Although much has been written on the subject of conducting, it is generally recognized that a great deal can be learned through discussion with and observation of successful conductors. Direct contact with master conductors is an excellent learning tool, but seldom do high school or college choral conductors have the opportunity for direct individual study of the experts in their normal situations. This study provided the opportunity for one practitioner to work with two expert choral conductors. The report was written with the hope that other practitioners might also benefit from the results of the investigation. The purpose of this study was to identify and compare preparations and experiences, philosophies of music, and observable choral concepts which may have contributed to the superior choral achievements of B. R. Henson and Lloyd Pfautsch.

It was this writer's problem to determine which of these two contentions is correct; i.e., to find out whether or not it is possible for a person to perceive a difference in 2/4 and 4/4 meters by listening to the accents. It was felt that a large group of college music students and faculty members should provide satisfactory subjects for this experiment. If, as a result of this experiment, it was found that these trained musicians could actually discriminate between the simple meter and its compound with any marked degree of consistency, it would then be admitted that the difference in the two meters is important. If, however, it was found that even musicians, who knew the technical distinctions between 2/4 and 4/4, could not really hear the difference in the two when the music was played by competent performers, it would then be contended that no important difference exists.

Master of Music / Department of Music / Frank Tracz / This document was submitted to the Graduate School of Kansas State University as a partial requirement for the Master's in Music degree. It contains theoretical, historical, and rehearsal analyses for Sonata No. 13 by Giovanni Gabrieli as arranged for brass octet by Glenn Smith, movements II. Andante and III. Minuet & Trio from Serenade No. 12 in c minor by Wolfgang Amadeus Mozart as edited by Frederick Fennell, and Prelude, Siciliano and Rondo by Sir Malcolm Arnold as arranged for full symphonic band by John P. Paynter. Prelude, Siciliano and Rondo was performed by the Kansas State University Wind Ensemble on February 15, 2012 in McCain Auditorium on the Kansas State University campus. Sonata No. 13 was performed by members of the Kansas State University Brass Ensemble on April 18th, 2012 in McCain Auditorium. There was no formal performance or rehearsal for Serenade No. 12 in c minor. The analytical methods employed in this report include the Unit Study approach used in the Teaching Music Through Performance in Band book series and the Tracz method of macro-micro-macro graphical score analysis.

Thesis (M.S.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Thesis (M.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Thesis (M.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Thesis (M.M.E.)--Boston University. / Statement of the problem. It was the purpose of this study (1) to clarify some desirable objectives and procedures for guiding and motivating children's growing musical perceptions through listening; and (2) to suggest ways of presenting selected music literature in the primary and intermediate grades in such a way that it implements these objectives and encourages growth in perceptive listening. Methods and procedures. Basically, a library research study, the sources of data included a review of current literature in music education and general elementary education. Books, periodicals, yearbooks, and publications of learned societies were consulted, as well as books on music and musicians. Special emphasis was given to books written specifically for children and teachers. Other works consulted were master's theses and doctoral dissertations [TRUNCATED]

Thesis (M.S.)--Boston University. Missing page 164, 220. / Statement of the problem. It was the purpose of this study (1) to analyze elementary school music objectives and practices specifically recommended by leading music educators, (2) to investigate current music education practices and materials used in the elementary schools of the Archdiocese of Boston, and (3) to evaluate these music practices in their approximation to the recommendations of authoritative writers in music education. Sources of data. The sources of data used in this study included research into the professional writings of leading music educators, learned publications on music education, yearbooks and bulletins of music education associations, as well as periodicals, manuals, guide books, and many unpublished writings including Master's theses and Doctoral dissertations. For the collection of factual data relative to music practices and materials used in the elementary schools of the Archdiocese of Boston, the questionnaire technique was undertaken. Questionnaire forms were distributed to 231 elementary schools of the Boston Archdiocese. A letter addressed to the principal of each school requested her to present one questionnaire to a teacher of grade one or two, one questionnaire to a teacher of grades three or four, and one questionnaire to a teacher of grades five or six. A total of 634 classroom teachers received questionnaires. Two hundred twenty-two schools responded to the questionnaire with a 96.1 percent response. Tabulated forms were improvised for recording the cumulative data according to the respective degree of frequency.[TRUNCATED]

Thesis (Ed.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The goal of this study was to compare two approaches to teaching a combined music fundamentals/methodoloy course to preservice early childhood/elementary classroom teachers. The 25 subjects in the control group participated in a teacher-directed approach involving teacher explanation, student response, and teacher feedback. The 25 subjects in the experimental group participated in a student-centered Arts PROPEL approach involving strategies for production, perception and reflection. The two approaches were examined in terms of changes from the beginning to the end of the course in subjects' knowledge of music, their performance skills, and their attitudes about music education for children. The researcher was the instructor for both groups. Data were gathered from both groups using pre- to post Music Achievement Tests 1 and 3 (Colwell, 1969, 1970), Attitude Behavior Scale-Elementary General Music Survey (Tunks, 1973), and researcher-developed assessments based on the music sections of the National Standards for Arts Education (Consortium of National Arts Education Associations, 1994) including Reading and Notating, Personal Identification of Skills Scale, and Singing and Recorder Performance Assessments. Reflections and vision statements were used to clarify results of the analyses. Additional data gathered from the experimental group at the beginning, the middle, and the end of the course included Singing and Recorder Self-Assessments, Singing and Recorder Ensemble Rehearsal Critiques, and Peer Interviews. Findings showed significant improvement from beginning to end of course for both groups on reading and notating, instrument recognition, singing, attitudes and subject awareness of skills. There was borderline significant changes in interval discrimination in the experimental group and borderline significant changes in meter discrimination in the control group. Arts PROPEL experimental group subjects showed significantly greater improvement in reading and notating than did control group subjects. The Arts PROPEL approach showed no significant advantage over teacher-directed instruction in all other dimensions. Differences between approaches may be explained by the methodology, in particular, the use of domain projects in Arts PROPEL that require subjects to regularly self assess and report on their performances. / 2031-01-01

Thesis (M.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01