Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009. / "A thesis in music education." Advisor: Lindsey R. Williams. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 25, 2009. Includes bibliographical references (leaves 80-86). Online version of the print edition.

Thesis (M.M.) Florida State University, 2005. / Advisor: Jayne Standley, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-16-07). Document formatted into pages; contains 67 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.S.)--Eastern Illinois University. / Includes bibliographical references (leaves 40-47).

The purpose of this project was to examine the perceptions of private studio-based music teachers regarding recruitment and retention of students. Gaining insight and understanding into the careers of private studio-based music teachers is a way to help practicing teachers and educate students who aspire to have a similar career path. Research questions included: (a) How do students and teachers become acquainted with one another? (b) What strategies do private studio-based teachers use to attract students? (c) What factors impact the effectiveness of recruitment and retention strategies used by private studio-based music teachers? (d) Why do students choose to begin privately studying music? (e) Why do students discontinue lessons? Ultimately, private studio-based teachers were found to rely on many factors and phenomena to help them recruit new students. Word of mouth, location, reputation, presence in schools, and performance were discovered to be common attractions to potential students. After a student began lessons the following aspects impacted the retention period: Enjoyment or fun, achievement, teaching methods, distractions, parental involvement, and the teacher’s perception of retention. / School of Music

Thesis (Ph. D., Education)--University of Idaho, October 2008. / Major professor: Damon D. Burton. Includes bibliographical references (leaves 77-93). Also available online (PDF file) by subscription or by purchasing the individual file.

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The diversity present within K-12 classrooms in the United States presents teachers with students from many backgrounds and musical traditions. Traditional undergraduate music education programs which prioritize the Western canon provide little opportunity for students to address diversity, both in pedagogy and in content. Prospective music teachers in the choral or general music areas experience vocal education that focuses primarily on the classical bel canto vocal technique. This education fails to prepare teachers to teach students from diverse backgrounds and musical traditions. Because music plays an important role in adolescents’ identity formation, teachers who are unprepared to recognize and teach diverse vocal styles may unknowingly alienate or silence their students. The purpose of this study was to develop an understanding of how two groups of music students, in early adolescence, and from a diverse urban public school, perceive the singing and the music teaching in their general music classrooms. By discovering their perspectives, I hoped to shed light on the ways in which music teaching influenced their musical, vocal, and cultural identities, particularly during the malleable time of adolescence. Over the course of three months, I conducted semi-structured interviews with 14 students and two teachers as well as twice-weekly classroom observations. Three research questions informed the data collection process: (1) How do students in a diverse urban public school describe their own singing and musical background? (2) How do they describe the vocal (and music) teaching in their general music class? (3) How do they describe an effective or ideal music teacher? The interview data and field notes from the observations were coded, organized, and analyzed into the following categories: (1) Music and Self Expression; (2) Music and Family; (3) Culturally Congruent and Incongruent Teaching; (4) Student Vocal Profiles; (5) If They Could Teach the Music Class, How Would They Teach? The overarching conclusion from this study is that the congruence or incongruence of a teacher’s musical epistemology — “the norms, logic, values, and way of knowing” music (Domínguez, 2017, p. 233) — along with the musical epistemologies of her students was the primary factor for student exclusion or empowerment in the classroom.

Composing is widely recognized by both researchers in music education and the NAfME (National Association for Music Education) as an important element in music education. However, composing as a primary activity has still not yet been established as an important aspect of secondary music education, particularly in the large ensemble setting. This study shows the efforts and outcomes of high school instrumental students as they created a notated musical composition for either a concert band or orchestra. What processes and approaches enabled these secondary instrumental students to compose for a large ensemble? What are the characteristics of the completed compositions composed by these secondary instrumental students? What impact did this experience have on the student composers who participated in this activity? In order to answer these research questions, qualitative instrumental case studies were conducted with eight high school instrumentalists, who participated in 7 workshop processes for composers to compose notated composition for either band or orchestra over a 3-month period. Using both expository method and discovery method, I taught and witnessed the processes of these eight students as they explored and discovered their compositions for band or orchestra, which were performed at the final recital. The result revealed that given an appropriate environment and tools, high school instrumental musicians can compose successfully for a large ensemble such as orchestra or band. Although these students had limited background in music theory, they were able to discover ways to create their desired effect by exploring and navigating sounds using the notation software, their primary instrument, and secondary instruments such as a piano. The experience fostered their curiosity for other instruments in the ensemble and nurtured their desire to learn more about them. This research opportunity gave all students a positive musical experience.

This study is in response to national, state and local curriculum issues. Curriculum work is taken to embrace curriculum research and theory, and curriculum development and implementation. This study is a critical reflection on current curriculum work as a day-to-day experience. This study is about the impact and local implementation of standards-based curriculum frameworks for students with disabilities and impairments. The focus is to develop an improved understanding of the extraordinary complexities that encompass standards-based music curriculum policy frameworks for these students in the State of Victoria. For most people, a better understanding of these extraordinary complexities may much reduce fear, unease and distrust. The phenomenon would seem logical. This study explores ways in which public curriculum policy is developed and implemented in modern societies like Australia. This study is a critical reflection on moves to change curriculum, curriculum policy framework initiatives and the institutional contexts that shape the impact and implementation of curriculum. Public curriculum policy formation is challenged by competing pressures and limitations including an increasing emphasis on ‘partnerships’ and ‘networking’. There are difficulties and complex challenges to ensure that all students share in the benefits.

Thesis (Ed.D.)--Baylor University, 2006. / Includes bibliographical references (p. 150-154).