Thesis (Ed.D.) -- Teachers College, Columbia University, 1991. / Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Lenore Pogonowski. Includes bibliographical references: (leaf 124).

This study investigates the perceptions of South African practitioners of Western European Art Music (WEAM), specifically as they relate to the value of WEAM in contemporary South African society. In exploring some of the connections between musical identity and national identity, it sets out to discover what value WEAM holds for a certain group of student pianists. Qualitative empirical data was collected in the form of in-depth, semi-structured interviews and questionnaire responses, and the findings point to numerous, nuanced expressions of self and varied intersections of the nation with musical identity in the life of the individual. Further, WEAM appears to represent a crucial point of identification for these individuals, in each case generating positive affirmations of the self.

Musical analysis has traditionally been located within the context of musicology. It is therefore an activity usually considered the purview of music scholars rather than practical musicians. The musical analyses produced by music scholars therefore provide us with intellectual understandings of musical works, rather than insights into the experience of listening to or playing music. In this thesis, I will propose that those agents involved in practical music-making can produce insights into musical works that are as valid as the work of traditional music scholarship. I will attempt to re-conceptualize the position of the ‘knower’ or ‘experiencer’ - the performer - of music as one with primary access to knowledge of a musical work, and therefore ideally suited to offer analyses of these works. The establishment of the performer as a bearer of central analytical knowledge functions in direct opposition to the traditional distinction between ‘theory’ and ‘practice’. My thesis will trace the Platonic origins of the philosophical separation of practice and research, and as an alternative to the traditional separation of practice and research, I shall explore the concept of Practice-Based Research (PBR). My exploration of PBR will be informed by phenomenological approaches to music scholarship. As a field of enquiry which concerns itself with experience, the phenomenology of music suggests that the mind and body of the practitioner are important sources of musical insight. To address this issue, Bourdieu’s notion of habitus will be explored. The habitus will be shown to contain a vast network of socio-cultural codes informing the practitioner’s relationship with the musical work. A central aim of this thesis is to explore the possibilities of using practice-based research as the foundation for the study and analysis of a composition, in order to allow for a deeper understanding of the work by means of the generation and harnessing of practical knowledge. Thus, the theoretical outline of PBR provided in this thesis will be applied to a piece of practical performance-based analysis. As such, an analysis of Mahler’s Quartetsatz will be used as the basis on which to draw knowledge in this project.

After considering Petrouchka's historical and compositional background and the orchestral revision of 1947, this thesis analyzes the composition, dealing specifically with formal, harmonic, and melodic aspects. The study's most important discovery is of a common formal design for all the scenes and the piece as a whole, where the outer thirds of ternary structures are equal in length. The thesis also examines Stravinsky's transcriptional procedures, cataloging and contrasting them with those of the nineteenth century. The solo transcription of Petrouchka is fully discussed in the light of Stravinsky's singular treatment of and writing for the piano. In addition to the recorded performance of Trois Mouvements de Petrouchka, this dissertation includes three tape recordings of selected piano works of J. P. Rameau, L. V. Beethoven, F. Chopin, F. Liszt, C. Franck, A. Scriabin, and G. Crumb.

This was a descriptive study that was completed to gather information about musical backgrounds of orchestral concert attendees, and to determine if those attendees perceived relationships between past participation in school music programs and current patronage of classical music concerts. Participants completed a survey about their musical experiences from childhood through adulthood, as well as memories from school music programs. Results and analysis of the responses identified common themes among participants' childhoods, their schooling and private lessons, experiences that served as gateways to classical music listening, the aesthetic benefits that they found in concert attendance, and negative responses that they had to music participation. Results also found a large number of pieces and composers that participants recalled from past participation in school music programs. Findings from this study analyze why these experiences were important to participants and why they might serve as motivation to attend classical music concerts or continue to support them. Implications of this study include suggestions for professional music organizations, school music educators, professional classical musicians, and church music directors. Suggestions for further research based on this study's findings are also included.

"It is the purpose of this study to examine current trends in the production of outdoor music performances in the public schools of the South Florida area with a view toward determining not only the extent of such practices, but the techniques involved. Apparently no study has been published concerning the unique opportunity for outdoor music performances this climate affords, although outdoor programs have long been a part of South Florida's school activities"--Introduction. / Typescript. / "August, 1955." / "Submitted to the Graduate Council of Florida State University in Partial fulfillment of the requirements for the degree of Master of Music Education." / Advisor: Robert L. Briggs, Professor Directing Paper.

This study examined the effectiveness of a researcher-designed, computer-based, interactive listening guide system for use by instructors of music appreciation courses. The system was designed to control audio compact discs and present coordinated graphic displays describing musical events as they were heard. Its effectiveness was examined by comparing student outcomes of two subject groups, one exposed to the interactive system in one section of a music appreciation course and another exposed to traditional materials (audio compact disc player, textbook, and writing on the board) in another section of the course. In the first part of the study (“instructional effectiveness”), outcomes were quiz scores and attitudes toward instruction; in a second part of the study; in a second part of the study (“transfer of learning”), outcomes were the quality of student-generated listening guides based on music of their own choice and attitude toward this activity. Results indicated that although there was a marked difference in the reporting of enjoyment of the instructional experience between treatment and control groups, there was no significant difference in any of the product outcomes, such as quizzes or student-generated listening guides. Additional opportunities to examine and compare the effects of the two different modes of instruction over longer periods of exposure is one of nine recommendations for further research reached as a result of this study.

No description available.

The purpose of this study was to determine the effects of visual performance presentations on student perceptions of the elements of music. Eighth and 12th grade student groups (n = 155) were randomly assigned from intact music classes into two presentation groups (audio and video). A Posttest Control Group Design was utilized to determine the treatment effects of four videotaped performances on student responses to Olson's <i>Part One: Musical Detail from the Measurement of Musical Awareness</i> (©1987). Two excerpts in Jazz style (big band) and two in Classical style (symphony orchestra) were presented in random order to each of the treatment groups. The experimental group was presented a videotaped music performance of each excerpt while the control group was presented only the audiotaped performances of the same excerpts. The students responded to twenty-eight test statement items regarding melody, form, texture, meter, rhythm, harmony, tone color, tempo, and dynamics in the four different music performances. / Ed. D.

The problem with which this investigation is concerned is the determination of compositional styles in terms of manners of employing monadic and dyadic intervals in the music of the common practice period. An aspect for determining style is proposed by way of comparing the frequency of occurrence of dyads and monads in selected musical examples from the baroque, classical, and romantic periods. Chapter I is a discussion of the problem and methodology of the study. Chapters II, III, and IV present analytic comparison of examples in the baroque, classical, and romantic periods respectively. Chapter V presents a summary of the findings with references to the pedagogical applications of the two-part framework principle.