Teacher modeling is a widely used pedagogical approach in music education. Several studies have sought to assess the effectiveness of modeling strategies on instrumental learning and have examined the effects of modeling. Nonetheless, not enough scholarly attention has been paid to the comparative effectiveness of such strategies when they are used to teach music composition during one-on-one lessons. The majority of existing research has focused on the successful use of composing techniques as an efficient way of reinforcing composition skills, not as a means of stimulating a learner’s creativity. The purpose of this study is to provide a comprehensive understanding of the modeling strategies that are being used by music composition teachers. The composition teachers (N = 15) who have been teaching composition in a one-on-one setting at university for five years or more participated in semi-structured, one-on-one interviews. The study found that in composition lessons, modeling was mainly used for two different purposes, which include “modeling for exercise” and “modeling for actual composing.” In the case of using “modeling for exercise,” all the composers agreed that modeling works as a positive influence on the students by helping them learn musical concepts through imitation. However, in the case of using modeling for actual composing related to creativity, the opinions were varied. The study also found that choosing the appropriate timing, amount, and types of modeling play a crucial role in using modeling strategies while avoiding any possible negative effects.

"The general music class is considered by many music educators to be the most challenging area in the profession today. Although not an entirely new concept in education, it has come to represent in the minds of an increasing number of music teachers, as well as general educators, the most direct and effective application of music to the educational program. It has become a custom to think of public school music in terms of performing groups--the so-called "specialties," such as bands, orchestras, and choral ensembles. The present status of school music has been achieved almost exclusively through the success of these organizations, and their importance must not be underrrated. They have a role in education; their future seems assured. Whether they can continue to dominate the entire music curriculum, however, appears doubtful"--Leaf 1. / "August, 1955." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Music Education." / Advisor: Robert L. Briggs, Professor Directing Paper. / Includes bibliographical references (leaves 77-79).

The purpose of this study was to explore continuous and summative ratings of listener enjoyment across a variety of genres and to examine the roles of musical training and familiarity. A secondary purpose of the research was to explore possible relationships between musical training and enjoyment (preference) and estimations of excerpt duration. Specific research questions were 1) Does genre influence ratings of listener enjoyment? 2) Does genre influence initial listener response time? 3) Is there a difference between summative and continuous ratings of enjoyment based on genre? 4) Do patterns in the continuous rating of listening enjoyment emerge as a function of genre? 5) Does musical training influence preference ratings or response time? 6) Is there a relationship between familiarity and preference ratings or response time? 7) Does preference affect estimations of excerpt duration? Twelve musical excerpts were selected such that the genres of classical, popular, and world music were each represented by four unfamiliar and varied excerpts. Excerpts were edited to be 60 seconds in duration and were played for participants (N = 150) in a counterbalanced presentation order. Participants provided preference ratings using the Continuous Response Digital Interface in either a continuous or summative response condition. After each excerpt, participants provided a rating of their familiarity with the excerpt on a pencil-and-paper Likert-type scale and also provided a written estimate, in seconds, of each excerpt's duration. A mixed model analysis of variance revealed significant main effects for genre and major in preference ratings, as well as a significant interaction between genre and major. Participants most preferred the classical genre, followed by popular, and world music. Music majors also tended to rate excerpts significantly higher than nonmajors. The interaction occurred primarily in the popular music category, in which nonmajors rated the excerpts nearly as high as the majors. Majors also responded faster than nonmajors in the continuous response condition. Correlations between preference and familiarity were moderate and uniformly significant, whereas there appeared to be no association between familiarity and response times. Correlations between preference ratings and estimates of excerpt duration also indicated no association. The present study is situated amongst a large body of research on music preference. While some findings support previous research, other findings raise more questions and encourage further exploration. Implications of current results and suggestions 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 2016. / March 24, 2016. / Classical, Musical Training, Popular, Preference, World / Includes bibliographical references. / John M. Geringer, Professor Directing Dissertation; Bruce Holzman, University Representative; Alice-Ann Darrow, Committee Member; Steven N. Kelly, Committee Member.

ADr. Augustus J. Pearson is widely known as choral music educator who made significant contributions to choral music education and influenced many of his students. Moreover, his far-reaching influence as a choral conductor in various institutions, organizations, and communities is noteworthy. This study documents Pearson's contributions within the field of choral music education. Augustus J. Pearson was born in Topeka, Kansas on February 8, 1944 to Jamie and Augustus J. Pearson, Sr. He received his earliest musical training from his mother. He was a graduate of Topeka High School, where he was a member of the band and choir. He also played the organ and the piano. He served as the organist at Shiloh Missionary Baptist Church in Topeka, Kansas, where his father was pastor. He went on to pursue graduate study at the University of Michigan, where he earned a Master of Music degree in Voice. Later, he received a graduate assistantship and university endowment scholarship to complete a Doctor of Musical Arts degree from the University of Kansas. He was a member of the Phi Kappa Lambda National Honor Society, the American Choral Directors Association (ACDA), MENC, and the National Association of Negro Musicians. His college-teaching began in 1974 at Morris College. Afterwards, he taught at Fayetteville State University from 1979-1989 and at the Florida A&M University from 1991-1995. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2016. / April 11, 2016. / Includes bibliographical references. / André Thomas, Professor Directing Dissertation; Michelle Stebleton, University Representative; Judy Bowers, Committee Member; Kevin Fenton, Committee Member.

This study shows stylistic traits of Stephen Paulus's choral writing by providing an analysis of six of the composer's fifty-eight multi-movement works. The context in which each work was written (with regard to the commissioning ensemble and in relation to Paulus's career) is explored briefly, followed by textual and music analysis, focusing on unique qualities of the works as well as characteristics that carry over to his other works. The full fifty-eight multi-movement choral works are catalogued. A summation of Paulus's stylistic traits as represented by these works is presented as well as suggestions for further research. Additionally, a biography and full catalog are included. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2016. / April 11, 2016. / Includes bibliographical references. / André J. Thomas, Professor Directing Dissertation; Evan A. Jones, University Representative; Judy Bowers, Committee Member; Kevin Fenton, Committee Member; John Geringer, Committee Member.

The purpose of this project was to create an original composition for high school level band, to create a set of teaching materials specific to the composition, and to provide an analytical method for the creation of literature-specific teaching materials others can use to develop similar projects for the band repertoire. The center of the project is the composition True Love of Mine—A Fantasy on Scarborough Fair for Symphonic Band. A rationale regarding choice of literature, a connection between the warm-up process and music rehearsal, and a creative design for concept teaching is discussed. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2016. / March 15, 2016. / band, composition, concept, instructional, literature, teaching / Includes bibliographical references. / Clifford Madsen, Professor Directing Dissertation; Alexander Jimenez, University Representative; Richard Clary, Committee Member; Patrick Dunnigan, Committee Member; William Fredrickson, Committee Member.

The realm of education is steadily changing from the influence of ideas, theories, research, and technology. Revisiting theory and practices and reinvigorating them with the knowledge gained in research and the advances in technology continue to improve the opportunities of the students. With increasing expectations for teachers to incorporate and understand audio technology and its use in the classroom, educators must familiarize themselves and feel comfortable in using digital audio, recording and audio production techniques. Digital audio technology is now used ubiquitously for the delivery and distribution of musical compositions. As educators, the understanding of digital audio technology is paramount. This technology can be deployed to enhance both the opportunities and instructional resources available to students as well as an observational tool for teachers. The impetus for this dissertation was to create a comprehensive instructional design for both pre-service and in-service music educators as well as for applied instructors. The method of this instructional design utilizes experiential learning to introduce the theoretical ideas of digital audio theory and techniques. Through this project based, results-driven instruction, the understanding of core concepts is bundled into practical instructions that are of immediate use to an instructor's classroom and students. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2016. / April 13, 2016. / Audio, Audio Technology, Commercial Music, Education, Music, Technology / Includes bibliographical references. / Brian Gaber, Professor Co-Directing Dissertation; Clifford K. Madsen, Professor Co-Directing Dissertation; Bruce Holzman, University Representative; John Geringer, Committee Member.

Classroom instructional styles are a frequently discussed issue in education. Calls by professional organizations have encouraged teachers to take a more learner-centered approach to classroom structure. Research has shown that there are many benefits of a learner-centered environment. Historically, music ensembles have had a dominantly teacher-centered approach. The scope of the study was to determine what effects learner-centered instruction may have on a wind band performance, student attitudes, and student perceptions. A high school band was divided into two similar bands. The divided bands were assigned the same piece of music to rehearse for ten-minutes three times a week for six weeks. One band director was assigned a teacher-centered instructional style (control) and another band director was assigned a learner-centered instructional style (treatment). Following the six week rehearsal period, high school band directors (N = 47) evaluated pre and post-test performances based on performance characteristics (note accuracy, rhythm accuracy, tone quality, intonation, expressiveness, and overall performance). The researcher conducted t-tests for statistical differences between the two bands. The study's results indicated that there was a significant difference showing greater improvement toward the teacher-centered ensemble on all of the performance characteristics except rhythm accuracy where no difference between ensembles was reported. The results appear to be contrary to previous research. Students rated their attitudes toward their band experiences using a pre-test and post-test questionnaire. The students in the teacher-centered ensemble indicated decreased class enjoyment and decreased anticipation to band class but the students did report increased musical enjoyment and at home practice. The students in the learner-centered ensemble indicated increased at home practice but decreased class enjoyment and anticipation to band. A report of decreased class enjoyment in the learner-centered ensemble does seem to be contrary to previous research. Student perceptions of musical growth were compared between the teacher-centered group and learner-centered group. Students rated their musical growth as a result of their band rehearsals. The results were compared and no significance was indicated between groups. Suggestions on possible reasons why the present study appears to contrast previous 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 2016. / March 23, 2016. / Band, Instruction, Instructional, Learner-Centered, Student-Centered, Teacher-Centered / Includes bibliographical references. / Steven Kelly, Professor Directing Dissertation; Alexander Jiménez, University Representative; Alice-Ann Darrow, Committee Member; Patrick Dunnigan, Committee Member.

This study aims to broaden awareness of the contributions of one of America's prominent African-American choral composers, arrangers, educators, and conductors—Roland Marvin Carter. Carter, known by many as the "Dean of African-American Music," is often recognized for his efforts to preserve African-American music and traditions. Carter devoted his life to preserving Negro folk music and its identity in American culture through his teaching, conducting, composing and arranging of choral music. He taught at several respected institutions, including Hampton Institute, later named Hampton University (1965-1989), and The University of Tennessee at Chattanooga (1989-2013). In his 50-year career as a choral music educator, Carter has influenced many students who have become choral conductors in a variety of venues, continuing his legacy in the preservation of choral music composed by African-Americans. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2017. / April 10, 2017. / Charles Flax, Hampton Choir Directors and Organists' Guild, Hampton Institute Choir, Negro Spirituals, Roland Carter / Includes bibliographical references. / André J. Thomas, Professor Directing Dissertation; Michelle M. Stebleton, University Representative; Clifford K. Madsen, Committee Member; Judy S. Bowers, Committee Member; Katarzyna "Kasia" Bugaj, Committee Member.

The purpose of this study was to investigate the effects of vibrato and pitch-varied vocal models on acoustic measures of high school and undergraduate singers' vocal performance. Participants' perception of vocal models was also examined to explore a possible relationship between perception and production. The following primary questions guided this research: 1) Is singers' intonation affected by vibrato or pitch-varied vocal models? 2) Is singers' vibrato rate affected by vibrato or pitch-varied vocal models? 3) Is singers' vibrato extent affected by vibrato or pitch-varied vocal models? 4) Is singers' intensity affected by vibrato or pitch-varied vocal models? Secondary questions under investigation were: 1) Do singers respond differently to vocal models of pitch patterns versus song phrases? 2) Does age and experience influence singers' response? 3) Do singers perceive the differences in vocal models? Participants (N = 76) were male (n = 38) and female (n = 38) singers who were undergraduates (n = 40) currently participating in a choral ensemble at the Florida State University or high school students (n = 36) currently enrolled in the choral program at a nearby high school. Participants responded to twelve vocal models of the same gender that were varied in melody, vibrato, and intonation conditions. Vocal models consisted of either a short pitch pattern (sol-la-sol-fa-mi-re-do) or familiar song excerpt (Are You Sleeping?), both performed on the neutral syllable "tah." Model melodies were sung in vibrato and minimal vibrato conditions, with each model having a specific 3rd and 5th scale degree that was presented in tune, sharp, or flat (mistuned pitches ± 25 cents relative to equal temperament). After responding to vocal models, participants were asked via written questionnaire if they perceived differences in vocal models and, if so, to describe them. Audio recordings of participants' responses were analyzed acoustically, with the specific 3rd and 5th scale degrees in each model analyzed for the dependent measures of intonation, vibrato rate, vibrato extent and intensity. Repeated measures analyses were conducted on the acoustic measures. An alpha level of .01 was used in all statistical tests. Written responses on the questionnaire were analyzed for keywords reflecting vocal technique or musical elements. Keywords were then identified and coded for frequency of response. Significant differences in intonation were found, with responses to minimal vibrato models performed more flat than responses to vibrato models. Main effects were also found for gender, with male participants showing overall more flatness than females. Responses to pitch-varied models tended towards flat intonation, with flat models producing the greatest deviation particularly with male participants. Two interactions, both involving melody condition of models, also produced differences in intonation. Significant differences in measures of vibrato rate and extent were also observed. Vibrato rates were faster and vibrato extents were wider in response to vibrato models. High school participants responded with similar vibrato rate and extent to both vibrato model conditions, whereas undergraduates responded with significantly faster vibrato rate and wider extent to vibrato models. Undergraduate vibrato rates were similar between genders, however high school males were significantly slower in vibrato rate than high school females. Intensity results for both high school and undergraduate participants showed significantly higher intensity levels for 5th scale degrees than 3rds. High school males performed both scale degrees at similar intensity levels, while high school females sang 5ths with higher intensity. Significant differences in intensity were also found with undergraduates, with responses to vibrato models yielding higher intensity. Male undergraduates were found to sing with higher intensity in response to vibrato models, whereas females sang with similar intensity between vibrato-varied conditions. Interactions involving scale degree or melody condition of models also produced significant differences in intensity. Analysis of written questionnaires showed that 71 (93%) participants perceived differences in models. The most frequently used keyword(s) was vibrato/straight tone, with 36 participants (51%) noting this as a perceived difference between models. Timbre/tone quality was the next most used word(s) by 13 participants (17%), followed by intonation/pitch used by 12 participants (15%). More males noticed changes in tone quality, intonation, and vowels than females, whereas the latter recognized vibrato changes more than males. Undergraduates perceived vibrato changes and intonation differences more than high school participants. Many complex factors were thought to contribute to results of this study, including perception, experience, vocal development, and vocal production. While some findings support prior research, other results raise questions that warrant additional investigation. Implications and ideas for future inquiry 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 2017. / April 12, 2017. / choral pedagogy, intonation, modeling, pitch accuracy, vibrato, vocal models / Includes bibliographical references. / John M. Geringer, Professor Directing Dissertation; Christopher R. Moore, University Representative; André J. Thomas, Committee Member; Judy K. Bowers, Committee Member; Clifford K. Madsen, Committee Member.