8-11 years of age, participated in the study. Each student learned to play a one, two, and three chord song accompaniment on an omnichord under the two experimental conditions. At the end of each condition and two weeks following the termination of the study, each student was asked to perform the three-chord songs. Their performances were videotaped for future analyses by two independent observers. In addition to the performance ratings, the students completed a questionnaire concerning their attitudes toward the instruction. This questionnaire also served as a dependent measure. No statistically significant differences were found among the performance ratings and student attitudes between conditions. Implications for music therapy practice and future research are given.

It was the purpose of this study (1) to present the proposed plans for the music building at the Amos Alonzo Stagg High School, and (2) to show the growth in school population and interest in music which guided the planning of new music buildings over the past ten years (1945-1955) in Stockton that led up to the plans for this school’s music wing.

Choral ensembles often operate as hierarchical institutions where the conductor maintains a position of control over the musical, educational, and social aspects of singing with little or no input from singers. This dissertation reconceptualizes the choral experience as a dialogical process where conventional boundaries between conductor and singers blur. This study was conducted online with a vocal ensemble of ten experienced adult avocational singers and asks how a collaborative spirit may transform the ensemble, individual singers, and the conductor. Using a critical participatory action research approach, we engaged in dialogue and group problem solving as we created collective and individual musical projects over the course of ten rehearsals. The research design emphasized collective reflection and democratic decision making. This research journey is presented through a collection of multimodal data fragments such as musical recordings, practitioner reflections and collated singer reflections, rehearsal transcriptions and narratives, photographs, and poetry. Informed by decolonizing and post-qualitative methodologies, this dissertation highlights the ethical dilemmas, rewards, and uncertainties of both collaborative research and learner-centered approaches to education. In investigating how singers might increase their influence within the ensemble setting, we discovered that singers talking back to the conductor set in motion conditions for a choral paradigm that I describe as back talk choral pedagogy. This pedagogical orientation draws on critical and relational perspectives and is characterized by four interconnected commitments: (a) relational accountability; (b) mutual recognition of knowledge; (c) cultivation of a public square; and (d) responsiveness to input. Singer back talk manifested itself in myriad ways, including the reporting of information or observations, sharing opinions and suggestions, directly contesting the conductor, storytelling, and silence. Singer back talk produced noticeable fruits—a culture of shared vulnerability and trust, unique singer contributions, role fluidity between conductor and singers, and choral communion—which positively impacted the learning environment. This inquiry suggests that by centering relational and ethical aspects of musical collaboration, back talk choral pedagogy has the potential to build flourishing, dynamic musical spaces, increase singer ownership, and challenge conductors to expand their teaching practice.

Literature on stereotypes and implications of stereotype threat has grown considerably over the past decade. While numerous studies examine college major biases, they predominantly focus on STEM and business students. For Music Majors (MMs), some of the conventional musician stereotypes include susceptibility to heavy drinking, drug use, and their nonpecuniary advantages as artists. In this study, Q methodology, which incorporates a combination of quantitative and qualitative properties, was used to identify Non-Music Majors’ (NMMs) shared subjectivity among their opinions of MMs. The primary research questions were as follows: (a) What current stereotypes do Non-Music Majors hold regarding the Music Majors? (b) Which themes emerge based on Non-Music Majors’ detailed descriptions of Music Majors? The researcher additionally sought to explore the impetus behind dominant musician stereotypes, including their portrayals as perpetual starving artists, overly emotional, prone to heavy drinking and drug use, and financially irresponsible. The study had two main objectives: (a) to identify NMMs’ current stereotypes of MMs; and (b) to explore ways in which NMMs and MMs can implement a more close-knit alliance and cross-disciplinary partnerships and collaborations in college settings. The study was conducted in Spring 2023 with 30 NMMs from a large U.S. graduate school of education. The participants comprised only graduate-level students who had formally declared one primary major and participated remotely using an online Q Method Software. The study findings, which utilized Q analyses, thematic analyses of post-Q-sort surveys and interviews, provided a nuanced yet wide-ranging validation of the cross-disciplinary biases in college settings. The research revealed that NMMs viewed MMs as being born with innate talent/gift, who were eclectic, disciplined, and coming from high-income backgrounds. NMMs also perceived MMs as being perfectionists with many hobbies outside of music, who were endlessly curious but more prone to recreational drug use compared to NMMs. All participants shared that musician stereotypes, whether positive or negative, were pervasive in college settings. Stereotypes are universal: however, discussions of lesser-known stereotypes, such as college major biases, are seldom considered. Q methodology, in this respect, facilitates a comprehensive understanding of the diverse perspectives within a social group. When combined with post-Q-sort surveys and interviews, Q can be a powerful tool to help elucidate subjective perspectives—for educators and students alike—in dynamic and evolving educational contexts. The researcher hopes this study will encourage others to explore, analyze, and optimize the use of Q in the field of music and music education.