A new paradigm for running youth orchestras is needed in order to reduce redundancy, increase efficiency, deal with reduced budgets in many music programs, and create a sustainable infrastructure for the creation of youth orchestras. Large metropolitan areas often have exemplary youth orchestra systems, but smaller cities and underserved areas may not have the resources like a full time staff, business processes, communications technology, and available sheet music to maintain a youth orchestra even though the area could artistically sustain one. Using knowledge from current business, nonprofit, and music education research, this document proposes an innovative approach to systematically organize and administrate youth orchestras by combining the best practices of various fields in order to tackle some of the biggest challenges to youth orchestras today. Youth Educational Symphonies (YES!) is a nonprofit franchise business model for establishing and maintaining youth orchestras. Nonprofit franchising, commonly referred to as "social franchising" in the social services sector, is a burgeoning area of entrepreneurship designed to target needs by using repeatable processes. A youth orchestra or entrepreneurial conductor will be able to "plug into" the YES! franchise to administrate the billing, accounting, payroll, publicity materials, communications, ticketing, business infrastructure, music library, string bowings, and Orchestra Manager training. By joining the YES! organization, member youth orchestras will acquire a business infrastructure specializing in the area of youth orchestras. The business systems and opportunities offered with YES! membership also include: website design and hosting, recruiting materials, an operations manual, a lending library of youth orchestra repertoire, new music written for youth orchestra, student scholarships, instrument and equipment outsourcing, consulting and training, and an organization-wide annual summer symphony festival called SForzando. This franchise model for the Youth Educational Symphonies attempts to provide the business-side infrastructure needed for an entrepreneurial conductor or a group of qualified music teachers to start up or maintain a youth orchestra in their community quickly, effectively, and sustainably. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2017. / March 27, 2017. / Arts Administration, Business Design, Entrepreneurship, Nonprofit Management, Social Franchising, Youth Orchestra / Includes bibliographical references. / Alexander Jiménez, Professor Co-Directing Dissertation; Clifford Madsen, Professor Co-Directing Dissertation; Paul Ebbers, University Representative; Kasia Bugaj, Committee Member.

This dissertation is about an approach to music teacher education that attempts to prepare pre-service music teachers to find employment while also preparing them to improve the realities of school teaching and learning for themselves and their students. Approaches to music teacher education in the United States have moved from broad one-size-fits-all approaches to specialized approaches that track music education majors into vocal, instrumental, and general music specialties. And at some universities, music teacher educators have considered what it might mean to prepare music education students for state licensure policies that favor all-encompassing licenses, (i.e., P–12 Music, and a marketplace that increasingly seeks broadly qualified teachers). To learn more about the latter approach, East Coast University’s music teacher education program was identified through purposeful selection for examination via intrinsic case study. Through snowball sampling, five faculty members were selected for teaching observations and interviews. In addition, focus groups of student and alumni (self-selected through volunteer sampling) helped develop my understanding and description of the case, and identification of a resultant, overarching theme. The research was focused through Biesta’s three domains of educational purpose beginning with the formation of research questions in each Biestian domain: qualification, socialization, and subjectification. The overarching theme presented in this dissertation involves a dualistic approach to music teacher education: East Coast University prepares music teachers with the skills to win and keep the job and to be change agents capable of improving their educational landscapes. As a result of my research and lengthy field engagement, I believe the preparation ECU music education students receive can be expressed as the tension between broad preparation and a personal orientation. It’s not a universal preparation; rather, it’s the ability to move flexibly across large educational domains, and at the same time, develop a kind of personal orientation that is connected to the particular. This connection is the particularness of who they are as teachers, their own biographies—the lives that they’ve lived, and the specifics of how they’ve lived those lives. In fact, that’s the beginning of a justice-based approach—to know oneself and to be able to work strategically within the particulars of a community. Throughout this intrinsic case study, my own pre-service and in-service teaching stories are interwoven with the participants’ stories in ways that are intended to address my positionality, contextualize the theoretical framework, and examine more deeply emergent research understandings. Recommendations are made for future research and practice, and a final personal reflection considers my still evolving approach to music teacher education and how it was influenced by this study.

For keyboardists, touch is a paradox. It refers to the physical actions that constitute performance, yet to be “touched” by music is also to consider the immaterial relationship between performance and our psychology. In this dissertation, Touch and Modernity in French Keyboard Pedagogy, 1715–1915, I explore this dual notion of touch, deciphering how performers, teachers, analysts, and critics described the keyboard as a unique interface between body and mind. I track the notion of touch through an undertheorized corpus of instruction manuals for harpsichordists and pianists written in France between 1715 and 1915. The authors of these manuals outline several strikingly flexible theories of touch, described as some combination of action, sense, and metaphor. They use touch to construe the keyboardist as a modern ideal, dedicating their pedagogical programs to “newness,” configured to varying degrees as edification through rationalization, social development through institution building and urbanization, industrialization, culminating in the themes of alienation and solipsism. The musicians who wrote and used these manuals found unlikely interlocutors across a diverse field of thinkers. These interlocutors included philosophers and encyclopedists, bureaucrats, technologists, anthropologists, anatomists, psychologists, and others. Venturing explanations for the body’s relationship to sensory impressions, aesthetic judgments, and knowledge acquisition, these figures joined music pedagogues, using the keyboard and its various iterations—from instruments to telegraphs and typewriters—as a grounding object for touch. They delineated the stakes of an array of ideologies, positing an artistic, intuitive, discerning, or efficient touch as a benchmark by which to calibrate their modern subject, idealized as inhabiting an interface between historicity and progress. Their definitions for touch shuttle between public and private spheres, the exterior world and the interior psyche, the self and the other. This dissertation’s methodology treats four broad topics as lenses through which we discern modern modes of theorizing, deriving, and disseminating knowledge through touch. These include sensibility, or the condition for subjective knowledge; empiricism, or knowledge by way of experience; physiology, or knowledge acquisition through study of the interaction between mind and body; and psychology, or the potential for variable knowledge based on perception and attention. I argue that, animated by the aforementioned topics, touch enacts a dialectic of musical “work”—connoting preparatory labor, polished performance, and an object for contemplation and analysis—through which keyboardists came to represent modern subjectivity more broadly, the concept for which concretized over the course of the Enlightenment and Romantic eras. Touch thus affords a unique framework which we may use to study historical definitions of selfhood, denoting the materials, practices, and ethics of experiencing our bodies and articulating our relationship to culture and society.

A dissertation submitted to the Faculty of Education, in fulfilment of the requirements for the degree of MASTER OF EDUCATION in the Department of Educational Planning and Administration at the University of Zululand, 1989. / This dissertation sets out to investigate the relevance and the effectiveness of the Primary Teachers' Diploma (PTD) Music Syllabi. The Main focus is the KwaZulu and Natal Colleges of Education that offer PTD. Chapter 1 outlines the background to the research study, and discusses the role played by Music in both rural and urban Black communities. This chapter also summarises the musical needs of black communities. Chapter 2 reviews the literature that deals with the teaching of Music in schools. This literature is then compared and contrasted with the prescribed Music syllabi of the South African Black schools and colleges. Chapter 3 describes and discusses the interviews, questionnaires and observation (Triangulation) that are used to investigate the relevance and effectiveness of the PTD Music Syllabi. Chapter 4 presented the findings that are concluded in chapter 5. The prescribed PTD Music syllabi are found to be generally relevant but ineffective. The ineffectiveness is attributed to factors such as poor musical background of music students, inadequately trained music teachers, amount of allocated time, and a shortage of music equipment. The researcher recommends that Music teachers should be in-serviced and be helped to improve their music knowledge and qualifications. A balance is to be brought about between the allocated amount of work and time. Secondary schools are to try and offer Music as a subject.

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