The primary purpose of this study was to investigate the subjective and objective career success perceptions of music school graduates who now identify as professional musicians. This study approached that purpose in four ways. First, the study examined how musicians conceptualized success compared to the literature. Second, the study investigated how musicians conceptualize how success is shown in themselves relative to how it appears in others. Third, the study examined if and how musicians attribute the success that they have achieved in their careers to the institutional preparation they received at academic institutions. Fourth, the study investigated the possibility that geography may play a role in sculpting the perceptual values and qualifiers of success in musicians. This study was informed by the literature surrounding the area of careers, career success, career development as it pertains to musicians, and career success as it pertains to musicians. A survey was the research tool utilized for this descriptive study, and the survey was constructed and facilitated via Qualtrics Software. The survey included 26 Likert-type questions and seven open-ended questions. The sample population used for this study was 326 participants from the New York City Chapter of the American Federation of Musicians Union. The data that was collected from the survey was organized, analyzed, and synthesized to discover emerging themes and answers to the guiding research questions. The findings of this study suggest that musicians understand and value the points of the comparison that those outside of the field of music may use to value and evaluate their own careers. The findings of this study also suggest that musicians may perceive some of the underlying components that make up career success differently in themselves that they do in others. Further, support is provided in this dissertation for the understanding that objective career success and subjective career success are linked in a way that is underrepresented in the literature, and thus is underrepresented in the discussion of the two concepts.

THE USE OF COMPUTERS IN MUSIC EDUCATION IN SOUTH WEST AFRICA ZOHOVj Ashley Mark, M. Mus. University of the Witwatersrand, Johannesburg, 1986. This study compared CAT with conventional group-class Instruction to determine the degree of skill proficiency in interval and rhythm dictation obtained by students exposed to the alternate forms of instruction. Forty-three students attending the Windhoek Conservatoire, aged between eleven and fifteen years, volunteered to participate, A modified pre-test/post-test control group design was used. A researcher-built pre-test was administered and students were matched according to interval scores and grade level. Each pair was then randomly assigned to either the experimental (GAI) or the control (teacher) group: Intervals. An inverse assignment of these intact groups was made. The control group now became an experimental group (CAT: Rhythms), while the pre-defined experimental group was treated as its control (teacher: Rhythms), Each student received CAT and group-class instruction for two half-hour sessions per week for six months (14-18 hours of instruction), GAI was administered using the Micro GUIDO Ear Training System, specially adapted by the researcher to suit study at a grade level. Results of the non-parametric tests indicated no difference between E and G groups (p » ,05). Results favouring the E group in interval recognition were obtained (p = ,10). Further, the C group showed a greater proficiency in ability to notate rhythms correctly (p - , 10). No differences were observed in a comparison of sex, age and degree of theory knowledge among students receiving GAI (p " >05), A positive response by students to GAI was Indicated in an attitudinal questionnaire, It was concluded that CAI served as a feasible alternative to conventional instruction but that optimum benefits would be derived if used as an adjunct to conventional instruction.

The Atlanta Symphony Orchestra Choruses—the Atlanta Symphony Orchestra Chorus (ASOC) and the Atlanta Symphony Orchestra Chamber Chorus (ASOCC)—have become exemplars for the performance of choral-orchestral repertoire. Exhibiting the highest professional technique yet infused with the unqualified love and commitment of their volunteer members, the ASO Choruses are an enduring legacy of their founder, Robert Shaw. The purpose of this dissertation is to examine and formally document how the Atlanta Symphony Orchestra Choruses were formed, how they grew and flourished, and how they have continued to thrive under new artistic leadership. Robert Shaw founded the Atlanta Symphony Orchestra Chamber Chorus (ASOCC) in 1967 followed by the Atlanta Symphony Orchestra Chorus (ASOC) in 1970 to perform choral-orchestral masterworks with the Atlanta Symphony Orchestra as a core component of its repertory. Shaw and his assistants employed specific organizational and musical systems to form and build the ASO Choruses. Shaw transformed these choruses into world-class ensembles through uncompromising discipline and a firm belief in the power of unison singing. The resulting unanimity—a hallmark of the ASO Choruses—was heard in every aspect of the sound of the ASO Choruses. This sound was characterized by warmth and roundness, exceedingly crisp diction, immaculate dynamic control, precision of pitch and metrics, and the smoothness and transparency of a chamber ensemble. Shaw worked tirelessly to develop a community of musicians and supporters that cared deeply about music and the Arts. The ASO Choruses, while auditioned, were volunteer ensembles in contrast with other notable symphony choruses, such as those of Chicago and San Francisco, which had a paid contingent of singers. The ASO Choruses were unique for having attained an extremely high level of excellence while remaining entirely volunteer. Chorus members committed substantial time and effort in support of their common love of music and excellence. The ASOC made its Carnegie Hall debut in 1976, and the ASO Choruses have returned there over twenty times. The ASOC made history on its international debut tour as part of the largest American performing arts organization to travel to Europe. More recently, the ASOC traveled to Berlin in three different seasons to perform with the Berlin Philharmonic. The ASOC has a significant, award-winning discography of over fifty recordings, including nine Grammy Awards for Best Choral Performance. Today, the ASO Choruses continue to uphold the legacy established by their founder, Robert Shaw. Under the present leadership of Norman Mackenzie (Director of Choruses), Robert Spano (Music Director), and Donald Runnicles (Principal Guest Conductor), the Choruses have engaged in new ventures that combine various art forms in an expanding repertory, which includes numerous commissions and premieres. In so doing, the ASO Choruses honor the vision for which the Atlanta Memorial Arts Center was created. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2017. / June 19, 2017. / Atlanta Symphony Orchestra, Atlanta Symphony Orchestra Chamber Chorus, Atlanta Symphony Orchestra Chorus, Norman Mackenzie, Robert Shaw, Symphony Chorus / Includes bibliographical references. / André J. Thomas, Professor Directing Dissertation; Alexander Jiménez, Outside Committee Member; Kevin Fenton, Committee Member; Alice-Ann Darrow, Committee Member.

This treatise explores the historical background of instrumental educational outreach concerts, and provides an overview of current educational outreach programming. The closing section discusses educational outreach concerts presented by a solo violinist, and provides a blueprint for a teaching performance which explores the storytelling power of music. Newly commissioned works for solo violin are included which are especially suited for outreach performances for children. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2018. / April 4, 2018. / Composition, Music, Outreach, Performance, Storytelling, Violin / Includes bibliographical references. / Benjamin Sung, Professor Directing Treatise; William Fredrickson, University Representative; Greg Sauer, Committee Member; Shannon Thomas, Committee Member.

The goal of this treatise is to examine elements of jazz pedagogy that can be applied to improve musicianship in the undergraduate classical lesson setting. I have identified areas of classical pedagogy that would benefit most from these elements and have corroborated them with information from respected classical pedagogues. These concepts are addressed by examining both the classical and jazz pedagogical traditions and determining which approaches from the jazz methodology are conducive to supplementing the undergraduate classical lesson experience. I have provided suggestions for adapting and implementing these methods, with examples of supplemental exercises that may be incorporated by classical teachers included at the end of each section. The aspects of pedagogy that were chosen for this research were aural skills, harmonic awareness and application, and improvisation. More specific topics relevant to each to each of these are discussed within each chapter. All of the above are areas in which jazz musicians typically excel, so I studied their pedagogical methods to see what could be applied to the classical lesson structure for undergraduates. I conducted the research for this project primarily through interviews with pedagogues and performers of each style. Further evidence was gathered through lesson observations and examination of syllabi, articles, dissertations, and books. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Summer Semester 2018. / May 1, 2018. / Clarinet, Classical, Jazz, Lessons, Pedagogy / Includes bibliographical references. / Jonathan Holden, Professor Directing Treatise; William Fredrickson, University Representative; Deborah Bish, Committee Member; Jeffrey Keesecker, Committee Member.

Digitized by Kansas Correctional Industries / Department: Music.

Digitized by Kansas Correctional Industries

The goal of this treatise is to examine elements of jazz pedagogy that can be applied to improve musicianship in the undergraduate classical lesson setting. I have identified areas of classical pedagogy that would benefit most from these elements and have corroborated them with information from respected classical pedagogues. These concepts are addressed by examining both the classical and jazz pedagogical traditions and determining which approaches from the jazz methodology are conducive to supplementing the undergraduate classical lesson experience. I have provided suggestions for adapting and implementing these methods, with examples of supplemental exercises that may be incorporated by classical teachers included at the end of each section. The aspects of pedagogy that were chosen for this research were aural skills, harmonic awareness and application, and improvisation. More specific topics relevant to each to each of these are discussed within each chapter. All of the above are areas in which jazz musicians typically excel, so I studied their pedagogical methods to see what could be applied to the classical lesson structure for undergraduates. I conducted the research for this project primarily through interviews with pedagogues and performers of each style. Further evidence was gathered through lesson observations and examination of syllabi, articles, dissertations, and books. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Summer Semester 2018. / May 1, 2018. / Clarinet, Classical, Jazz, Lessons, Pedagogy / Includes bibliographical references. / Jonathan Holden, Professor Directing Treatise; William Fredrickson, University Representative; Deborah Bish, Committee Member; Jeffrey Keesecker, Committee Member.

Histories of higher education isolate the conservatory/music school from their purview by omission, while histories of music education and individual music schools give overviews but do not address in depth the traditions, development, effects, and tensions buried within courses of study and the particular needs of the music student. That consideration is the purpose of this study. Toward the end of the nineteenth century, professional music education emerged as independent schools, or schools and departments within university settings. As the university accepted and acknowledged a broad and diverse range of fields of study, it developed new areas of specialization in its curricula. Concurrently, `art' music as a cultural pastime was finding its place in the American social consciousness and inviting, as a consequence, a means of education directed to this pursuit. Encouraged by European immigrants who themselves were musicians, or those for whom art music was a cultural tradition, and also by responsible philanthropy of new wealth acquired from the Industrial Revolution, America began to embrace the currents and interests of its immigrant population. In so doing it created a need for teachers of music, for improved instruments and organizations to engage in music-making, and for performers to provide entertainment. The recognition of professional education in new university institutions made it an opportune time for music to establish itself as a viable part of American higher education. Music schools proliferated, standards notwithstanding with regard to courses of study, faculty, and student requirements. Gradually, however, America pooled its resources and called upon its own ingenuity to clarify the ideology of the professional musician and to define how the training and education for that ideology might be accomplished. By the twentieth century America could offer professional study for the applied musician on a par with its European counterparts. This thesis considers the environments of three prominent music schools founded in the 1920s, the Eastman School of Music, The Juilliard School, and The Curtis Institute of Music. It reviews the administration, faculty, and the evolution of their curricula for the applied major from their inception to 1945, and observes how each defined and clarified its course of study. Thus it serves as a foundation for understanding the trajectory that brought these schools to their present place of recognition. In so doing it offers one perspective of professional education, that of training and educating for performance, and contributes to the narrative of the history of higher education.

Teachers represent a large portion of professional voice users in the United States and the development of poor vocal health has related to their work. Elementary music educators are expected to use their voices in both speech and song and are vocally active for much of their workday. This study investigates elementary music teachers’ conceptualization of their voices, what personal and professional value teachers place upon their voices, and how vocal health may affect, support, or detract from their careers. In this multiple case study conducted with three participants, a questionnaire addressed background demographics for the teacher and information regarding the music program. An interview collected more in depth data on thoughts and perceptions of voice use. Teachers completed the Voice Handicap Index and Singing Voice Handicap Index and each teacher was observed for one full workday. Vocal professionalism and caring for the voice’s professional use vary in definition and importance from teacher to teacher. Participants seem more conscious of their physical health than other aspects of professional vocal demand. Participants described themselves as vocal professionals while also engaging in behaviors which did not consistently support sustainable vocal health or hygiene. While each teacher viewed their voice as a professional tool, none had received training in the care of their voices, in what to do if their voice was injured, or in how to use their voices safely while teaching. Each teacher reported mild to no voice handicap on both the Voice Handicap Index and the Singing Voice Handicap Index. This may reflect some degree of label avoidance. Teachers at the elementary level of music come from diverse backgrounds and teach in widely varying circumstances. Teachers may hold some information on vocal health but may not have been trained in how to use the voice while teaching and may develop habitual practices which are not conducive to a career of healthy vocal production. Increased attention is indicated for the populations who professionally use their voices in both speech and song.