Histories of higher education isolate the conservatory/music school from their purview by omission, while histories of music education and individual music schools give overviews but do not address in depth the traditions, development, effects, and tensions buried within courses of study and the particular needs of the music student. That consideration is the purpose of this study. Toward the end of the nineteenth century, professional music education emerged as independent schools, or schools and departments within university settings. As the university accepted and acknowledged a broad and diverse range of fields of study, it developed new areas of specialization in its curricula. Concurrently, `art' music as a cultural pastime was finding its place in the American social consciousness and inviting, as a consequence, a means of education directed to this pursuit. Encouraged by European immigrants who themselves were musicians, or those for whom art music was a cultural tradition, and also by responsible philanthropy of new wealth acquired from the Industrial Revolution, America began to embrace the currents and interests of its immigrant population. In so doing it created a need for teachers of music, for improved instruments and organizations to engage in music-making, and for performers to provide entertainment. The recognition of professional education in new university institutions made it an opportune time for music to establish itself as a viable part of American higher education. Music schools proliferated, standards notwithstanding with regard to courses of study, faculty, and student requirements. Gradually, however, America pooled its resources and called upon its own ingenuity to clarify the ideology of the professional musician and to define how the training and education for that ideology might be accomplished. By the twentieth century America could offer professional study for the applied musician on a par with its European counterparts. This thesis considers the environments of three prominent music schools founded in the 1920s, the Eastman School of Music, The Juilliard School, and The Curtis Institute of Music. It reviews the administration, faculty, and the evolution of their curricula for the applied major from their inception to 1945, and observes how each defined and clarified its course of study. Thus it serves as a foundation for understanding the trajectory that brought these schools to their present place of recognition. In so doing it offers one perspective of professional education, that of training and educating for performance, and contributes to the narrative of the history of higher education.

Teachers represent a large portion of professional voice users in the United States and the development of poor vocal health has related to their work. Elementary music educators are expected to use their voices in both speech and song and are vocally active for much of their workday. This study investigates elementary music teachers’ conceptualization of their voices, what personal and professional value teachers place upon their voices, and how vocal health may affect, support, or detract from their careers. In this multiple case study conducted with three participants, a questionnaire addressed background demographics for the teacher and information regarding the music program. An interview collected more in depth data on thoughts and perceptions of voice use. Teachers completed the Voice Handicap Index and Singing Voice Handicap Index and each teacher was observed for one full workday. Vocal professionalism and caring for the voice’s professional use vary in definition and importance from teacher to teacher. Participants seem more conscious of their physical health than other aspects of professional vocal demand. Participants described themselves as vocal professionals while also engaging in behaviors which did not consistently support sustainable vocal health or hygiene. While each teacher viewed their voice as a professional tool, none had received training in the care of their voices, in what to do if their voice was injured, or in how to use their voices safely while teaching. Each teacher reported mild to no voice handicap on both the Voice Handicap Index and the Singing Voice Handicap Index. This may reflect some degree of label avoidance. Teachers at the elementary level of music come from diverse backgrounds and teach in widely varying circumstances. Teachers may hold some information on vocal health but may not have been trained in how to use the voice while teaching and may develop habitual practices which are not conducive to a career of healthy vocal production. Increased attention is indicated for the populations who professionally use their voices in both speech and song.

No description available.

The purpose of this document is to construct a pedagogical model for which we can better teach the adaptation and versatility of the saxophone within the musical world. In my experience, there seems to be an absence of discussion regarding the rich historical diversity of the instrument. When considering the development of the saxophone it is usually within the scope of a particular musical style, most often through the genres of classical music or jazz. By narrowing our scope to the field that we inhabit we leave out some of the most innovative and interesting approaches to the instrument, and concepts that could potentially be integrated into our own performance practices. Through an examination of how the instrument has adapted in response to technological, social and aesthetic changes we gain insight into the flexibility of the instrument and begin to dismantle barriers that often define “schools of playing.” By establishing the saxophone’s history of adaptation, I build an argument that there is no singular correct approach to sound, only a rich variety of choices. Soundscape ecologist Bernard Krause popularized the term “acoustic niche” which originated from his colleague Ruth Happel. Acoustic niche refers to the situation by which vocalizing creatures within a particular environment alter their frequencies to compensate for sonic changes to their territory caused by encroaching other species including humans. He states that examining, “the diversity and structure of natural sounds from a rainforest forcefully demonstrates very special relationships of many insects, birds, mammals, and amphibians to each other.” The adaptation of creatures’ vocalizations, rising and falling within certain frequency levels, is essential to their survival. Any “masking” or invasion by others threatens an individual’s ability to locate food sources, communicate danger signals and attract mates. In this context, acoustic niche theory becomes a useful metaphor for the development, adaptation, and trajectories of the saxophone in the instrumental world. Since its invention in the mid-nineteenth century, the saxophone has regularly adapted and altered its tonal profile to carve a place in a diverse spectrum of genres and musical styles. The opening chapter discusses the landscape of the saxophone community as a whole. This includes the genres of classical and jazz as well as niche communities such as Carnatic and popular musics. In this chapter I frame the issue of “specialization” and provide background material on acoustic niche theory. The second chapter seeks to complicate and enrich the saxophone’s historical narrative in order to demonstrate the logic of various communities existing within. The third chapter begins with a discussion of technological changes made to the instrument since its invention. The remainder of chapter three explores a variety of diverse tonal profiles that exist within general communities such as classical, jazz, popular and non-Western musics. The final chapter considers a practical application of these discussions and presents a sample pedagogical method. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2019. / April 19, 2019. / Acoustic Niche, Historical Narrative, Pedagogy, Saxophone, Specialization, Tonal Profile / Includes bibliographical references. / Geoffrey Deibel, Professor Directing Treatise; Denise Von Glahn, University Representative; Deborah Bish, Committee Member; Jeffrey Keesecker, Committee Member.

As we work and study in our increasingly globalized society, there is a growing trend of Chinese piano students choosing to pursue their higher education in the United States. Elite music institutions in America are also seeking and recruiting a large number of Chinese pianists. This trend raises questions regarding the similarities and differences between Chinese and American piano performance programs in university-level institutions. The purpose of this study was to promote a greater understanding of Chinese and American piano performance programs in higher education through examining selected university-level institutions. To accomplish this goal, (1) the researcher collected data from the selected university-level institutions in both countries regarding their piano-related degree offerings, audition requirements, curriculum requirements, and core course offerings for the piano performance programs. These data were used to analyze and compare the structure and design of piano performance degree programs in both countries; (2) the researcher also conducted an online survey to gather information regarding current faculty members’ and students’ perceptions of their piano performance programs. Their perspectives shed light on why so many Chinese students continue their music education in the United States. A total of 20 university-level institutions (N = 20) were selected in the U.S. (n = 10) and China (n = 10) as the sample institutions in this study. Survey participants included the students who were currently enrolled in piano performance programs and faculty members who were currently teaching in the sample institutions in both countries. A total number of 34 student participants and 7 faculty participants in the U.S. along with 119 student participants and 11 faculty participants in China completed the questionnaires. Results indicated that while only one institution in China offers a doctoral degree, all the sample institutions in the U.S. offer doctoral degrees in piano performance. Institutions have similar audition requirements in both countries, but the American institutions have a broader review process for admission. Although both the Chinese and the U.S. institutions had a similar structure in their curricula, the balance of required credits in each area was noticeably different. Overall, American institutions focus more on the major area than Chinese institutions in both undergraduate and graduate programs. In addition, the structure of the core course offerings is also very similar. Applied lessons, piano literature, piano pedagogy, accompanying, and recitals are the core courses that commonly appear on the institutions’ curriculums in both countries. A large percentage of student participants in both countries indicated that their ideal career was being a faculty member in higher education. Although results indicated that overall, there is no significant differences between the students’ level of satisfaction of the core courses in their piano performance programs, students in the U.S. were significantly more satisfied with the applied lessons and the degree recital in their programs than the students in China. It is encouraging that not only students gave careful attention toward the applied lessons and performance opportunities in their studies, but also that a large percentage of the students believed they received excellent advice regarding practice strategies and artistry in their applied lessons in both countries. The statements made by faculty participants illustrate that the vast majority of them in both countries expressed positive attitudes regarding the piano performance programs in their universities. Faculty members in both countries believed that piano technical skills were difficult to establish and develop during the collegiate level education. Therefore, they recommended that prospective students must build a solid foundation and master the technical skills before college. Interestingly, faculty participants in the U.S. were more concerned about the graduation requirements in their piano performance programs while Chinese faculty participants cared more about the admission requirements in their programs. According to the comparative results of the research questions, the factors that attract Chinese students to study in the U.S. can be attributed to the following aspects: 1) students plan to seek the most advanced degree—doctoral degree in piano performance; 2) students may have less stress related to studying for standardized tests during the application process; 3) students may be able to complete the program and obtain the master’s degree in a shorter period of time; 4) the design of the programs/curriculums may allow students to receive more personal attention and more professional development; 5) students may become more independent and can receive better quality of applied lessons and degree recital preparation; and 6) they may gain more performance opportunities and receive a comprehensive view of the subject matter. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2019. / April 6, 2019. / America, China, higher education, piano performance programs, piano students / Includes bibliographical references. / Diana Dumlavwalla, Professor Directing Dissertation; David Kalhous, University Representative; Kimberly VanWeelden, Committee Member; William Fredrickson, Committee Member.

Abstract not available

There is no abstract available for this dissertation.

There is no abstract available for this thesis.

The purpose of the study was to review educational objectives for conducting classes for the undergraduate through the doctoral degree. This included one hundred and seventy-three behavioral objectives and three basic methods of evaluation.Specific conducting textbooks were reviewed as were the conclusions from related research. Articles relating to the preparation of the conductor and conducting curricula were also reviewed. The survey instrument designed for this dissertation was mailed to teachers of conducting at the eighteen selected schools where programs were commensurate with this study.FindingsConducting textbooks are used most frequently at the undergraduate level.Equipment most frequently used for evaluation are the tape recorder and videotape (VTR).Compositions of Bach are most frequently used in conducting classes followed by Mozart, Beethoven, Haydn and Handel. Music of Schubert, Tschaikovsky, Brahms, Holst, and Stravinsky are also used frequently.Most teachers provide practical conducting experiences daily or weekly but opportunities to conduct live ensembles are still relatively scarce for undergraduates.All teachers teach conducting techniques and score analysis and memory. Seventy-six percent of the respondents also teach rehearsal techniques.Visual observation of conducting students is the most frequently used method of evaluation.Teachers feel there should be more classes, more class meetings, and a greater variety of conducting classes required--especially at the undergraduate level.ConclusionsEducational objectives should be clearly stated for conducting courses at all levels.Evaluation of conducting students should be provided in a variety of forms that are clear and meaningful to the student and be based on stated educational objectives.Conducting courses should be developed for opera, ballet, theater, oratorios, and jazz ensembles.The number of conducting courses, class meetings, and credit should be increased.More conducting classes should be required for the music education major and conducting major, especially at the undergraduate level.Ensembles should be frequently and consistently available to conducting students.

There is no abstract available for this thesis.