Thesis (D.M.A.)--University of Oklahoma, 2000. / Includes bibliographical references (leaves 244-249).

David R. Gillingham, born 1947, has established himself as one of today's leading contemporary composers. His current emphasis is on music for wind band, and to date he has over sixty published works for wind band and chamber winds and percussion, representing nearly twenty-five years of composition. Gillingham has received First Prize in the International Barlow Competition in Composition and First Prize in the National Association of Wind and Percussion Instructors Commissioning Contest. Gillingham's works for wind band are performed regularly across the globe by professional and school bands, and he currently has commissions in progress scheduled through 2006.The purpose of this study was to thoroughly examine and document a descriptive analysis of three of Gillingham's works for wind band in order to observe similarities and differences in his compositional style that might prove useful as a reference to prospective conductors and scholars of Gillingham's music. The three works include Heroes, Lost and Fallen (1989), Apocalyptic Dreams (1995) and Cantus Laetus (2000). Separate chapters contain the background and analysis of each work including a comprehensive erratum. An additional chapter includes a lengthy interview transcript covering Gillingham's complete background as a practicing musician and composer, his habits, practices, and attitudes toward composing and teaching. A complete works list of all Gillingham's compositions concludes the study. This list includes compositions in all mediums for which Gillingham has written. Each entry includes the following information: title, date, commission, current publication status, instrumentation, and first performance information. / School of Music

Thesis (D.M.A.)--University of North Texas, 2001. / Accompanied by recitals, recorded Nov. 14, 1994, Nov. 20, 1995 and Nov. 23, 1999. Includes bibliographical references (p. 115-117) and discography (p. 118-119).

While many composers of wind ensemble literature have utilized percussion extensively in their compositions, Jared Spears and David Gillingham are renowned wind ensemble composers who have also written specifically for the percussion ensemble. Within their writing, both have exploited percussion through innovative scorings and their interest in rhythm, timbre, and density. The purpose of this study is to explore the scoring practices (functions of the instruments and combinations) and orchestration techniques (rhythmic and density relationships) of both composers, focusing on the manner and extent to which percussion is employed in their wind and percussion ensemble literature. The criteria for examining each piece and genre were developed to compare and contrast each composer's scoring and orchestration characteristics. To this end, each piece and genre was examined through several scoring categories designed to analyze overall ensemble relationships as well as individual functions of the percussion instruments. These categories were also applied to sections of music, focusing specifically on combinations of instruments and the relationship of ensemble choirs in separate and combined roles. Finally, percussion orchestration was examined with respect to motives, rhythmic underpinnings, metric usage, density relationships, and the significance of these elements to structural unity and form. These comparisons showed that, while sharing certain characteristics, each composer treats percussion scoring and orchestration in different manners, displaying "signature" aspects that make his writing unique. The application of these shared and individual traits, and the extent to which they are employed, define each composer's distinctive style.

abstract: Children with dyslexia have difficulty learning to read. The purpose of this study was to investigate whether the use of simultaneous multisensory structured language (multisensory) instruction promoted better letter name and sound production, word reading, and word spelling for second grade children with typical development (TD; N=6) or with dyslexia (DYS; N=5) than structured language instruction alone. The use of non-English graphemes (letters) to represent two pretend languages were used to control for children’s lexical knowledge. A multiple baseline, multiple probe across subjects single-case design, paired with an alternating treatments design, was used to compare the efficacy of multisensory and structure language interventions. Participant’s graphed data was visually analyzed and individual Tau-U and weighted Tau-U effect sizes were calculated for the outcome variables: letter name production, letter sound production, word reading, and word spelling. Both interventions had an overall effect for participants with TD and DYS, though for individual participants intervention effects varied across outcome variables. However, the multisensory intervention did not provide a clear advantage over the structured intervention for participants with TD or DYS. / Dissertation/Thesis / Doctoral Dissertation Speech and Hearing Science 2016

The aim of this paper was to investigate what principles and approaches can be utilized when helping dyslexic students to improve their reading skills in the English classroom. The structure of this study is narrative research synthesis which means that the paper is based on articles written by others. The results indicate that there are several approaches to make use of, such as the Orton-Gillingham approach, Phonics and Whole language. Many experts support the principle of multisensory structured learning regarding the teaching of dyslexic students. This means that students use all their senses at the same time: visual, auditory and kinaesthetic. In order to further help students improve reading skills, the teacher can create a safe and calm classroom environment to reduce stress.

The purpose of this study was to gain an in-depth understanding of student, parent and educator perceptions of the effectiveness of the Barton Reading Spelling System. Two research questions were addressed in the study: (a) what are the students’, parents’, and educators’ perceptions of BRSS? and (b) what issues influence the effectiveness of the BRSS? Findings for the first research question included (a) positive effect on spelling, (b) positive effect on decoding and print vocabulary, (c) positive effect on reading fluency, (d) positive effect on writing fluency, (e) positive effect on students’ confidence, (f) positive effect on students’ motivations to read and write, (g) positive influence on reading comprehension if comprehension problems due to decoding deficits, and (h) no effect on oral vocabulary. Findings for the second research question included (a) the methodology, layout and training of the BRSS had a positive influence; (b) tutors’ level of experience, consistency of tutoring, level of instruction, communication with others, value in the program, and relationship with the tutee had an influence; (c) student characteristics of ADHD had a negative influence; and (d) lack of tutor support, education to teachers and parents and application of skills outside of BRSS tutoring had a negative influence. Implications of the study included (a) effectiveness of the BRSS with remediating decoding issues and reading comprehension issues directly related to decoding problems; (b) need for more teacher education on remediating basic reading problems; (c) the careful selection and support of tutors for the BRSS; (d) need for communication and collaboration among all teachers, tutors, and parents of students on BRSS; and (e) need for additional studies on the BRSS in larger samples sizes and in different settings.

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Master of Music / Department of Music / Kurt R. Gartner / This is a report intended for musicians planning to perform any number of, or scholars seeking to enrich understanding of, the following compositions: Concerto for Marimba and Wind Ensemble by David Gillingham, XL Plus One by Alvin Etler, March from Eight Pieces for Four Timpani by Elliott Carter, 42nd Street Rondo by Wayne Siegel, and Oceanus by Steve Houghton and Wendell Yuponce. Each work is analyzed in accordance with Jan Larue's method of style analysis. For some compositions, analysis of harmony has been omitted. For all compositions, the author has added a pedagogical realm of analysis, dedicated to notable performance considerations, interpretive possibilities, and technical considerations, to Larue's organizational scheme. Therefore, the approach taken in this document can be expressed as: Sound, Harmony, Melody, Rhythm, Growth, and Performance.

No description available.