<p> Each chapter of this thesis explores a technique commonly found in post-tonal piano repertoire for students Levels 1-3 (Magrath). Post-tonal techniques evaluated for difficulty are Nonwestern scales, polychords and clusters, polytonality, atonality, serialism, aleatoric music, and experiments in sound. There are some inherent difficulties for beginner pianists in each of these topics that are discussed in detail. The appropriateness of these styles for students is evaluated and elements that are conceptually advanced are altered so that earlier exposure to these techniques is possible. Where there are areas of pedagogical weakness or a lack of material for young pianists, compositions have been supplied in a methodical order, introducing and expanding upon new and creative methods of approaching these techniques.</p>

<p> This treatise will address the late twentieth-century and well-known Korean composer Chung Gil Kim's piano work <i>Go Poong</i> (Memories of Childhood; 1981) as a case study on how to make pedagogical use of works intended for performance. <i>Go Poong</i> is purely a programmatic composition intended to create a musical picture of four items in Korean cultural history including: a temple incense jar, a wooden shoe, a jade hairpin, and a paper window patch. The piece is also capable of functioning as an ideal pedagogical tool for intermediate and early-advanced players to experience technical exercises and compositional features that are a necessary part in the training of successful pianists. Repertoire useful either as preparation or as follow-up will be suggested.</p>

<p>This project explores Larry Koonse's playing and teaching as it relates to improvisation. In particular, the author discusses the various aspects of Koonse's playing through the elements of melody and space. This project focuses on the author's interview with Larry Koonse, which presents questions that reveal the guitarist's views on space in playing jazz and improvising. Koonse's ideas are compared and contrasted with perspectives from other teachers and pedagogues, used to support and expand on his ideas. This project also explores the views and experiences of other students and players, such as Kevin Downing and Jamey Rosenn. </p>

<p> The purpose of this study was to investigate the sources of variation in music preferences as defined by Leblanc (1980, 1982), provide a comprehensive review of literature as it relates to the variables under investigation, and make recommendations for future research in the field of music preference. Participants (N=420) were undergraduate students (<i>n</i>=354) at a large southeastern university and high school students (<i>n</i>=66) in the southeastern United States. A questionnaire was used to collect demographic information and data for this study. Using a Semantic differential, participants to indicated the influence of twenty-one variables on their musical preferences and an open-ended question at the end allowed them to mark any important influences that may have been left off of the questionnaire. Using demographic information participants were placed in unmatched groups for comparison. </p><p> Results showed stark differences between the groups' responses of certain variables. The most salient of comparisons was made between the groups of Music Major and Non-Music Major, and Musician and Non-Musician. The Music Major and Musician groups rated the variables of Teachers, Quality, Musical Ability, and Musical Training significantly higher. This may be due to the groups' development as musicians, creating a paradigm of influence that is based on musician-oriented variables. Alternately, Non-Music Majors and Non Musicians rated the variables of Mood, Personality, and Incidental Conditioning higher. Unlike the musician-centric paradigm, these groups seemed to base influences on self, social interaction, and emotion. Future research should investigate the relationship of the hierarchy of influential variables between the population of Musician and Non Musician.</p>

<p> The Concert Choir has been the flagship choral ensemble of Stetson University, a private, liberal arts university in DeLand, Florida, since 1935. The choir has traveled extensively throughout the southeast United States and twice abroad, serving as ambassadors for Stetson University. This study documents Stetson University's early history, the first few decades of choral activity at Stetson University, and the complete history of the Concert Choir through the tenure of Milburn Price. The study explores 1) the individuals, events, and institutions leading to the formation of the Concert Choir, 2) the philosophy and purpose of the Concert Choir, 3) the individuals, events and institutions that have shaped that philosophy and purpose, and 4) the ways in which the Spring Concert repertoire of the Concert Choir reflects the ensemble's philosophy and purpose. </p><p> The three major conductors of the Concert Choir, occupying 71 of the last 77 years, were Harold Giffin (1935-1972), Robert Rich (1972-1989), and Duncan Couch (1989-2006). Giffin was responsible for combining the separate glee clubs into one performing ensemble, performing Handel's <i> Messiah</i> annually for twenty-five years, and instituting an extensive touring schedule throughout the United States. The performances at the National Federation of Music Clubs (1939), New York City's Lincoln Center (1967), and the recording session that was broadcast coast-to-coast with NBC in Chicago (1953) were three of Giffin's tours that were most significant. Rich was the first alumnus of the Concert Choir to be hired as Director of Choral Activities and conducted the ensemble for their first ACDA convention performance in 1974. During his tenure, the High School Choral Clinic and Christmas Candlelight Concert, modeled after the English Lessons and Carols, were started and have continued annually throughout the scope of this study. Couch grew the popularity of both the clinic and the Candlelight Concert, took the Concert Choir on two European concert tours, and cultivated collaborations with many professional orchestras. </p><p> This study concludes that the Concert Choir is a choral organization influenced by the sacred a cappella choral traditions; however, it was not dominated by it. This study further identifies that the development of the annual Christmas Candlelight Concert and spring tour were foundational for the choir's activities each year. Documentation illustrates each director's willingness to accept this heritage and develop the Concert Choir accordingly throughout its history.</p>

<p> American composer Charles Ives was first and foremost a bandsman. Having been raised in the band world by his father, his first works were for band. Though only four of Ives's original works for band survive, many of his other works have been transcribed or arranged for band. Among these <i>"Country Band" March</i> is unique. Originally written between 1904-05 for theater orchestra, this work chronicles the events, circumstances, and realities of Ives's experience in the "band world." Ives's use of polymeter, polytonal passages, and multiple layers of rhythm, pitch, texture, distinguishes it as among the first of Ives's instrumental works to do so. Additionally, these characteristics provide considerable performance challenges for conductors and their ensembles. This study provides an overview of <i>"Country Band" March </i> including historical context, stylistic considerations, and rehearsal strategies. An exploration of the historical context will allow the conductor and ensemble member to understand the 19th-century band and thus more accurately perform the nuances Ives uses to portray these "country bands." It will also inform the conductor's ability to make accurate stylistic choices. A discussion of significant performance challenges and possible solutions to these challenges allows a more diverse level of ensembles to perform the work. Thus,<i> "Country Band" March</i> will be appreciated by more conductors and ensembles as among the best works for band.</p>

<p> Music appreciation is a popular General Education course at the university level and is included as a survey course for music majors at many universities, yet there is not a consensus on the "correct" way to teach the course. Many pedagogical approaches have been explored; each having its merits, and it is probable that there will never be unanimous agreement among music educators regarding which approach is the most effective. Three pedagogical approaches in particular have been effective; namely the analytical approach, the historical approach, and the contextual approach as described by professor of music Dr. Lewis W. Gordon. These approaches were applied in a onesemester survey music history course with the goal of analyzing which is the most effective in teaching freshman music majors. The assessment of these results will be discussed, and suggestions of ways to incorporate these methodologies into teaching will be offered. These approaches will also be discussed in their accordance with the Essential Learning Outcomes of AAC&amp;U's LEAP initiative.</p>

<p> The purpose of this study was to examine student section leaders and their leadership practices in collegiate marching band organizations. Through the use of the Student Leadership Practices Inventory (SLPI), the study surveyed members and staff of five collegiate marching bands: band directors, assistant band directors, graduate teaching assistants, student leaders, and student followers (<i>N</i>=447). In addition to the SLPI, a Marching Band Leadership Practices Questionnaire was completed by the marching band directors to gain insight about each marching band organization used in this study and to determine whether the marching bands practiced distributed leadership. </p><p> The SLPI assessment tool measured five leadership practices to identify exceptional student leaders through a 360-degree feedback survey process: Challenge the Process, Inspire a Shared Vision, Enable Others to Act, Model the Way, and Encourage the Heart. Increased understanding of student leaders and the five leadership practices in marching band could inform the organization's process of selecting leaders. </p><p> Student follower evaluations indicated a significant difference among the five practices, showing that Enable Others to Act was the least effective practice and Model the Way was the most effective practice for student leaders. Independent Samples <i>t</i>-tests of Student Leader vs. Student Follower SLPI scores showed that student leaders often perceived themselves displaying higher levels of leadership practice than did their student followers. Results indicated a significant difference for student follower characteristics and perceptions of student leaders: gender, music major status, and years of participation in a collegiate marching band. Results from the Marching Band Leadership Practices Questionnaire indicated that the student leaders in all five universities interact together with other leaders in a marching band, which is an important feature of distributed leadership. </p>

Thesis (Ed.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2507. Adviser: Joe Grant. Includes bibliographical references (leaves 136-145) Available on microfilm from Pro Quest Information and Learning.

Thesis (Ed.D.)--Teachers College, Columbia University, 1992. / Includes tables. Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Robert Pace. Includes bibliographical references (leaves 120-126).