ABSTRACT For pianists considering teaching as a career, progress has been made in the preparation of piano teachers in American colleges and universities beginning in the early twentieth century. These developments impacted the education of the piano teacher in colleges/universities as well as the added focus of piano-related journals and publications, professional organizations, and the piano teaching profession. According to the newest edition of Directory of Music Faculties in Colleges and Universities, U.S. and Canada (2015-2016), there are 62 American institutions offering master's degrees in piano pedagogy or master's degrees with an emphasis in piano pedagogy, and 1091 faculty reported an interest in teaching piano pedagogy courses. The purpose of this study was to increase the understanding of how current and future piano teachers perceive the design and function of master's piano pedagogy degree programs in the United States. This descriptive research, bridging collegiate master's students and early-career piano teachers' perceptions, explores the perceived benefits, value, or shortcomings of graduate-level piano teacher education/pedagogy programs. The researcher principally utilized the following techniques for this study: (1) review of related literature and documents; (2) online survey questionnaire design; (3) interviews with novice piano teachers and piano pedagogy faculty members; and (4) analysis of quantitative and qualitative data. The information obtained through online surveys and real-time interviews comprise the foundation for the findings of this study. Most of the collegiate and early-career piano teachers in this study indicated positive attitudes toward the "hands-on" internship experience and learning experience with piano pedagogy instructors. The most valuable aspects of the master's piano pedagogy programs noted by participants were faculty members directly sharing their professional knowledge and years of experience to students in class. / A Dissertation submitted to the College of Music in partial fulfillment of the Doctor of Philosophy. / Spring Semester 2016. / April 13, 2016. / Curriculum, Master's degree, Piano pedagogy, Piano teacher, Student perceptions, Teacher preparation / Includes bibliographical references. / William Fredrickson, Professor Directing Dissertation; Joe Kraus, University Representative; Alice-Ann Darrow, Committee Member; Kimberly VanWeelden, Committee Member.

This work is an annotated bibliography of original reed quintet repertoire. It can serve as a practical resource to musicians, reed quintets, composers, music educators and musical scholars of all levels. For each original composition, there are detailed annotations including information about the composer, title, instrumentation, year composed, length, genre, level, commissioning information, publisher, recording availability, a brief discussion of the form/style of the piece, and copyright information. Since annotations are only provided for original reed quintet repertoire, I have included four indexes of other reed quintet repertoire from 1985 until 2015: Original reed quintet music with additional parts, Arrangements, Arrangements including additional parts and Historical Reference. These indexes include titles, composers and arrangers of all arrangements, chamber repertoire, arrangements of chamber repertoire, and original repertoire with additional instruments. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2016. / March 14, 2016. / Chamber Music, Quintet, Reed, Reed Quintet, Repertoire, Woodwind / Includes bibliographical references. / Deborah Bish, Professor Directing Treatise; Richard Clary, University Representative; Anne Hodges, Committee Member; Jonathan Holden, Committee Member.

The purpose of this study was to observe time use and instructional focus in the middle school beginning band and advanced band settings. The analysis included the systematic recording of teacher behavior and student performance activities for the entire class period observed, as well as consideration of the relationship between teacher behaviors and student performance in specific instructional episodes during the class period. All timing data was recorded using the SCRIBE (Simple Computer Recording Interface for Behavioral Evaluation) software (Duke & Stammen, 2011). Participants in included five expert middle school band directors, who were video-recorded teaching a beginning band class and an advanced band class in the same instructional day. A total of 394.60 minutes (approximately 6 hours and 36 minutes) of rehearsal were observed; a total of 202.21 minutes were observed in the advanced band setting, and 192.39 minutes were observed in the beginning band setting. The first layer of observation included documentation of the whole class period using six categories: 1) teacher instruction, 2) instrumental modeling, 3) group performance, 4) section performance, 5) individual performance, and 6) student verbal behavior. Time devoted to warm-up and preparatory activities (prior to literature) was also documented in this layer of observation. The second layer of observation included documentation of the whole class period using three categories: 1) time on the podium, 2) active conducting, and 3) individualized instruction. The third layer of observation entailed identifying rehearsal frames in which targets were identified and categorized. Strategies identified as general music instructional strategies were documented in this layer as well. Results of this study revealed differences in the frequency of observed behaviors between the beginning and advanced band settings, with significantly more episodes of teacher modeling, individualized instruction, and student verbal questions/responses occurring in the beginning band setting. A significantly greater number of episodes of section performance occurred in the advanced band setting. Teachers spent more time on the podium and actively conducting the ensemble in the advanced band setting than in the beginning band setting, and more time was used for preparatory activities (prior to literature) in the beginning band setting than in the advanced band setting. Target categories emphasized in the beginning band setting reflected an emphasis on fundamentals and literacy, whereas the target categories in the advanced band setting reflected greater emphasis on performance-based goal achievement. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester 2016. / September 23, 2016. / Beginning Band, Instrumental, Rehearsal Frames / Includes bibliographical references. / Kimberly VanWeelden, Professor Directing Dissertation; Deborah Bish, University Representative; Clifford K. Madsen, Committee Member; William Fredrickson, Committee Member; Kasia Bugaj, Committee Member.

The purpose of this collective case study was to examine the different musical, social, and pedagogical factors that affected how piano repertoire is selected and programmed for the undergraduate degree recital. Additionally, this study investigated the existence of what is deemed “standard repertoire” for the piano, and the possible reasons why these works are performed more often than others. The research was guided by a three-part framework of inquiry that examined the recital planning process from a student and professor perspective. Additional focus was placed on the social dynamics of the collegiate private piano lesson, and the relationship that developed between professor and student. The data for this collective case study were obtained through a descriptive analysis of piano recital programs, a listening analysis of past student recital recordings, and semi-structured interviews with piano majors and professors (N=7) at a large Southeastern public university. Student case study participants were chosen through a purposive sampling method, and interviews were transcribed manually. Transcripts were then coded using a three-part process that analyzed individual and cross-case themes. These interview transcripts were used to craft case study participant profiles. The transcription and coding process yielded eight salient main themes regarding piano repertoire selection that emerged from a cross-case analysis: making connections within the repertoire; influence of the university curriculum; satisfaction through effective performance order; the audience experience; collaborative learning model/choice with set conditions; freshman year: the vital foundation; standard repertoire as “functional repertoire”; and “filling the gaps.” These themes were used to address the original research questions. In addition, themes unique to each case study participant were also discussed. Based on these individual and cross-case themes, it was suggested that further research is needed investigating the repertoire selection process in a variety of different pedagogical settings, such as the non-major student or graduate piano student. It was also suggested that additional research is needed to determine how a work achieves “standard repertoire” status, both for piano and other music fields. Finally, further research is needed investigating the role of the audience as active listeners and participants within the context of the collegiate piano recital. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2016. / May 13, 2016. / Collegiate piano lesson, Piano, Piano pedagogy, Piano recital, Recital program, Repertoire / Includes bibliographical references. / Alice-Ann Darrow, Professor Directing Dissertation; James Mathes, University Representative; David Kalhous, Committee Member; Sara Scott Shields, Committee Member; Kimberly VanWeelden, Committee Member.

Cerebral Visual Impairment (“CVI”) is defined by a deficit of vision and visual perception in children that results from damage to the brain (Dutton & Lueck, 2015). Currently, CVI is the most common cause of visual impairment in children in the developed world. The purpose of this paper is to provide an evidence-based curriculum guide to music therapy for children aged 6- to 16-years-old with visual impairments, specifically CVI. The author begins by providing a background on Perkins School for the Blind. Next, she reviews current literature on visual impairments, CVI, and music therapy. Finally, she proposes a curriculum guide for children with visual impairments, specifically CVI, and discusses effective music therapy interventions by age group. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Summer Semester 2016. / June 20, 2016. / Cerebral Visual Impairment, CVI, Expanded Core Curriculum, Music Therapy, Special Education, Visual Impairment / Includes bibliographical references. / Jayne Standley, Professor Directing Thesis; Clifford Madsen, Committee Member; Dianne Gregory, Committee Member.

A new paradigm for running youth orchestras is needed in order to reduce redundancy, increase efficiency, deal with reduced budgets in many music programs, and create a sustainable infrastructure for the creation of youth orchestras. Large metropolitan areas often have exemplary youth orchestra systems, but smaller cities and underserved areas may not have the resources like a full time staff, business processes, communications technology, and available sheet music to maintain a youth orchestra even though the area could artistically sustain one. Using knowledge from current business, nonprofit, and music education research, this document proposes an innovative approach to systematically organize and administrate youth orchestras by combining the best practices of various fields in order to tackle some of the biggest challenges to youth orchestras today. Youth Educational Symphonies (YES!) is a nonprofit franchise business model for establishing and maintaining youth orchestras. Nonprofit franchising, commonly referred to as "social franchising" in the social services sector, is a burgeoning area of entrepreneurship designed to target needs by using repeatable processes. A youth orchestra or entrepreneurial conductor will be able to "plug into" the YES! franchise to administrate the billing, accounting, payroll, publicity materials, communications, ticketing, business infrastructure, music library, string bowings, and Orchestra Manager training. By joining the YES! organization, member youth orchestras will acquire a business infrastructure specializing in the area of youth orchestras. The business systems and opportunities offered with YES! membership also include: website design and hosting, recruiting materials, an operations manual, a lending library of youth orchestra repertoire, new music written for youth orchestra, student scholarships, instrument and equipment outsourcing, consulting and training, and an organization-wide annual summer symphony festival called SForzando. This franchise model for the Youth Educational Symphonies attempts to provide the business-side infrastructure needed for an entrepreneurial conductor or a group of qualified music teachers to start up or maintain a youth orchestra in their community quickly, effectively, and sustainably. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2017. / March 27, 2017. / Arts Administration, Business Design, Entrepreneurship, Nonprofit Management, Social Franchising, Youth Orchestra / Includes bibliographical references. / Alexander Jiménez, Professor Co-Directing Dissertation; Clifford Madsen, Professor Co-Directing Dissertation; Paul Ebbers, University Representative; Kasia Bugaj, Committee Member.

This dissertation is about an approach to music teacher education that attempts to prepare pre-service music teachers to find employment while also preparing them to improve the realities of school teaching and learning for themselves and their students. Approaches to music teacher education in the United States have moved from broad one-size-fits-all approaches to specialized approaches that track music education majors into vocal, instrumental, and general music specialties. And at some universities, music teacher educators have considered what it might mean to prepare music education students for state licensure policies that favor all-encompassing licenses, (i.e., P–12 Music, and a marketplace that increasingly seeks broadly qualified teachers). To learn more about the latter approach, East Coast University’s music teacher education program was identified through purposeful selection for examination via intrinsic case study. Through snowball sampling, five faculty members were selected for teaching observations and interviews. In addition, focus groups of student and alumni (self-selected through volunteer sampling) helped develop my understanding and description of the case, and identification of a resultant, overarching theme. The research was focused through Biesta’s three domains of educational purpose beginning with the formation of research questions in each Biestian domain: qualification, socialization, and subjectification. The overarching theme presented in this dissertation involves a dualistic approach to music teacher education: East Coast University prepares music teachers with the skills to win and keep the job and to be change agents capable of improving their educational landscapes. As a result of my research and lengthy field engagement, I believe the preparation ECU music education students receive can be expressed as the tension between broad preparation and a personal orientation. It’s not a universal preparation; rather, it’s the ability to move flexibly across large educational domains, and at the same time, develop a kind of personal orientation that is connected to the particular. This connection is the particularness of who they are as teachers, their own biographies—the lives that they’ve lived, and the specifics of how they’ve lived those lives. In fact, that’s the beginning of a justice-based approach—to know oneself and to be able to work strategically within the particulars of a community. Throughout this intrinsic case study, my own pre-service and in-service teaching stories are interwoven with the participants’ stories in ways that are intended to address my positionality, contextualize the theoretical framework, and examine more deeply emergent research understandings. Recommendations are made for future research and practice, and a final personal reflection considers my still evolving approach to music teacher education and how it was influenced by this study.

For keyboardists, touch is a paradox. It refers to the physical actions that constitute performance, yet to be “touched” by music is also to consider the immaterial relationship between performance and our psychology. In this dissertation, Touch and Modernity in French Keyboard Pedagogy, 1715–1915, I explore this dual notion of touch, deciphering how performers, teachers, analysts, and critics described the keyboard as a unique interface between body and mind. I track the notion of touch through an undertheorized corpus of instruction manuals for harpsichordists and pianists written in France between 1715 and 1915. The authors of these manuals outline several strikingly flexible theories of touch, described as some combination of action, sense, and metaphor. They use touch to construe the keyboardist as a modern ideal, dedicating their pedagogical programs to “newness,” configured to varying degrees as edification through rationalization, social development through institution building and urbanization, industrialization, culminating in the themes of alienation and solipsism. The musicians who wrote and used these manuals found unlikely interlocutors across a diverse field of thinkers. These interlocutors included philosophers and encyclopedists, bureaucrats, technologists, anthropologists, anatomists, psychologists, and others. Venturing explanations for the body’s relationship to sensory impressions, aesthetic judgments, and knowledge acquisition, these figures joined music pedagogues, using the keyboard and its various iterations—from instruments to telegraphs and typewriters—as a grounding object for touch. They delineated the stakes of an array of ideologies, positing an artistic, intuitive, discerning, or efficient touch as a benchmark by which to calibrate their modern subject, idealized as inhabiting an interface between historicity and progress. Their definitions for touch shuttle between public and private spheres, the exterior world and the interior psyche, the self and the other. This dissertation’s methodology treats four broad topics as lenses through which we discern modern modes of theorizing, deriving, and disseminating knowledge through touch. These include sensibility, or the condition for subjective knowledge; empiricism, or knowledge by way of experience; physiology, or knowledge acquisition through study of the interaction between mind and body; and psychology, or the potential for variable knowledge based on perception and attention. I argue that, animated by the aforementioned topics, touch enacts a dialectic of musical “work”—connoting preparatory labor, polished performance, and an object for contemplation and analysis—through which keyboardists came to represent modern subjectivity more broadly, the concept for which concretized over the course of the Enlightenment and Romantic eras. Touch thus affords a unique framework which we may use to study historical definitions of selfhood, denoting the materials, practices, and ethics of experiencing our bodies and articulating our relationship to culture and society.

A dissertation submitted to the Faculty of Education, in fulfilment of the requirements for the degree of MASTER OF EDUCATION in the Department of Educational Planning and Administration at the University of Zululand, 1989. / This dissertation sets out to investigate the relevance and the effectiveness of the Primary Teachers' Diploma (PTD) Music Syllabi. The Main focus is the KwaZulu and Natal Colleges of Education that offer PTD. Chapter 1 outlines the background to the research study, and discusses the role played by Music in both rural and urban Black communities. This chapter also summarises the musical needs of black communities. Chapter 2 reviews the literature that deals with the teaching of Music in schools. This literature is then compared and contrasted with the prescribed Music syllabi of the South African Black schools and colleges. Chapter 3 describes and discusses the interviews, questionnaires and observation (Triangulation) that are used to investigate the relevance and effectiveness of the PTD Music Syllabi. Chapter 4 presented the findings that are concluded in chapter 5. The prescribed PTD Music syllabi are found to be generally relevant but ineffective. The ineffectiveness is attributed to factors such as poor musical background of music students, inadequately trained music teachers, amount of allocated time, and a shortage of music equipment. The researcher recommends that Music teachers should be in-serviced and be helped to improve their music knowledge and qualifications. A balance is to be brought about between the allocated amount of work and time. Secondary schools are to try and offer Music as a subject.

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