The purpose of this thesis is to ascertain to what extent authors of beginning brass and wood-wind methods agree and disagree

abstract: The purpose of this project was to provide a pedagogical resource for students and teachers to utilize when preparing six standard formative pieces from the euphonium repertoire. The guided practice sections are written in plain English with several instances of first person writing to explain certain concepts in a less formal way. This was done so that any teacher, regardless of level could help a younger, more inexperienced student. In addition, the sections of guided practice were written to help those teachers who may or may not be intimately familiar with the works chosen. The recording was designed to present the music in current published format, with no improvisation by the soloist. The solos that were chosen are either college preparatory pieces, or formative works for the younger collegiate musician. All of the pieces included are published, and as of September 2010, available for purchase. The works included are: Six Studies in English Folk Song, by Ralph Vaughan Williams, ed. Paul Droste, Introduction and Dance, by J. Edouard Barat, ed. Glenn Smith, Andante et Allegro, by Joseph- Guy Ropartz, ed. Shapiro, Sonata for Unaccompanied Euphonium (or Trombone), by Fred L. Clinard, Jr., Suite for Baritone, by Don Haddad, and Andante and Rondo, by Antonio Capuzzi, ed. Philip Catelinet. / Dissertation/Thesis / D.M.A. Music 2010

abstract: The following project is an audition preparation handbook for double bass players. The materials and techniques included are designed for use by advanced collegiate bass players seeking work as freelance or contracted musicians. Subjects ranging from finding an opening, becoming mentally and physically prepared, and developing the skills and experience necessary to be successful will be examined. The most frequently requested audition excerpts are included in this document, carefully extracted from the original orchestra parts and notated with efficient fingerings. Elements of style and performance are discussed. Each of the excerpts is recorded on the enclosed CD, performed by the author as examples to the readers. It is the hope of the author that the study and use of this text will better prepare the readers for entrance into the working world of the music industry. Ideas, processes, and materials that are often neglected in a degree program are examined with the hope that students will be better prepared to audition for, and win orchestral positions. / Dissertation/Thesis / D.M.A. Performance 2011

abstract: The purpose of this study was to investigate the attitudes of high band directors in the United States toward solo and ensemble activities. Independent variables such as teaching experience, level of education, MENC region in which directors taught, personal solo and ensemble activity experience, teaching assignment, and director-centered external factors (supplemental contracts, teaching evaluations, program awards) were used to investigate potential differences in attitudinal responses. Subjects were high school band directors (N = 557) chosen through a stratified random sample by state. Participation in the study included completing an online researcher-designed questionnaire that gathered demographic information as well as information regarding directors' attitudes towards benefits from student participation in solo and ensemble activities, the importance of such activities to directors, and attitudes towards student participation in local, regional, and state solo and ensemble festivals and contests. One-way analyses of variance and two-way multivariate analyses of variance were conducted to investigate potential differences in responses according to various independent variables. Significant differences were found in responses to statements of the importance of solo and ensemble to directors and of solo and ensemble festivals and contests according to region, solo and ensemble experience, and director-centered external factors. No significant differences were found for statements of director's attitudes toward benefits of student participation in solo and ensemble activities according to any independent variables. Results indicate that directors understand and believe strongly in the benefits of solo and ensemble activities to students, but factors such as time, job demands, band program expectations, and festival and contest adjudication, format, and timing may hinder directors' inclusion of solo and ensemble activities as an integral part of their program. Further research is suggested to investigate directors' attitudes within individual states as well as ways to integrate solo and ensemble activities into daily band rehearsals. / Dissertation/Thesis / D.M.A. Music Education 2011

The purpose of this study is to provide a detailed description of the aesthetic experience as it is encountered in music, and, in so doing, to develop an operational definition of aesthetic experience as it is understood and experienced by practitioners in relation to the phenomenon as it is found in the canon of literature. The following specific questions are addressed: first, how do philosophers and practitioners view aesthetic experience; what commonalities or differences do these views have; and what understandings can be gained through an examination of these theories? Second, when the views of practicing music teachers, philosophers and pedagogues are compared and analyzed, how do these align with Csikszentmihalyi's Flow State Theory? Finally, does Csikszentmihalyi's Flow State Theory provide a functional framework for aesthetic experience; how does the employment of this resolve the issues of communication; and does this allow for a clearer understanding of aesthetic experience?

While research has touted the educational benefits of music composition in the classroom, studies have also revealed the numerous difficulties teachers encounter in its inclusion. From lack of time and materials to lack of training and confidence, teachers have struggled to incorporate composition in their lessons. At the same time, a body of research also has suggested that what teachers believe about a subject can have significant bearing on what they teach and how they teach it. This multi-case study looked at three teachers to investigate what they believed about music composition, where those beliefs originated and how those beliefs may be expressed in their classrooms and use of composition. The results revealed the significance of early music influences with family and church music directors, a strong connection to identity through music, and the importance of the sharing and peer teaching of music. There was a distinct bias for European forms and standard notation that eclipsed other ways of knowing, understanding, and expressing music. Other than jazz, forms of improvisation were often viewed as childish or primitive. The teachers most likely to find success in the use of composition in the classroom were flexible, and able to align their beliefs about music education, the efficacy of their students and themselves, with their beliefs about composition and what it can offer.

The purpose of this study was to examine the effectiveness of a software application for guided practice on a tablet computer used as a multisensory instructional tool in the process of teaching music staff notation to students who have dyslexia. Between 15 to 20% of people in the United States may have dyslexia or related learning differences in the form of difficulties with reading and language processing. Having dyslexia does not preclude engagement in playing music; however, evidence shows students with dyslexia often have trouble learning how to read music notation (Ganschow, Lloyd-Jones & Miles, 1994; Miles & Westcombe, 2004; Stewart, 2008). Technology, specifically the tablet computer, has potential to address individual needs of students in the domain of music; a variety of applications have been created for teaching and practicing the recognition of musical notation. The theoretical framework underlying the study was based on two theories related to the learning process of students with dyslexia: the phonological deficit and the dyslexia automatization deficit theories. A quasi-experimental design was employed using intact classes of third, fourth, and fifth grade students (N=72) who attended an academy for students with dyslexia. The students were taught a series of lessons on reading music staff notation for seven weeks. The same teacher taught all classes. The treatment classes were given time for the guided-practice of music staff notation on the tablet; the control classes used the tablets for the same amount of time with other music applications, but were not given access to the specific treatment program. Data used to tabulate results of the study were collected with the use of pre and posttests of music staff notation recognition. The overall conclusion was that the use of the tablet for guided-practice in conjunction with instruction was significantly more effective at increasing the ability of students to recognize musical staff notation than using instruction alone.

In this study, I explored the motivations of high school instrumental music teachers to participate in competitive jazz festivals, specifically those sponsored by the California Music Educators Association (CMEA) Bay Section. I was interested in learning the specific needs participation in competitive festivals satisfied for high school music educators. Based on the tenets of Self-Determination Theory (SDT), I investigated whether the three basic psychological needs of autonomy, competency, and relatedness were among the needs being satisfied. I was curious whether an individual’s background in jazz or any other factors had any bearing on their decision to participate. Through interviews teachers shared their experiences, both positive and negative, of participating in competitive jazz festivals. The following research questions guided this study: 1. What motivates high school music teachers to participate in competitive jazz festivals? 2. What specific needs are satisfied through their participation? 3. How does one’s jazz background influence motivation to participate in CMEA Bay Section events? In answering the aforementioned research questions, I chose a case study design. Interviews with twenty-nine high school instrumental music teachers were conducted at their respective work sites, except for three phone interviews and one via electronic mail. Five themes identified through data analysis about festivals specifically included feelings about competition, judging, negative feedback from adjudicators, hearing and seeing other groups, and a suggestion for the addition of a clinic for all participating groups. Six general themes about CMEA Bay Section or participants’ feelings included more progressive thinking, a perception that youth among adjudicators was inadequately represented, a notion that festivals provided opportunities for process and growth, a feeling that many were forced to weigh the costs versus the benefits of participation, an expressed feeling of isolation in the profession, and a lack of awareness on the part of administrators about their participation in CMEA Bay Section jazz festivals.

Thesis (M.M.)--Boston University

Thesis (D.M.A.)--Boston University.