Instrumental music classes in the public schools of Tulsa, Oklahoma, have experienced a phenomenal growth during the past twenty years. Prior to this period, opportunity for instrumental music expression was limited to the high school band and orchestra,which rehearsed outside of school hours. No instruction other than this was provided and the student who wished to play in the school band or orchestra studied first from private instructors. In this study the investigator has examined a great many devices for measuring capacities and aptitudes which are known to the profession. He has attempted to evaluate these procedures in the light of sound educational philosophy. He has set forth a plan which he believes will materially improve the instrumental program through discovering unsuspected musical capacity and through sound guidance in the selection of suitable instruments.

It is the purpose of this thesis to present an evaluated list of instrumental methods in order that'this material may serve as a useful and beneficial guide toward the selection of methods for the students and teachers of stringed, woodwind, brass and percussion instruments.

This study was an investigation of the effects of guided listening upon instrumental music performances of junior college students. The study also sought to discover possible significant relationships between perception and performance variables. It was concluded that the guided listening program was ineffective in improving music performances of junior college students. It was recommended that (a) this study be replicated utilizing string, voice, and piano students, (b) an experimental study be made to investigate the effects of music theory instruction upon music performance, (c) an experimental study be made to investigate the effects of music history instruction upon music performance, and (d) an investigation be made of the Abeles performance constructs interpretation, tone, rhythm-continuity, intonation, tempo, and articulation, in an effort to ascertain ways in which expression of these constructs may be improved.

Thesis--Universität zu Köln, 1982. / Includes bibliographical references.

The problem and purpose of this study is to attempt to establish a reasonably accurate basis for planning a program of educating prospective public school instrumental music teachers that meets the demands of present-day educational practices in the public schools. This present study may provide a simplification of the methods of teaching instrumental classes at the college level through a criticism of the preparation of instrumental teachers in an effort to discover specific contributing elements that assist the instrumental teacher to teach economically and effectively by making an investigation into the factors involved in teaching techniques that depend upon the acquisition of instrumental performance skills and upon practical principles of procedure in organizing and teaching instrumental music in the public schools.

No description available.

The purpose of this study was to examine the effect of visual stimuli on music listening skills in pre-service elementary teachers. Visual Stimuli in this study refers to the presentation of arts elements in selected visually projected images of paintings. Music listening skills are defined as those skills needed to identify and interpret musical excerpts. A Pretest-Posttest Control-group Design was used in this study. Subjects were pre-service elementary general educators enrolled in a large southern university (N=93). Students from intact classes were randomly placed into either the experimental group or the control group. The treatment consisted of six music listening lessons over a two-week period with each group receiving the identical teaching protocol with the exception of the use of paintings with the experimental group. Listening instruction emphasized the identification of melodic contour, instrumentation, texture, rhythm and expressive elements of the compositions. The Teacher Music Listening Skills Test (TMLST) was constructed by the investigator and administered before and after the treatment. The TMLST was designed to assess music listening skills in adult non-musicians. Results indicate that the group receiving visual stimuli in the form of paintings scored significantly higher on listening skills (pandlt;.01) than the control group which received no visual stimuli in the form of visually projected images of paintings. There was an instruction effect on both preference and familiarity of the musical pieces for both the control group and the experimental group.

Introduction -- The structure of Bartók's music: Basic tonal principles, Formal principles, Harmony -- Analysis of the Fugues: The subject, The answer, The countersubject, Overall organization of the Fugues -- Conclusion.

No description available.

Composing is widely recognized by both researchers in music education and the NAfME (National Association for Music Education) as an important element in music education. However, composing as a primary activity has still not yet been established as an important aspect of secondary music education, particularly in the large ensemble setting. This study shows the efforts and outcomes of high school instrumental students as they created a notated musical composition for either a concert band or orchestra. What processes and approaches enabled these secondary instrumental students to compose for a large ensemble? What are the characteristics of the completed compositions composed by these secondary instrumental students? What impact did this experience have on the student composers who participated in this activity? In order to answer these research questions, qualitative instrumental case studies were conducted with eight high school instrumentalists, who participated in 7 workshop processes for composers to compose notated composition for either band or orchestra over a 3-month period. Using both expository method and discovery method, I taught and witnessed the processes of these eight students as they explored and discovered their compositions for band or orchestra, which were performed at the final recital. The result revealed that given an appropriate environment and tools, high school instrumental musicians can compose successfully for a large ensemble such as orchestra or band. Although these students had limited background in music theory, they were able to discover ways to create their desired effect by exploring and navigating sounds using the notation software, their primary instrument, and secondary instruments such as a piano. The experience fostered their curiosity for other instruments in the ensemble and nurtured their desire to learn more about them. This research opportunity gave all students a positive musical experience.