This study was an investigation of the hypothesis that a prescribed program utilizing significant representative contemporary art music can be designed, developed, and taught to grade seven students that will positively influence their expressed musical preferences towards this music. Such an analytical listening program was developed utilizing four types of contemporary art music--tonal, polytonal, atonal, and electronic—and was taught to fourteen randomly selected grade seven music classes designated as Experimental treatment I (E 1) for a period of fourteen weeks. For comparison, a second Experimental treatment (E 2) was given to another random set of grade seven classes, whose treatment was limited to repetition without formal instruction. Both treatments were compared against a control condition (C)—a music program that excluded exposure to contemporary art music—administered to a third random group of grade seven classes. All groups were pre-tested with a test of music knowledge and with an instrument constructed to obtain evidence about students' expressed preferences for each of the four categories of music. The latter contained not only "study" selections later used repeatedly in the E 1 and E 2 training programs, but also selections that were not used as instructional material ("transfer" selections). The same instrument was also administered as a post-test. The stability of the instrument with students excluded from music instruction over the experimental period was indicated by test-retest reliability coefficients ranging from .75 to .93 for both "study" and "transfer" selections, and averaging .88. Highly significant gains in preference scores were found for the E 1 (analytical listening) treatment, on both "study" and "transfer" selections, though the "transfer" gains were numerically smaller. Smaller, but still highly significant gains were found for the E 2 (repeated listening) treatment, except in the case of electronic music; the mean gain on the electronic "transfer" selections was not significant. For the control group, some gains were positive and some negative, all being small and none being significant. Comparisons of the effects of the experimental and control treatments on preference gain-scores were made by a two-factor analysis of variance in which sex was the second factor. A covariance adjustment for possible differences in prior music knowledge and for differences in pre-test preference scores was made. There was little evidence of any sex effect, either alone or in interaction with treatments. However, the treatments clearly showed a hierarchy of effectiveness, with E 1 (analytical listening) being most effective, E 2 (repeated listening) significantly and obviously less effective, though still superior to the control condition for which preference gains were essentially zero. Minor exceptions to this clear general trend are noted in Chapter VI. The correlation between music knowledge scores and the gains in preference scores proved to be too low to be significant at the .05 level. Conclusions: (1) The results of the E 1 program indicated that grade seven students can develop stronger preferences for contemporary art music through analytical listening procedures. Moreover, a particular sequence of cognitive learning experiences also resulted in affective transfer. (2) The E 2 results supported the view that repetitive listening is an important factor in the formation of positive preferences. (3) As the sex variable accounted for little variance in preferential responses, it is unlikely that boys and girls require either different materials or methods while engaged in classroom listening activities. (4) As no correlation was discovered between music knowledge and musical preferences, it appears that listening activities may be conducted in the classroom without adverse effects despite the fact that theoretical knowledge may be minimal. One major implication as a result of the study was the suggestion and recommendation that music educators be prepared to re-appraise music courses in their present format, for it is possible that the emphasis placed on theory, reading skills, singing, and instrumental performance may not be completely justified. An alternative program that would place listening at the core of musical activities and from this centrality relate and integrate all other theoretical and performance objectives was also recommended for further research. Finally, it was recommended that the present work be expanded into longitudinal research to further identify factors that are important in the development of positive musical preferences for contemporary art music. / Education, Faculty of / Graduate

Numerous curricula for preschool music education have been developed in the past two decades. For the most part, however, these have not incorporated important evidence from three disciplines which has important implications for how the music education of preschool children should be approached. The first of these is the field of developmental neurobiology, which has provided relevant information concerning early learning and experience. The second is the research pioneered by Jean Piaget, whose insights into cognitive development bear heavily on curriculum planning for preschool music education. The third is research in musical development, which indicates what skills and behaviors can be expected of preschool children in a musical setting. The goal of this thesis is to demonstrate (a) why an understanding of the major findings from these fields is important to the formulation of a music education program for preschool children; and (b) how this understanding can and should impact on the curricular choices made for the musical education of preschool children. To this extent, a series of developmental and musical objectives for the music education of preschool children, specifically 4-year-olds, have been formulated to serve as a theoretical and practical foundation on which to develop and choose musical activities which are appropriate for this age group. The educational and practical value of each of these activities was tested with a group of 4-year-old children during a 12-week study carried out at the University of British Columbia Child Study Center. The activities which adequately demonstrated this value were then organized into a 12-week music curriculum for 4-year-old children. Four conclusions are made in this thesis. The first of these is that music education should begin early in life in order to influence the general learning patterns necessary for the development of musical skill. The second conclusion is that early exposure to music will be most effective when the activities chosen are complex and stimulating and allow for interaction with numerous musical stimuli on a variety of different levels. The third conclusion is that developmentally appropriate musical activities may make an important contribution to the enrichment of the learning environment during the preschool years and may subsequently enhance sensory, motor, verbal and nonverbal, social and creative thinking skills. Finally, it was concluded that preschool music education will be most effective when musical tasks reflect the limitations of children's cognitive development. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

The purpose of this research was to investigate the time usage skills of undergraduate students in college marching band. Specifically, this study investigated and compared the time usage of collegiate marching band members, music majors, and non-music undergraduate students. Participants (N = 80) were undergraduate students at a large southern university in the United States. Data were collected through a researcher-designed time log. Using the time log, participants recorded hourly activities for one week. Time logs provided a simple format for participants to easily and quickly record activities in several categories. The time log also contained a series of several demographic questions. Results of this study indicated that non-marching band students had more free time than marching band students. Non-marching band participants allocated more time for leisure-related activities than marching band participants. Compared to other activities, results indicated that participants spent the most time sleeping and engaged in leisure related activities. These results are consistent with related research, which found that people spend most of their time sleeping and in leisure. Although this study occurred during homecoming weekend, marching band students appeared to have adequate time to study, even with the sizeable amount of weekly rehearsals and weekend performances. Marching band students used more of their free time to study and complete homework compared to non-marching band students who chose to watch TV or socialize with friends. Non-marching band music majors devoted more time to practice than marching band music majors; however, total instrumental playing time was significantly greater for marching band music majors. Results also indicated that the opinions of others, such as parents and high school guidance counselors, may have influenced college students' decision to enroll in marching band. Further results indicated that students not enrolled in marching band may not use marching band rehearsal hours for academic-related activities. Marching band students appeared to use their free time more effectively than non-marching band students, choosing to study and complete homework, rather than engaging in leisure activities. Further research should continue to identify time usage challenges for college marching band members to further understand the process used by those students to make time use decisions. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2015. / June 4, 2015. / College Band, Marching Band, Music Education, Music Majors, Time Use / Includes bibliographical references. / Patrick Dunnigan, Professor Directing Dissertation; Patrick Meighan, University Representative; Alice-Ann Darrow, Committee Member; Steven Kelly, Committee Member; Clifford Madsen, Committee Member.

In 1842 Felix Mendelssohn gained approval from the Prussian King Friedrich Wilhelm IV to apply the late Supreme Court Justice’s Heinrich Blümner’s 20,000-Thaler gift to the founding of Germany’s first music education institution dedicated to the higher-level training of musicians. The establishment of the Leipzig Conservatory in 1843 was a milestone in Germany’s history, as this was Germany’s first national conservatory of music, with the goal to train and educate “complete” musicians in both applied and theoretical studies. Due to its highly-esteemed faculty, the Leipzig Conservatory immediately drew attention from music students not only nationally but also internationally. The Leipzig Conservatory was known for its “conservative” leanings as well as the strong foundation students received in harmony, counterpoint, and voice-leading. The pedagogy of the Leipzig Conservatory not only had a great impact in Germany and the surrounding European countries, but its influence reached across the Atlantic to American musical life. Nineteenth-century Americans held German musical training in high regard. Between 1846 and 1918 over 1,500 Americans traveled across the Atlantic to study with the renowned faculty at the Leipzig Conservatory. Receiving a comprehensive music education and being exposed to world-class visiting soloists such as Clara Schumann and Franz Liszt, these American students returned to the United States as music teachers, administrators, music writers and publishers, and performers, prepared to influence their music culture in numerous ways. These American individuals had a great impact in numerous cities throughout the United States, and several of them had a role in founding America’s first music conservatories: Oberlin Conservatory of Music (1865) and New England Conservatory of Music (1867). By studying the original documents and concert programs at these institutions, one can trace direct pedagogical approaches and institutional policies transferred from Leipzig to Oberlin and Boston. Furthermore, many early faculty members at Oberlin and NEC themselves had studied at the Leipzig Conservatory, bringing Leipziger tastes and pedagogy to American students. While the Leipzig influence impacted Oberlin and NEC greatly, its pedagogy and principles shaped many other aspects of American music life and education throughout multiple cities and regions in the United States, leaving lasting imprints on American music culture, including music education, concert life, music criticism, and composition. The supplementary Excel spreadsheet shows Leipzig Conservatory faculty members and the duration of their tenure at the Conservatory. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester 2018. / December 14, 2018. / America*, Conservatory, Leipzig, New England, Oberlin, pedagogy / Includes bibliographical references. / S. Douglass Seaton, Professor Directing Dissertation; George Williamson, University Representative; Sarah Eyerly, Committee Member; Iain Quinn, Committee Member; Denise Von Glahn, Committee Member.

"Music for every child. Every child tor Music." How many time have we heard that? Fundamentally, however, it does not go deeply enough into the objectives and purpose of music in the schools today. Every conceivable kind of music is being used in modern schools, and every type of ensemble group is singing or playing this music. Are the schools creating the best possible music environment for the students? Are the students receiving from their music classes the maximum of increases in social competency, which is, after all, the most important objective of all education? Should small ensemble groups both instrumental and vocal be encouraged or put out of the music curriculum? Should money be spent by the school board for uniforms and instruments? Should marches and popular music predominate in the band and orchestra? Can we achieve technical perfection and enjoyment at the same time? Is there value in an A Cappella Choir? These and other pertinent questions arise wherever music teachers meet and very often when administrators meet. These questions should be answered as scientifically as possible, that is, scientifically with regard to the educational values of the subject discussed. It is the sincere hope of the writer that this paper might be service in answering some of these questions. First, a valid questionnaire sent to a representative portion of the high schools in Washington, Oregon, and California will be reviewed in order to tabulate and graph the present tendencies in the music field. Second, an attempt will be made to show the weaknesses of the present methods and courses in music and the reasons why the present music curriculum is unsound. Third, a curriculum for the music department will be presented which would be educationally sound and therefore should be acceptable to teaches, administrators, and laymen interested in developing a socially competent individual, and yet believing whole-heartedly in the slogan given at the beginning of this paper. If these things are done satisfactorily and sincerely, possibly there will be value in the paper for some person with problems such as these.

Wil Offermans is a flutist-composer with a holistic approach to contemporary flute pedagogy. At present day, there are very few English-language publications on Offermans; thus, in comparison to his contemporaries, the broader English-speaking flute community knows very little of the Dutch flutist-composer. The purpose of this treatise is to present Offermans's pedagogical ideas as a modern day flutist-composer so that his knowledge, creativity, and unique perspective may be made available to a larger flute population. A brief overview of the development of contemporary flute music will set the stage for the emergence of Offermans's role in the flute world. A biographical sketch of Offermans follows, along with a discussion of his teaching philosophy and four pedagogical themes that reoccur in his teaching and methods: extended techniques, interculturalism, improvisation, and body movement. Other pedagogical applications associated with these themes are discussed in addition. Finally, the concept of holism in education is explored using Offermans as an example of a holistic pedagogue. / A Treatise submitted to the College of Music in partial fulfillment of the Doctor of Music. / Spring Semester, 2015. / April 7, 2015. / contemporary, flute, improvisation, movement, pedagogy, world music / Includes bibliographical references. / Eva Amsler, Professor Directing Treatise; Richard Clary, University Representative; Patrick Meighan, Committee Member; Deborah Bish, Committee Member; Frank Gunderson, Committee Member.

The purpose of this study was to identify strategies, or pedagogical methods used for teaching basic music skills to urban secondary public school choirs by investigating three successful choral master teachers who routinely adapt instruction based on the unique needs of their urban students. Research questions guided this study: (1) What choral sight-reading materials are used to teach independent music reading to students? (2) What concept/skill developmental sequence is used to promote basic skill growth and how frequently are they evident in a rehearsal? (3) What social factors best establish a classroom/rehearsal climate that nurtures student learning in the complex environments found in most urban schools? (4) What relationships, exist between music reading skill development and music performance repertoire selections? Results identified multiple strategies that urban choral teachers used to accomplish this goal. Participants included three master choral teachers from the South East, Midwest, and West Regions of the United States who were selected by any one of the following measures: (1) nominated and/or recommended by university faculty (2) county/districts music supervisors, and/or (3) awarded excellent or superior rating on the sight-reading portion of the state performance assessment or festival. The three selected master teachers provided insight into exemplary practices used with urban secondary public school choirs. The master teachers electronically responded to survey, and interview questions and then the interviewer observed and recorded their rehearsals to observe teacher behavior leading to successful choral singing by urban students. The data revealed these three master teachers use different curriculum to teach basic music skills, such as notation, staff, clefs, and key and time signatures, etc. However, all participants used modified versions of the Kodály method to teach pitch and rhythm reading. In addition, repertoire selections for participants were a mixer of contemporary pop, renaissance, multicultural, baroque, gospel, R&B and spirituals were selected based on their students' music skills and cultural background. Implications for urban choral teachers and recommendations for future research are discussed. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2015. / April 14, 2015. / Music Education, Music Skill Development, Pedagogy, Public Schools, Secondary Schools, Urban Schools / Includes bibliographical references. / Judy Bowers, Professor Directing Dissertation; Marcía Porter, University Representative; André Thomas, Committee Member; Clifford Madsen, Committee Member.

The purpose of this study was to examine the emergence of choral music in Ireland since 1922, focusing specifically on the settings that were based on, or influenced by Irish songs and airs. It describes the culture of music in Ireland through instrumental music, dance, and the song tradition. It establishes the genres of song, the languages used, the stylistic characteristics, and the performance practices. It also looks at how the music was collected, and by whom. The study examines how singing was used in schools and communities as a language and culture-promoting exercise. It had almost no success linguistically, and limited success musically. It did however, result in the arranging and composing of Irish songs, and the establishment of part-singing as common practice in schools, primarily in the Irish language. The key composers and arrangers of these early decades are investigated. In the early years of independence Ireland's main focus was cultural reestablishment, but the State gave very little consideration to formal policy for the Arts. The 1950s brought change in this regard. This study investigates the role of An Comhairle Ealaíon (The Arts Council), who supports two key choral organizations, and funds other ventures and projects that promote and encourage choral performance and composition. In addition the roles played by the Department of Education and Skills, Ireland's key Choral Festivals, and Raidió Télifís Éireann (Radio Television Ireland), the country's national radio and television broadcaster, are also considered. The researcher's investigation into the composers and arrangers, who have used songs and instrumental airs upon which to base their choral compositions or arrangements, disclosed 105 composers and arrangers since 1922. In total, 822 settings were located. Twenty of the most popularly set choral arrangements are reviewed in this study, and the transition from solo song to ensemble setting is examined under a range of musical headings: a) treatment of the melody and rhythm, b) language and treatment of the text, c) use of accompaniment and resulting vocal textures, d) tonality, and e) structure, use of dynamics, phrasing and articulation. This investigation will serve as a guide for those wishing to learn about the characteristics of Irish songs and airs, and how these may be appropriately embraced in choral settings. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2015. / April 8, 2015. / Choral Music, Irish Arrangers, Irish Choral Music, Irish Composers, Irish Music / Includes bibliographical references. / André Thomas, Professor Directing Dissertation; Wanda Brister, University Representative; Judy Bowers, Committee Member; John Geringer, Committee Member.

The inclusion of electronic equipment in the performance of traditionally acoustic instruments has sparked a new genre of musical possibilities. Through an exploration of the history of the electroacoustic musical genre, the technologies employed, performance practices, and the experiences of a representative sample of bassoonists currently performing within the field, this treatise demonstrates how the addition of electronics in music has developed the genre of electroacoustic bassoon performance. The experiences of four representative bassoonists, Michael Burns, Jeffrey Lyman, Jim Rodgers, and Paul Hanson, are highlighted to demonstrate how each uses electroacoustic performance in his career, as well as the specific technologies and equipment employed to transform the traditional acoustic bassoon into an electroacoustic instrument. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Fall Semester, 2014. / November 10, 2014. / Bassoon, Electric Bassoon, Electroacoustic, Electro-acoustic / Includes bibliographical references. / Jeffrey Keesecker, Professor Directing Treatise; Deborah Bish, Committee Member; Eric Ohlsson, Committee Member.

It has often been said that radical changes are needed in other areas of education, but that there is only one way of teaching music-- that music is different and therefore requires an approach differing from that of other educational fields. However, if music is to be a part of education, then those who teach it must keep in step with the other educational trends. / Typescript. / "August, 1954." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Marian Black, Professor Directing Paper. / Includes bibliographical references (leaves 46-49).