Thesis (M.A.)--Ball State University, 2008. / Title from PDF t.p. (viewed on Sept. 08, 2009). Includes bibliographical references (p. 17-19).

Thesis (M.M.)--University of Michigan, 1943.

Thesis (M.S.) -- Central Connecticut State University, 2006. / Thesis advisor: Gloria Marie Caliendo. "... in partial fulfillment of the requirements for the degree of Master of Sciences." Includes bibliographical references (leaves 54-56). Also available via the World Wide Web.

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 170-179). Available also in a digital version from Dissertation Abstracts.

<p> The purpose of this study is to explore the technology high school music students are using to improve musicianship. For this study, research was done to determine how students are using the available devices and the most popular applications, programs, and websites available and used by high school band students. A survey was issued to instrumental music students in two high schools asking questions pertaining to the topic. Then, data was compiled into lists consisting of the devices, uses, and applications that were the most favored. The results showed that a majority of students occasionally used technology to either self-evaluate while practicing or find music on their own. In addition, students favored using smart devices while practicing, and they chose applications based on accessibility or familiarity. The findings from this study were similar to a few sources in the related literature, which determine that students are familiar with the technology in similar ways several educators are. For those reading this thesis, the information will provide them with better awareness of the technology their pupils use for music learning.</p><p>

George Whitefield Chadwick (1854-1931) was an American composer of the Second New England School who, along with his contemporaries, gave shape to an "American" musical style. Although his symphonic music and stage works are beginning to be recorded and valued for the integrity of their construction and pioneering spirit they occupy in the history of American music, this is not true of his body of chamber music. While the number of chamber pieces is not large, their quality is high. They are certainly among the best which the New Englanders produced, yet they have been largely ignored. Chadwick's chamber works include five string quartets, one piano quintet, and two short pieces scored for 'cello (or violin) and piano. It is the purpose of this dissertation to discuss this music against the backdrop of the other composers writing chamber music in the Boston-New England area at the turn of the century, to analyze its form and structure from a theoretical perspective, to discuss the prominent techniques used by Chadwick in the composition of his music, to analyze what musical influences shaped the style of Chadwick, and to look at his role as a music educator in America. This dissertation will also analyze the place which Chadwick occupies in the movement toward a truly American style, free from the subservience to European music, which occurred later in the twentieth century.

Bibliography: leaves 168-172. / The primary focus of this dissertation was work with a group of children who were experiencing problems in reading and to formulate strategies which incorporates an innovative approach using music. Many learning problems encountered today could be avoided if children's earliest backgrounds were rich in songs, poems set to music, nursery rhymes and musical games. It is necessary for a child to experience rhythm in every possible way to enable him to read with a flowing rhythm and a pleasant intonation. A child must be able to feel and experience the rhythm of the spoken word by repeating rhymes, phrases, chanting children's names, for example. This is done by tapping the word, using body movements (clapping, stamping) and transferring this rhythm to percussion instruments while experiencing the speech rhythm. Many approaches have been used with children who are disabled readers and none use music as a tool. The progress of these children has therefore been slow, tedious and not always successful. Music has not been used before as an approach to assist children with reading disabilities. In this dissertation it has been proved that music helps children overcome their reading problems, as it is the only approach which offers total involvement of the child and therefore the best results are achieved. All children involved in the research enjoyed the activities and derived great pleasure from performing them unaware that the process of remediation was taking place.

The purpose of this study was to examine the effects of two methods of music instruction on two factors in the musical listening experience, identified as music description and music identification, and musical preference of fourth- and fifth-grade students. The listening experiences consisted of one which utilized descriptive writing in the music lesson and one which utilized participatory listening activities such as maps for guided listening, worksheets, and call charts. Also examined were the interactions of gender, grade level, and degree of writing presence in the regular classroom. Seven-hundred and eleven students from thirty-six intact classes in six elementary schools of three school districts were chosen for the study. The intact classes were randomly assigned to one of the two methods of instruction for a seven week experiment. The study utilized a pretest/posttest two group experimental design to answer 10 research questions. Repeated measures MANOVAS, t-test of independent samples, and two-variable correlation tests were conducted to measure mean differences, interactions, and possible relationships in the data. Results of the study indicated significant differences between method of instruction and the variables of music description and music identification. Method of instruction did not influence musical preference. Also significantly different were students' scores for music description, music identification, and musical preference between the participating 23 classroom teachers. Method of instruction, grade level, degree of writing presence, and gender did not significantly interact collectively with music description, identification, or musical preference although some areas interacted with these variables individually. Significant interactions were found between music teacher and method with regard to students' scores on tests of music description, music identification, and musical preference. Two correlational tests resulted in values that indicated no relationship between the variables of musical preference and description and musical preference and identification. However, the non-relationship of music description and musical preference was non-significant while music identification and musical preference were significantly non-related.

This research presents the first empirical study of music provision in Scottish prisons and explores the potential benefits of music engagement for prisoners, with a focus on young offenders’ experience. The scope of the study begins with an investigation into music provision in prisons throughout Scotland by means of a small-scale survey. This survey showed that despite a lack of documentation, music is currently present in Scottish prisons and has been previously, albeit intermittently. Music provision included a range of activity: learning how to play musical instruments, singing, music theory, song-writing and composition. Subsequently, two music intervention studies were conducted with young offenders at HM Young Offenders Institution Polmont. The first study was a ten-week project with three participant groups: a music group, an art group and a control group. Pre- and post-interviews and measures were used to assess participants’ self-esteem, self-control, behaviour, literacy skills and engagement with education. Numerous difficulties were identified with conducting such research in a prison environment, including the recruitment process and using standard assessment measures. However, results from the small number of men involved showed!an increase in engagement with education for all three groups during the project and a steady continued increase in education engagement for the music group after the project ended. Additionally, the music and art groups showed a small increase in mean scores for self-esteem, positive emotions reported and self-control. The second study examined two music interventions with young offenders as part of the year-long Inspiring Change pilot project. This study used interviews and session review forms with education staff and arts practitioners to document the process of the organisations involved in the planning and implementation of the projects. Focus groups with young offenders were carried out to gather their opinions of the programmes. Participants expressed that they especially appreciated the high level of professionalism of the arts practitioners, working as a group, and being recognised as making an individual contribution towards a final project. In addition to the survey and intervention studies, a Knowledge Exchange workshop was designed for music tutors in Scottish prisons to meet, learn about research on music in prisons, and exchange ideas for best practice. A workbook and afternoon workshop format was investigated in terms of its effectiveness and was found to be beneficial for music tutors in learning more about the research and practice of teaching music in prisons. This thesis contributes to the developing research on the benefits of music provision for prisoners and provides a baseline of music provision in Scottish prisons for further study.

The purpose of this quasi-experimental study was to identify the changes which occur for elementary education majors as they proceed through a course in music fundamentals for classroom teachers and a course which presents methods of teaching music. The subjects responded to several measuring instruments on the first day of classes in the music fundamentals course (the pretreatment group, five classes, N = 103) or on the last day of classes in the methods course (the posttreatment group, five classes, N = 93, all of whom had completed the prior fundamentals course). The study addressed one main question: Are there significant differences between the responses of the pretreatment and posttreatment groups to questions which consider intentions, beliefs, and feelings about the teaching of music? The analysis of data first considered several items bearing on the extent to which the two groups were a representative sample of the population of students enrolling in such classes during a three-year period and to what extent the two groups could be considered equivalent. The lack of significant differences in grade-point average, grade in school, and declared major suggested that the two groups could be considered quasi-random samples from the population of students enrolling in such classes. No significant differences were found between the two test groups in terms of GPA, age gender, and several items related to music background. Regarding the research question, the analysis of data identified significant differences between groups in three areas. Subjects in the posttreatment group: (1) intend to use more musical activities more frequently in their classrooms than those in the pretreatment group, (2) have more positive beliefs about their musical skills/knowledge and fewer negative ones than those in the pretreatment group, (3) have more positive feelings about their ability to provide music in the classroom than those in the pretreatment group.