This study explores the complexities of professional performing freelance musicians who teach part-time through arts organizations in multiple educative settings, a condition I refer to as nomadic. Nomadicism is characterized by an inherent sense of itinerancy. Through semi-structured interviews and observations with three participants, I constructed narratives of individual experience through a method of narrative inquiry, which enabled much-needed nuance and complexity, as prior research in the field of teaching artistry has focused mainly on surveys of working conditions with mostly informal anecdotes from the field. The music teaching artists in this study negotiated highly complex careers to extraordinary degrees in which they experienced conflicts between their preparation as highly accomplished performers and their preparation for their work as teachers. While each participant expressed their motivations for pursuing careers as teaching artists in radically different ways, they shared similar patterns of integration and reciprocity between their performing and teaching identities. Participants communicated unique, varied, and idiosyncratic narratives of perceived successes and challenges in preparing, adapting, and negotiating their multiple roles across multiple spaces. While their work had them interacting with students, teachers, administration, family, and musical colleagues, the teaching artists still experienced significant feelings of isolation. Ultimately, each participant articulated the need for openings of dialogical spaces for teaching artists to commune and grow with one another. This study brings a critical perspective to the conditions of music teaching artists and how they and those that prepare and work with them might bring criticality and responsiveness to their unique place within the wider world of arts education.

This dissertation explores multi-modal, symbolic, and embodied strategies for navigating musical periodicity, or “meter.” In the first half, I argue that these resources and techniques are often marginalized or sidelined in music theory and psychology on the basis of definition or context, regardless of usefulness. In the second half, I explore how expanded notions of metric experience can enrich musical analysis. I then relate them to existing approaches in music pedagogy. Music theory and music psychology commonly assume experience to be perceptual, music to be a sound object, and perception of music to mean listening. In addition, observable actions of a metaphorical “body” (and, similarly, performers’ perspectives) are often subordinate to internal processes of a metaphorical “mind” (and listeners’ experiences). These general preferences, priorities, and contextual norms have culminated in a model of “attentional entrainment” for meter perception, emerging through work by Mari Riess Jones, Robert Gjerdingen, and Justin London, and drawing upon laboratory experiments in which listeners interact with a novel sound stimulus. I hold that this starting point reflects a desire to focus upon essential and universal aspects of experience, at the expense of other useful resources and strategies (e.g. extensive practice with a particular piece, abstract ideas of what will occur, symbolic cues) Opening discussion of musical periodicity without these restrictions acknowledges experiences beyond attending, beyond listening, and perhaps beyond perceiving. I construct two categories for various resources and strategies: those which involve dynamic symbolic encoding (such as conducting patterns and tala gestures) and those which utilize static theoretical information (such as score-based knowledge and calculation of abstract relationships). My primary means of revealing and exploring these additional resources involves instances of “metric multi-tasking,” in which musicians keep track of multiple non-nested periodicities occurring simultaneously. One of the reasons these situations work so well at revealing additional resources is that attentional entrainment offers no explanation for how one might be able to do such a thing (only that attention is insufficient for the task). I do not make these moves in an attempt to significantly alter the theory of attentional entrainment. Rather, I frame that model as but one mode of temporal perception among many. I also leave room for types of temporal knowledge which may not be perceptual at all, but are nonetheless useful in situations involving musical periodicity. Pedagogical systems already make use of dynamic symbols and theoretical knowledge to help with temporally difficult tasks, and generally not virtuosic feats of metric multi-tasking. With these ideas in mind, I return to more straightforward “mono-metric” contexts and reconsider what to do with the concepts of “meter” and “perception.”

This study investigated the motivating and engaging factors of jazz programs present in the learning environments of avocational jazz musicians in higher education. The investigation explored these factors as perceived by the learners themselves as well as the educators tasked with creating enriching musical experiences for their college students. The student participants for this study consisted of college students currently enrolled at a liberal arts college in the NorthAbeles, east, all of whom perform in the jazz ensemble at their institution. The setting of liberal arts colleges was chosen for the study as an environment where students are actively learning and performing jazz music while pursuing other academic interests more closely related of their desired future professional goals. The educator participants came from the same institutions and provided data in specific regard to their experiences working with this unique population of jazz learners. Students reported their motivations were peaked by the social element inherent to the ensemble experience, their desire to exercise their creativity, and the value of diverse learning environment as part of their overall college experience. On the other hand, educators from the same institutions found that they were best serving their students by demonstrating their own enthusiasm for the music, demonstrating the critical thinking element of jazz learning, and understanding that the students more closely relate the ensemble to a recreational activity available at the college. The study gathered data from focus group interviews with 49 students and 6 one-on-one interviews with jazz educators at liberal arts colleges. The questions for these interviews and focus groups were derived from an earlier pilot study of the same population of jazz learners and liberal arts music educators, and the analysis paralleled reported findings to relevant motivational theories and pedagogical practices common to jazz performance education.

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Yau, Oi Suet. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 170-178). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Introduction / Chapter I. --- Introduction --- p.1 / Chapter II. --- Literature Review --- p.2 / Chapter III. --- Methodology --- p.7 / Chapter IV. --- Thesis Structure --- p.10 / Chapter Chapter 2 --- "Background, Children and Music Education" / Chapter I. --- General Historical Background --- p.12 / Chapter II. --- "Children, Music Education and the Soviet Union" --- p.22 / Chapter Chapter 3 --- Prokofiev and his Children's works in the 1930s / Chapter I. --- Prokofiev's Return to the Soviet Union --- p.36 / Chapter II. --- Prokofiev's Children's Works in the 1930s / Music for Children (Op. 65) --- p.43 / Summer Day (Op. 65b) --- p.53 / Peter and the Wolf [Op. 67) --- p.58 / Three Children's Songs for Voice and Piano (Op. 68) --- p.76 / Chapter Chapter 4 --- "War Years, Stalin Prize and Radio Committee" / Chapter I. --- Historical Background --- p.89 / Chapter II. --- The Awards for Cultural Intelligentsia- Honorary Titles and Stalin Prize --- p.101 / Chapter III. --- All-Union Radio Committee --- p.103 / Chapter Chapter 5 --- Prokofiev and His Later Children's Works / Chapter I. --- Prokofiev's Late Years --- p.107 / Chapter II. --- Prokofiev's Later Children's Works / Winter Bonfire (Op. 122) --- p.109 / On Guard for Peace (Op. 124) --- p.121 / Seventh Symphony (Op. 131) --- p.139 / Chapter Chapter 6 --- Conclusion --- p.153 / Appendix --- p.159 / Bibliography --- p.170

The study explored the influence of environmental catalysts, upon the provision of field specific opportunities for learning, training, and practice, for a sample population of musically involved young Australians. The findings enhance understandings of the conditions in which children's musical aptitudes are developed. Research bases in the fields of gifted education and music education were employed to support the investigation. Components of Gagn??'s Differentiated Model of Giftedness and Talent (1995a) provided the theoretical framework for this investigation. Two survey questionnaires, completed by Australian parents (N = 194 and N = 182 respectively), sought information pertaining to the subject child's musical involvements and undertakings. Some details of the musical interests and involvements of the child's parents and siblings were also obtained. Quantitative and qualitative data contribute to an extensive profile of the types of music programs and provisions which support the normative and expert development of Australian children's musical behaviours. Parents' musical interests and involvements appear to have strongly influenced the choice of home-based recreational pursuits for their children. The convincingly articulated, positive, field specific views espoused by Australian parents appear to have been translated into the provision of multiple, simultaneous opportunities for their children to engage with musical undertakings. Notable amongst the data are the structured involvements of young musicians with music composition engagements. The data also indicate that many of the sample of Australian children received high levels of support and encouragement for musical undertakings from parents who were themselves musically interested and knowledgeable. Parental involvements with their children's music lesson and practice related engagements, were found to be characterised by features of deliberate practice. The home-based environments of young Australian musicians were found to be characterised by opportunities for exposure to rigorous and challenging musical engagements, undertaken at an optimally early age, thereby enhancing normative musical development. Such engagements provided the necessary foundation for expert levels of musical skill acquisition. An ascending progression of musical skill development was demonstrated to correspond to increasing age further reinforcing the developmental perspective on the acquisition of musical expertise. Some parents indicate that musical engagement has been pursued as a means of appropriately challenging children exhibiting the cognitive and affective characteristics of giftedness.

The purpose of the study was to determine the composition and characteristics of employer and employee negotiating teams during initial stages of legislated collective bargaining for public schools in Indiana. Study participants included superintendents and trustees and 204 presidents of identified exclusive representatives of bargaining units of Indiana school systems.Participants responded relative to the number, race, sex, previous negotiating experience, and professional employment positions held by negotiating team members; positions held in professional employment, previous negotiating experience, race, and sex of negotiating team spokesmen; remuneration of negotiating team members and spokesmen; and extent of use, position held on negotiation teams, basis of selection, previous negotiating experience, amount and basis of remuneration of outside experts in negotiations.Findings of the study were:1. Teacher negotiating teams were larger than teams representing boards of education. Teachers' teams increased in number as pupil enrollment of school systems increased.2. Almost all negotiating teams had one individual identified as negotiating team spokesman.3. School board member participation on employer negotiating teams increased as pupil enrollment of school systems decreased.4. Slightly more than 25 per cent of all superintendents participated on employer negotiating teams. Only one superintendent served as spokesman in school districts serving 12,000 or more students.5. The number of principals serving as spokesman increased as the pupil enrollment of school systems decreased.6. The number of business managers serving as spokesmen increased as the pupil enrollment of school systems increased.7. Assistant Superintendents for Personnel and/or Directors of Employee Relations served as spokesman only in districts serving 6,000 or more pupils.8. Attorneys served as outside experts on one-half of employer negotiating teams.9. Negotiating team membership reflected all segments of employer and employee groups.10. Slightly less than one-half of team spokesmen reported they had no previous negotiating experience. Almost 100 per cent of team spokesmen for school systems with 6,000 or fewer students were inexperienced.11. The years of previous negotiating experience of outside experts increased as the pupil enrollment of school systems increased.12. Almost 100 per cent of employer negotiating team spokesmen outside experts and team members were white males.13. Slightly more than three-fourths of employee negotiating team spokesmen were males.14. Employee negotiating team membership was composed of about one-half white males and one-half white females.15. Almost 100 per cent of the outside experts and spokesmen for employee negotiating teams were white males.16. Remuneration of outside experts ranged from $23,000 to $500. Per diem compensation ranged from $300 to $100. Per hour compensation ranged from $55 to $20.17. Almost one-half of employer team outside experts were paid on a per hour basis plus expenses.18. Outside experts serving employee negotiating teams were reimbursed in salary by state and/or national teacher organizations.Size of school district is a major factor in determining the composition and characteristics of negotiating teams.The amount or basis of remuneration paid to outside experts, spokesmen, or team members is not positively related to size of school system.Large amounts of tax dollars are being expended to carry out mandated negotiations.Employer negotiations are conducted by white males. Employee negotiations spokesmen are predominately white males.As of 1975 the status of negotiations in Indiana is one of attempting to implement a process; therefore, the level of sophistication in negotiations is minimal.Management personnel have lacked adequate preparation for negotiations and consequently have turned to outside experts until competent in-house negotiators are developed.Teacher groups rely heavily upon assistance provided through national networks of teacher organizations.

The purpose of this study was to investigate the current programs in precollegiate instruction within the 463 Full- and Associate-member institutions of National Association of Schools of Music in the United States. A nation-wide survey was conducted in 1978-1979 to investigate the status of existing preparatory programs, and to develop an annotated directory, documenting this aspect of music enrichment opportunities for students in grades prekindergarten through twelve. The response rate was 89.4 percent.FindingsThe study revealed the following findings:1. Of the 463 NASM member institutions, 178 offer organized precollegiate instruction in music by the faculty of the school of music.2. Of these precollegiate programs, 60.6 percent are separately organized as a Preparatory Division.3. In one-third of the precollegiate programs, the administrative and developmental responsibilities are vested in a director other than the administrative head of the school of music.4. Over 45,000 students receive music enrichment through precollegiate programs in music at NASM member institutions.5. Over 60 percent of the precollegiate programs have an enrollment of one hundred or less.6. Nearly 80 percent of the institutions with precollegiate programs have experienced a five-year trend in enrollment gains.7. Of the ancillary course offerings, general musicianship is offered by slightly more than one-third of the precollegiate programs, followed by ensembles, prekindergarten programs, dance, and appreciation, respectively.8. In the institutions offering general musicianship, slightly more than one-third of the students are enrolled.9. While over 80 percent of the students receive private instruction, less than one-sixth are automatically assigned to a general musicianship class.10. In slightly more than one-fifth of the precollegiate programs, there is no extra tuition fee for the general musicianship class for students enrolled in private instruction.11. Piano, followed by voice, violin, guitar, and flute, respectively, represented the most frequently taught performance media.12. Some type of evaluative procedures are available at two-thirds of the precollegiate programs.13. Accelerated credit is available at 40 percent of the institutions.14. Less than one-fifth of the precollegiate programs have sufficiently structured evaluative procedures leading to a diploma or certificate.15. The financial support at nearly 90 percent of the institutions is by tuition alone.16. Less than 10 percent of the institutions are currently conducting research in precollegiate instruction. 17. Of the nearly one-third of the precollegiate programs that are the result of deliberate planning and organizing by the parent institution, 60 percent have originated since 1970.ConclusionsThe following conclusions are based' upon the findings of this study.1. Preparatory divisions may be found in any community regardless of geographic or demographic considerations, and in any parent institutions regardless of enrollment.2. Precollegiate instruction is limited where it does not have separate organization and a designated director other than the administrative head of the school of music in areas of program design, scope, publicity and financial development.3. Most preparatory divisions do not support a comprehensive music enrichment program. While they offer ancillary courses, their main thrust is private instruction.4. Adjunct faculty, hired solely in the preparatory division, decrease the likelihood of integrated activities with the collegiate faculty of the parent institution.5. Historically, most preparatory divisions originated as a conservatory, or as the result of deliberate planning and organizing. The growth trend in the field of preparatory programs is evidenced by the nearly 20 percent of the 178 parent institutions which have organized division division since 1970.6. Tuition fees generate the operational funds for the preparatory division in most institutions, although facilities and equipment are provided by the parent institution.Recommendations. Recommendations for program development and improvement include:1. A statement of philosophy and objectives for an organized preparatory division must be determined by administrators, from which operational procedures will be developed to determine the scope of the program.2. The designated director should receive load allocation in proportion for administrative and developmental responsibilities.3. Sources of funding should be sought for specific programming for ethnic groups within the community.4. A program structure which leads to a recognition of program completion, provides opportunity for ancillary course requirements. Performance levels and evaluative procedures would provide checks both for the teacher and parent on the progress and achievement of the student.5. The preparatory division personnel must continuously analyze and evaluate all components of the program. Lines of communication between adjunct and full-time faculty are a vital link in constructive program growth.

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