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The purpose of this study was to determine what differences distinguish "quality jazz programs" from "other" programs and what might be learned from a comparison of the two groups that would be meaningful to jazz education. The study answered the questions: (1) is there a consensus among a group of jazz authorities regarding the ten "most effective" jazz programs in colleges and universities; and (2) are there characteristics of jazz programs considered outstanding by the profession that are not present in randomly selected college jazz programs? A panel of "experts" identified the top thirteen college jazz studies programs. A random group was selected from a list provided by the International Association of Jazz Educators. The "outstanding" population (n = 13) and the random population (n = 34) were sent identical survey instruments. The analysis of data identified significant differences between groups: (1) in the number of staff at every level (full-time faculty, adjunct faculty, and teaching assistants); (2) in the number of big bands, combos, and jazz choirs; and (3) in the number of undergraduate and graduate music majors in the institution. There was a significant difference between groups in the number of jazz combos and within the outstanding population between big bands and combos. Also, outstanding schools were more likely than the "other" schools to: (1) employ full-time jazz faculty; (2) have a vocal jazz program; (3) have an organized plan for recruiting and award jazz scholarships; (4) be located in larger urban areas with more opportunities for students to hear jazz; (5) offer a jazz studies degree; (6) offer a greater variety of jazz courses; (7) have a recording studio on campus; and (8) have a jazz requirement for music education students. Enrollments in jazz courses were increasing in both populations.

The purpose of this study is to develop a comprehensive curriculum for drum set in the college percussion studio. The main emphasis of the paper is to provide information addressing the needs of the percussion student over a four-year course of drum set study. In addition, I will show how these needs can best be met through the use of both existing instructional materials and original supplemental materials written by the author. The need for a drum set curriculum is defined and an in-depth review made of selected extant materials. After defining the general guidelines for the curriculum, a limited number of instructional materials were chosen from the extant materials which could adequately and affordably fulfill these guidelines. Recommended studies for the freshman through senior years are outlined and instructional objectives defined.

The primary purpose of this study was to compare the effects of icon-based listening outlines and language-based listening outlines on the degree of liking scores and musical knowledge scores of nonmusic majors enrolled in music appreciation courses. A secondary purpose was to examine interactions between the methods of instruction and the students' age, gender, teacher, and primary language with the dependent variables of degree of liking and musical knowledge scores. One-hundred and ninety-seven university undergraduates enrolled in six intact music appreciation classes served as subjects for the twelve week study. Three instructors, each teaching two intact music appreciation classes, taught both methods. The study used a pretest/posttest two group experimental design to answer fourteen research questions. The results indicated that degree of liking scores and musical knowledge scores significantly improved between the pretests and posttests regardless of method of instruction. Results also revealed a significant interaction between method and time of test for both degree of liking and musical knowledge. Students using icon-based listening outlines showed a greater increase in degree of liking scores and musical knowledge scores from pretest to posttest than the students using language-based listening outlines; however all increases were slight. Results also revealed significant interactions among teacher, primary language, and musical knowledge scores and among teacher, method of instruction, and musical knowledge scores.

Thesis (Ph. D.)--Ohio State University. / Includes vita. Includes bibliographical references (leaves 183-190). Available online via OhioLINK's ETD Center.

Recruiting of music students is expected to become increasingly competitive among colleges which offer music degrees during the next decade. In order to gain a perspective on the state of recruiting, this study investigated the recruiting techniques currently being used by music administrators at institutions of higher education which offer bachelor's degrees in music. The goals of this research were to determine whether music administrators anticipate a declining enrollment problem in their music program, to determine how active a role chief music administrators play in music student recruitment, to identify recruiting activities within a marketing context, and to describe significant differences in recruiting activities by geographic region and by comparisons of private and public institutions.A review of the related literature was conducted which included examining marketing research tools, recruiting and statistical information, and music-related sources. A three-part questionnaire was designed to gather information on general backgrounds of music units, their recruitment structures, and their recruiting activities. Items selected for inquiry were based upon information supplied in the review of the literature. The pilot survey instrument was tested by 10 music administrators who were involved in music-student recruitment. The population included the total number of institutions in higher education which offer some form of bachelor's degree in music, according to The College Blue Book, 21st Ed: Degrees Offered by College and Subjects (1987). The sample included 150 administrators who represented their respective music units. Music units were selected by means of a computer-generated random stratification according to their geographic region and their funding base. Forty-one percent of the questionnaires were returned.Data showed that a majority of the subjects believed their enrollments would be increasing during the next decade. However, 81.6% indicated their enrollments were currently below the desired level. The chief music administrator is the highest authority most often involved in developing the recruitment strategy and is often the most active individual in recruiting activities. More marketing expertise is available for music student recruitment: than is currently being utilized. This includes strategies to identify the target market and the development of a balanced marketing mix, i.e., strategies involving product, price, place, and promotion. Most of the recruitment strategies observed relied heavily upon promotional efforts and less on the other elements of a balanced marketing mix. Relatively few differences were noted in the recruiting practices of music units in higher education throughout the United States, either by their geographic region or by their funding base. Recommendations resulting from this investigation include areas for further study and additional recommendations. / School of Music

The study was designed to determine the scope of offerings, the clientele served, the organizational structure, and procedures for implementation relative to applied music programs in two-year colleges. The study was also designed to determine the extent to which selected senior colleges have accepted applied music credits earned by students from two-year colleges.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Includes tables. Sponsor: Robert Pace. Dissertation Committee: Gladys Tipton. Includes bibliographical references.