<p> The current study was designed to examine the question of quality as it relates to school band music composed for the performance levels of Grade III and IV. This was accomplished across two concurrent studies. The purpose of the primary study was to: (a) compare state prescribed lists for common compositions, (b) to examine the opinions of expert middle school band directors regarding the quality of those common compositions (grades III &amp; IV), and (c) to identify a select pool of meritorious compositions. The purpose of the secondary study was to: (a) examine the opinions of prominent college band directors regarding the quality of the same list of literature evaluated by middle school band directors, and (b) to identify a select pool of meritorious compositions. The overall purpose of the combined surveys was to establish a select list of compositions known to both expert middle school and college band directors that are recognized for their meritorious quality and may be of use to educators of all levels. </p><p> Participants (<i>N</i> = 64) were expert middle school (<i> n</i> = 32) and college (<i>n</i> = 32) band directors who completed an online survey consisting of three sections: (a) Demographic Data, (b) Evaluation of Compositions, and (c) Suggested Compositions for Further Study. Analysis of responses found that all directors rated each of the 189 compositions and that a strong level of agreement of the rated level of quality was present within subjects. However, when compared, there was a statistically significant difference showing a wider range of quality ratings assigned by college band directors. Further analysis revealed a list of 32 compositions which were known by five or more evaluators and possessed a minimum of 79 percent of the total points each composition could receive. As before, analysis of responses found a strong level of agreement of the rated level of quality within subjects and a statistically significant difference in the ratings assigned by each group. This final list establishes a collection of wind band compositions which are among the finest grade III and IV compositions known by the expert panel of evaluators. Works on this list represent many, if not all, compositions which should be familiar to all conductors, instrumental music educators, and their students. </p><p> Compositions suggested for further study (<i>N</i> = 72) were self-identified by researchers as grade III or IV compositions that were not included as part of the present study. No attempt to state the quality of these works is made by the researcher and therefore should be investigated in future studies. Implications, additional findings, and suggestions for future research are discussed.</p>

<p> The orchestration techniques used in wind band transcriptions of <i>a cappella</i> choral works have received limited attention from researchers. The primary purposes of this study were to (1) examine orchestration techniques used in wind band transcriptions of <i>a cappella </i> choral works, (2) note differences between original <i>a cappella </i> choral works and their wind band transcriptions, and (3) provide rehearsal suggestions for band conductors based on information gathered from comparisons of repertoire. </p><p> The researcher reviewed nine wind band transcriptions of <i>a cappella </i> choral works, as well as one <i>a cappella</i> choral transcription of a wind band work. The results of the investigations indicated that (1) transcribers use combinations of orchestration techniques - (a) basic part assignments, (b) complex part assignments, (c) dividing sections of the band to represent two or more vocal parts, (d) octave displacements and doublings, (e) incorporation of percussion, and (f) special effects - in wind band transcriptions of <i>a cappella</i> choral works, (2) transcribers adjust musical aspects of <i>a cappella</i> choral works - (a) bar lines and meters, (b) repeats, (c) tempo, (d) key, (e) rhythms, rests, and breath marks, (f) dynamics, (g) articulation and style markings, and (h) form and structure - during the wind band transcription process, and (3) many rehearsal implications - (a) tempo, (b) tone quality and intonation, (c) articulation and style, (d) phrasing, (e) dynamics, and (f) balance and blend - are gained from comparing wind band transcriptions to original <i>a cappella</i> choral works. Further research in this area might explore the orchestration techniques used in wind band transcriptions of accompanied choral works, choral transcriptions of wind band works, and original choral compositions with wind band accompaniment. </p>

<p> The purpose of this study was to apply the instructional concept of <i>teaching to the test</i> in an instrumental music rehearsal and investigate its effects on student performance. Specifically, the study sought to determine the extent to which prior knowledge of evaluative criteria, and a lesson focused on a single criterion, might affect an ensemble's performance and ability to make transfers. One high school band produced audio recordings under several instructional conditions that utilized varying degrees of criterion-referenced instruction. Evaluators (<i>N</i> = 270) consisted of college music majors (<i>n</i> = 93) and in-service music educators (<i>n</i> = 177) who listened to the recordings before evaluating the ensemble's tone, intonation, technique, balance, and musicality on the Music Performance Assessment Scale (MPAS). Evaluators also assessed the ensemble's performance of march style on the Performance Style Evaluation Form (PSEF). Finally, self-evaluation ratings, provided by members of the performing ensemble, were compared to ratings received from other evaluators. </p><p> The results revealed no significant differences between the baseline recording, a recording made after the ensemble was shown the evaluative criteria used by judges, and a transfer task recording made 48 hours after the ensemble participated in a lesson focused on march style. However, the recording made immediately after the march style lesson was rated significantly higher than the baseline and transfer task recordings. The results also indicated that students in the performing ensemble rated their performance significantly higher on the MPAS than music majors and in-service music educators, but no significant difference was found between the students and other evaluators on the PSEF. The findings suggest that a criterion-referenced music lesson focused on a single criterion may be an effective method of improving student performance of that criterion. However, the implementation of a single lesson may not produce enduring results. Implications of these results, additional findings, and suggestions for future research are discussed.</p>

The purpose of this research study was to profile exemplary rural music programs, examining how their components and contexts contributed to a deep sense of place for students, teachers, and the community. Using case-study methodology, two rural communities were profiled: Bella Coola, British Columbia and Winkler, Manitoba. By examining these programs through interview, observational, and questionnaire data, the conditions that support these programs and the perceptions of stakeholders were garnered in order to create a rich view of music education programs that could inform the development of high-quality music programs in other rural communities. Analysis procedures consisted of coding the data for emergent themes as well as a priori themes combed from music education curricula and place-based education literature. The analysis was guided by complexity thinking literature. Closed-ended questions were analyzed using descriptive statistics. Through this analysis process, a descriptive framework of the contents and context of the music programs was created. The adaptive and iterative nature of the music programs and how they related to the communities were also examined. Findings from this study revealed rich place-based music education general music programs, choral programs, and band programs that were highly regarded by the communities. Features in each music program were reflective of the musical practices in the communities. Developing place-based music programs also included the celebration of diversity and the incorporation of activities that broadened students’ musical experiences and allowed students to be leaders. The extent to which diverse types of music could be incorporated into the music programs was dependent on the teachers’ background and available resources. Performances were an important aspect of these place-based programs as attending students’ performances served as one of the only times that community residents interacted with the school, and for many, these performances were the only source of live music. Performing at other local and provincial music events strengthened students’ musical understanding and also deepened their connections to the respective communities. Students were part of their communities, and they were actively able to participate in the present in a way that honoured the past and brightened the future. / Thesis (Ph.D, Education) -- Queen's University, 2011-08-02 23:27:03.786

<p> The purpose of this study was to evaluate the effectiveness of listening to music as an intervention to improve disruptive behavior in middle school age children with emotional/behavioral disabilities. Five middle-school students participated in a single-subject design, which involved a multiple baseline across subjects and settings. Students listened to an eight-minute recording of classical music on an iPod before engaging in an independent math or reading assignment while seated at their desk. The researcher used fixed rate recording to collect data over a five-minute session. No significant differences were found between pre-treatment and post-treatment for the targeted behaviors observed during the study. The small sample size of the study is cited as the possible reason for the negative results. Limitations as well as directions for future research are also discussed.</p>

<p> Wil Offermans is a flutist-composer with a holistic approach to contemporary flute pedagogy. At present day, there are very few English-language publications on Offermans; thus, in comparison to his contemporaries, the broader English-speaking flute community knows very little of the Dutch flutist-composer. The purpose of this treatise is to present Offermans's pedagogical ideas as a modern day flutist-composer so that his knowledge, creativity, and unique perspective may be made available to a larger flute population. </p><p> A brief overview of the development of contemporary flute music will set the stage for the emergence of Offermans's role in the flute world. A biographical sketch of Offermans follows, along with a discussion of his teaching philosophy and four pedagogical themes that reoccur in his teaching and methods: extended techniques, interculturalism, improvisation, and body movement. Other pedagogical applications associated with these themes are discussed in addition. Finally, the concept of holism in education is explored using Offermans as an example of a holistic pedagogue.</p>

<p> The purpose of this descriptive study was to analyze chorus participation by males in private middle schools and high schools located in central North Carolina. Specifically, the study was designed to determine: (a) the number of males in these choruses, as compared to the number of females, and (b) the primary motivators of males' initial and continued participation. </p><p> The study included a convenience sample (N = 82) comprised of (a) male students who sang in elective secondary-level choruses in private schools (n = 73) and (b) the directors of these choruses (n = 9). The researcher used two researcher-designed surveys to collect data from participants: (a) the Choral Director Survey (CDS), and (b) the Male Choral Student Survey (MCSS). The CDS was completed by school choral director participants and was used to gather information regarding numbers of male and female students in choruses, confirm the elective nature of chorus classes offered, and determine grade level participation in choruses. The MCSS was completed by male student participants and was used to gather motivational data regarding their decisions to join and remain in chorus. </p><p> Male and female chorus participation data were analyzed using descriptive statistics. Males' initial chorus participation motivational data were analyzed using a factor analysis statistical procedure, and their continued participation motivational data were analyzed using a principal components analysis statistical procedure and a multiple regression statistical procedure. Two Cronbach's Coefficient Alpha measures of internal consistency were calculated to establish the reliability of Parts One and Two of the MCSS data collection instrument. Part One of the MCSS measured male participant motivation for initial chorus participation (&aacute; = .921, &oacute;e = 8.961) and Part Two of the MCSS measured chorus continued participation (&aacute; = .939, &oacute;e = 9.293). Both Part One and Part Two of the MCSS measured with a high level of reliability and an acceptable amount of error. </p><p> Analysis of the male and female chorus participation data confirmed similar results from other studies. In the 11 private middle and high school elective choruses included in the present study, the number of female students exceeded the number of male students. Males comprised 31% of secondary school chorus students. Analysis of male participants' initial chorus participation motivational data revealed two primary factors that explained approximately 55% of the variance in male participant responses: (a) an enjoyment of music and chorus and (b) an interest in a class that was less difficult and time consuming than other available options. Analysis of the male participants' continued chorus participation motivational data revealed two significant predictors, which the researcher titled (a) social and (b) unique class.</p>

<p> The purpose of this study was to examine the effects of timbre and pitch-pattern difficulty on perceptions of same-difference between paired pitch patterns, altered and unaltered by timbre and pattern difficulty, among elementary-aged users of cochlear implants. Three null hypotheses were tested to determine the significant effects of these variables and their interaction on the pitch perceptions of children aged five through twelve, who used cochlear implants (p &le; .05). Secondary purposes of the study included the examination of the relationships, if any, among age, age at implantation, and pitch perceptions, and of significant differences between participants' speech processor and pitch perceptions (p &le; .05). </p><p> The Adapted Musical Background Questionnaire was completed by each participant/parent/guardian and used to collect information about each participant's hearing history and musical experiences. The Pitch Discrimination Test (PDT) was a researcher-developed, 36-item data collection instrument used to measure pitch perceptions of participants. Three timbres were used as stimuli, including the soprano voice, piano, and violin. Thirteen participant responses to the PDT were recorded individually. Results were analyzed using IBM^&copy; SPSS^&copy; Statistics Version 22. </p><p> Results of the study revealed no effect of timbre (p = .511), or pitch-pattern difficulty (p = .971) on pitch perceptions. A significant interaction between timbre and pitch-pattern difficulty, however, was found (p = .046). Additional analyses revealed that there were significant differences between mean scores of PDT test items presented by violin and soprano voice for difficult patterns (p = .041), and items presented by soprano and piano for patterns with moderate difficulty (p = .041). The participants discriminated difficult patterns more accurately when the PDT items were presented by soprano voice than piano, but participants discriminated moderate patterns more accurately when the PDT items were presented piano than by soprano voice. </p><p> There were no significant positive or negative correlations between age or age at implantation and PDT scores (p > .05). Additionally, there were no significant differences between participant scores on the PDT and the type of speech processor used (p > .05). Participants who used Cochlear&trade; devices, however, had higher average scores than participants who used MED-EL&reg; devices. Recommendations were suggested for future research and instruction of children who use cochlear implants in elementary general music classrooms. </p>

<p> Anthony Plog's Concerto for Trumpet, 14 Brass, and Percussion offers many performance issues and there are many methodologies and pedagogical concepts that one can utilize in order to achieve the endurance, flexibility, and technical facility required. This project report outlines readings and methodologies the author used to achieve the skills listed above. The first chapter discusses the objective pedagogy of David Hickman. Hickman's pedagogy encompasses an array of opinions on common developmental exercises. Chapter 2 concentrates on the methodology of James Stamp, emphasizing range building and endurance but with a unique approach that also develops sound production. The third chapter discusses Anthony Plog's methodology that directly concentrates on the technical facility required to play his concerto. The final chapter discusses preparation for the performance and choosing the appropriate instrument. </p>

<p> Part I is a composition, a song cycle, My Mother's Death, for a countertenor, a soprano (off stage) and a chamber ensemble. A set of poems was graciously and generously provided by a poet, David Hassler, Program &amp; Outreach Director of the Wick Poetry Center at Kent State University. My Mother's Death consists of four movements, and the duration is approximately 14 minutes. The work will include a coda featuring a special vocalization performed by members of the ensemble, representing the spirit of the deceased mother, Diana. Part II is a theoretical paper, Generative Principles in Schenkerian Performance Expression. My research begins with an in-depth investigation of The Art of Performance (2000), a posthumous publication of Heinrich Schenker (1868-1935). In my research, four hypotheses are presented, which are constructed from studies of Schenker's analytical and interpretive practices as well as current research on performance practice in related fields. The hypotheses are summarized into a single thesis in the concluding chapter. The outcome of my research attempts to offer a possible solution to reconstructing Heinrich Schenker's unfinished theory of performance. It also provides systematic approaches for performers to utilize as a basis for their musical interpretive practice. </p>