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In this study an attempt was made to measure the effects of verbal discussion on musical expressiveness. Subjects (N =30) were all members of a conservatory symphony orchestra. The subjects were divided into three groups: Group 1 was a listening and discussion group; Group 2 listening only; and Group 3 control group, no treatment. The study used a pre- and post-test design in which all the subjects were requested to play a given melody twice. Analysis of the data, using two-tailed t tests and ANOVAs, revealed no statistically significant differences among the three groups for the effect of verbal discussion on expressiveness. The subjects' self-reports, however, illustrated that they perceived a difference in their expressive playing.

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M.S.

The purpose of this study was to examine the effects of three practice conditions on beginning band instrumentalists’ performance of a short musical selection. Fifty- nine sixth grade beginning band students were randomly assigned to either a physical practice, mental practice, or no practice (control) treatment. A pre-test score was obtained by having each subject sightread selection #2 from Form A of the Watkins/Farnum Performance Scale. Subjects were then given instructions according to the practice condition to which they had been assigned. After a three minute practice session, subjects were asked to perform selection #2 from Form B of the Watkins/Farnum Performance Scale to obtain a post-test score. All of the performances were tape recorded and scored on the basis of correct pitches and rhythm patterns by three music teachers. Mean scores were analyzed using a one-way ANCOVA and a Scheffe’ Test. The results of the study indicated that students in the physical practice condition scored significantly higher than those in the control group. Mental practice was not significantly different from either the physical practice or no practice (control) groups. / Master of Science

Play What You Want, Just Land on the One is a pedagogical invitation and creative mantra. It is my attempt to articulate a disposition of music creation, as it does a conviction about democratic education. The title is a Deweyian invocation of interest, tuning the pedagogical ear towards phenomenological origin(s): scenes of discovery. Learning becomes ontological, to become the questions that drive us. I see music theory a bit differently, music harmony not as scientific principles, but as playground. Music, like how I perceive theory, is constructed for play: Democracy in its most beautiful, where the journey of dissonance binds within moments of collective surrender - to listen, to accept, to embrace the other - the presence of moment-by-moment. This is a letter for those who don’t quite fit inside the canon, for those listening towards the horizon - laced with a hope, of encouraging, supplementing, and challenging our relationship to music and the learning of it. I am bound by the coterminous nature of culture and music, enlivened by their shared evolution, and how it speaks to what it means to be human. My chosen genre is meditation, to pursue philosophy in an ancient sense: surrendering codification to illuminate the questions. The inheritance of wonder, while tracing the unnervingly manic, is to skirt the edge of heresy. This work is structured like a pop song, a form of communication where: the return of each chorus with widened meaning, bridges for unexpected detours, and verses that shape the perception of scene. As you read, remember the return: an idea repeated, now different because of the experience.