At the turn of the 20th century, many American composers became engaged in what is now known as the Indianist Movement. The movement began following published musical transcriptions and cylinder recordings of Native Americans by American ethnologists. Numerous American composers were inspired by the melodic material and composed works such as symphonies, operas, choruses, string quartets, piano solos, and art songs from the Native American melodies. This treatise will provide a background on the Indianist Movement in terms of the chronology of development, the personnel involved, and the means of and reactions to Native American melody harmonization. An in depth study of the text and music from Arthur Farwell's Three Indian Songs, Op. 32, and Charles Wakefield Cadman's Four American Indian Songs, Op. 45, will highlight the compositional style and harmonic approach by two of the highest regarded Indianist Movement composers. / 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 1, 2014. / American, Cadman, Farwell, Indian, Native, song / Includes bibliographical references. / Shirley Close, Professor Directing Treatise; Timothy Hoekman, Committee Member; Andre Thomas, Committee Member.

The purpose of this study is to show the close relationship of music education to the total elementary school program. The need for such a study has been recognized by many music educators since it is commonly conceded that music education has not been as effective in realizing the ultimate aim of all education as it could be if made a very intimate part of the total educational process. / Typescript. / "July, 1952." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Dora Skipper, Professor Directing Paper. / Includes bibliographical references (leaves 44-45).

High school bands are producing some of our finest musicians. These musical organizations have become an integral part of virtually every high school in the nation, and have greatly added to the cultural aspects of their curriculum. The respect from student body and faculty, development of poise, and enrichment of the students' general education have justified the band program in the school system. / Typescript. / "August, 1964." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Music Education." / Advisor: Elmer P. Magnell, Professor Directing Paper. / Includes bibliographical references (leaf 8).

"It is the purpose of this study to present the organizational, operational, constitutional, and financial structures of eight junior high school band and music clubs of Tampa, Florida. A complete analysis and interpretation will be made of these structures. The following chapter will include the inner workings of these clubs"--Introduction. / "August, 1956." / 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 (leaf 75).

The purpose of this study was to explore the processes by which K-12 music teachers are hired when the hiring process is led by a supervisor of music. As defined in this study, supervisors of music are school administrators with a specialization in music education. School districts employing persons in this role rely on them to establish and implement a departmental vision. It is with this vision that they lead the hiring of music teachers in their district. Extant research relating to those traits which school districts seek when hiringteachers is centered around school principals and their views on hiring teachers in general terms, without regard for specific content areas. A subset of school administrators with music teaching experience, “music supervisors,” have been previously un-represented in research relating to hiring music teachers. This descriptive, mixed-method study focused on music supervisors and their role in and preferences for hiring music teachers. A survey was administered to music supervisors throughout Long Island and the responses of 62 music supervisors were analyzed. These data were triangulated through follow-up interviews of six music supervisors representing districts of varying sizes and financial need categories. The results indicated that music supervisors had high expectations for candidates to show excellent musicianship, content, and pedagogy knowledge in their candidates, but that candidates demonstrating exceptional soft skills were more likely to be awarded a teaching job. Though a significant amount of time is devoted to assessing candidate musicianship and pedagogical skills, music supervisors were in high agreement that “caring for students” was the most important trait that should be demonstrated by a candidate. Further results shed light on hiring processes and the way school districts each develop their own protocols which align with their community needs and culture to find the right teacher candidate.

This phenomenological study explores the lived experiences of three music teachers who are invited to view themselves and their practices as “becoming” in the context of Maxine Greene’s philosophy of education. In communion with my own becoming as teacher and researcher, I explore the aspects of my participants’ musical and teaching identities over the course of their careers and in relation to their unique teaching contexts. Throughout this project, I explored qualities of resonance, striving, a sense of artistic “re-capturing,” wide-awakeness, social imagination, and courage. I came to understand that stories play an important role in shaping our perceptions of reality and awareness of the lived lives of the “other” as we strive together toward a more just society through artistic encounters in education.

This dissertation is a study wrapped in a metaphor of voices, figurative and literal. It is a story of four singers over the course of 12 weeks and weaves through individuals in a group singing class. As a study, it used integral inquiry and emphasized action and narrative research. It explored one overarching research question, which naturally led to several sub-questions: In what ways might Mindfulness Awareness Practices (MAPS) and contemplative teaching and learning practices affect singers’ experiences of their own vocal and personal growth? (Sub-questions: What practices are reported as being successful?; How do participants experience growth?; How might singers and teachers shift to a mindset of process and progress throughout practicing and performing?; How do we create a space of mutuality and trust to foster self-reflection?; How do we balance instruction, offering feedback when needed and wanted while fostering self-trust and independence? While singing is a wholistic endeavor requiring an intricate balance of physical and mental processes, we rarely discuss how teaching singing could consciously incorporate the mental and emotional into a voice studio. Learning to sing in a way that incorporates intentional mindful and contemplative practices into a more traditional vocal pedagogy might foster growth for singers both personally and artistically. Over the course of 12 weeks, four singers and I met weekly for a two-hour class over Zoom that integrated contemplative learning and teaching practices into a singing class. We followed a format based in contemplative education and social and emotional literature for each class: (a) Centering and Check-In, (b) Third Thing, (c) Singing using contemplative and mindful language and concepts, (d) Optimistic Closure. Additionally, there were a total of three unstructured interviews (two individual, before and after the classes, and one final group interview at the conclusion of the classes), and participants engaged in practice journals and mindfulness practice outside of class time. Data was examined using a framework of non-hierarchical rhizomatic learning, based on the work of Deleuze and Guattari. Participants’ stories were ripe with explorations of themselves, life circumstances that contributed to their relationships with their voices and vocal technique and musing on society and professional pressures. Primary discoveries include participants’ self-attributed growth in self-awareness, including self-efficacy and an increased growth mentality. Incorporating deliberate vocal technique using non-judgmental noticing, kinder self-talk, open-ended feedback, and the use of third thing discussions similarly enhanced participants’ self-defined growth and emphasized the importance of self-reflection within a group setting. The discussion concludes with an exploration of additional factors affecting participants’ growth, such as gender and race, and potential considerations for implementing continued work with singers, contemplative education, and mindfulness.

Because Western art music is harmonically more complex than popular music and because it is written with musical notation, it may be challenging for certain people with no music training (non-musicians), those who did not grow up with Western art music, or those who did not choose to listen to this type of music for enjoyment to understand and appreciate it. Furthermore, there is a prevalent belief that Western art music is for the wealthy and elderly. This belief may be preventing symphony orchestra groups from cultivating new audiences. This study aims to determine if a narrative music listening activity would generate emotional response and cognitive engagement in a study group of non-Western art music listeners and prompt them to create musical narratives. Theoretically, narrative form music listening may present episodic memories, which can be built up into stories. To test the effect of narrative music listening activities, an online survey was distributed to non-Western art music listeners in the 20 through 40 age range, and pretest–treatment–posttest activity was devised and administered to three groups, an absolute music listening group, a programmatic music listening group, and a polyphonic texture listening group. In the treatment section, the creative listening activity, participants were prompted to create musical narratives, which take the form of colors, shapes, dialogues, or explicit stories. Participants were then asked to write about the music they heard before and after the narrative music listening activity. Participants’ motivation to attend a Western art music concert was assessed via a motivation scale using Likert scales. The results suggest that this online activity’s multimodality was a promising method for enhancing the appreciation of Western art music.

Classical music performance has long been perceived as the domain of people with talent. This pervasive way of thinking can inhibit individuals from reaching their true musical potential. I argue that this problem has to do with the habitual performing and teaching practices based upon the body-mind dualism, which ignores intrinsically connected qualities of the performing body and mind. In this project, I aimed to understand the intrinsic malleable capacity, or my terms, the malleable inner self, as the intrinsic measurement for lifelong learning and growth in the context of musical performance and its pedagogy. Through autoethnographic narrative inquiry with the life story interview method as a methodological lens, I used the Korean cellist Ms. Lim’s 30- year transformative journey as an essential testimony. This project arises from a way of knowing I have turned to, the move from practice to theory, which I came to believe opens up a mode of inquiry that offers continuous growth, as did Ms. Lim’s lifelong transformative journey. In my reimagination of Ms. Lim’s narrative—in which I redefine her transformative journey as a musical pilgrimage—the self is the “capacity within.” I cultivated the idea of the entirety of the musical self, underlying a sense of wholeness or a sense of the self as a musical whole, the pinnacle of the restored capacity that comes with the body-mind/self- music unity. In this sense, the malleable inner self or the malleable capacity within is the foundational condition to be restored to experience the entirety of the musical self or a sense of the self as a musical whole. I further reimagined, from the transformative learning perspective, how this restored self/capacity can reflect understanding of an essential pedagogy, breaking out of the extrinsic measurement-oriented pedagogical structure in the context of musical performance. I conclude that every individual musician at all levels retains an inherent, malleable musical capacity, which can be restored from the unified, liberated mind-body as the ultimate musical entity. With the capacity-building perspective, my study demonstrates that students and teachers can open their own doors for ultimate lifelong transformation and growth by restoring the malleable inner self, turning away from the long-standing perspectives in classical music performance and its pedagogy.

Gospel singing is a musically sophisticated and culturally influential vocal performance style. Yet, its pedagogy is often expressed through the lens of formal/classical training or a Contemporary Commercial Music (CCM) umbrella for all non-classical styles. This is problematic because classical training does not produce gospel singing, and most CCM styles are derivatives of the black vernacular singing practices that are foundational to gospel music. It follows that Gospel singing should be foundational to the study of CCM styles. However, in the absence of formal vocal training, little is known about how gospel singers actually develop and maintain healthy gospel singing voices. The purpose of this study is to explore with 12 professional gospel singers, their perceptions of how they have developed and maintain a vibrant and successful gospel singing voice and what role, if any, formal voice training played in that development. The exploration revealed that professional gospel singers are often not only formally trained, but gospel is a key part of their formal training. Their gospel upbringing taught them key cultural practices that both align with and expand the conversation around traditional, CCM, and the growing Gospel voice pedagogy. Their stories offer a different perspective about how gospel singers learn and how they should be taught.