­^¤åºK­n The main subject of this thesis is to discover the strategy of industrializing the music competitions held in Taiwan. Case study and interview key persons were ways employed to collect materials, and Delphi Method was used later for further examination. Because of the geographical limitation on this subject, the author first explained the connection between the music competitions and the culture and education condition in Taiwan¡¦s society. In the second chapter, the urge of industrialize the music competitions was revealed from cultural, economical, and educational point of views. It was in this chapter that the author was aware music competitions, as merchandise, should have their own life cycle during the process of industrialization. Therefore the strategy corresponding to each developmental stage should be different from each other. Four examples were raised in Chapter three to display various developmental stages of music competitions; they were the International Music and Arts Competition(held at Hong Kong, partnership with Greenery Music Limited). The International Taipei Chopin Piano Competition(held by Fredric Chopin Foundation of Taipei); Yamaha National Music competition(held in Taiwan, by Yamaha KHS music co., Ltd); Asia Beat-- Yamaha Band Contest(held in Taiwan, by Yamaha KHS music co., Ltd). In Chapter four, the author suggested a model for industrializing the music competitions, 12 experts in this field were consulted in the rules of Delphi Method then. In Chapter five, final strategy were concluded, they were as the following: I The leading stage of industrialization: branding the music competition. II The developmental stage of industrialization: market the competition and set the standard Operation Procedure Process¡]SOP¡^of it. III The stable stage of industrialization: forming a supply chain of the music competition profession. IV The declination stage of industrialization: re-model the brand, for better connection of the masses and greater benefit as well.

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Abstract Evaluative performances, such as festivals and conservatory examinations, frequently play a large role in formal piano study. Many teachers and parents assume that requiring students to participate in these evaluations will result in several benefits, including increased discipline and motivation, exposure to a balanced and rigorous music curriculum, and access to helpful feedback from expert adjudicators and examiners. However, not all students experience positive outcomes as a result of their participation in evaluative performances. Using a multi-method approach that incorporates grounded theory and narrative inquiry, this research provides insight into how beginning and intermediate piano students experience participating in festivals and examinations and what factors contribute to the quality of students’ experiences. Positive experiences with evaluative performances are characterized by positive emotional outcomes, meaningful music learning, and the development of a strong musical identity. The theoretical model developed through this research presents several important contributors to students’ positive experiences with evaluative performances, including students’ understandings, values, and goals related to music learning, and their abilities and inclinations as performers. The entire learning process must take place within a supportive relational context. When students have positive experiences with evaluative performances, their self-efficacy is heightened. They also experience self-determination regarding their music studies and their involvement in evaluative performances. The self-efficacy and self-determination that follow students’ success and positive experiences motivate further involvement in music study.

Abstract Evaluative performances, such as festivals and conservatory examinations, frequently play a large role in formal piano study. Many teachers and parents assume that requiring students to participate in these evaluations will result in several benefits, including increased discipline and motivation, exposure to a balanced and rigorous music curriculum, and access to helpful feedback from expert adjudicators and examiners. However, not all students experience positive outcomes as a result of their participation in evaluative performances. Using a multi-method approach that incorporates grounded theory and narrative inquiry, this research provides insight into how beginning and intermediate piano students experience participating in festivals and examinations and what factors contribute to the quality of students’ experiences. Positive experiences with evaluative performances are characterized by positive emotional outcomes, meaningful music learning, and the development of a strong musical identity. The theoretical model developed through this research presents several important contributors to students’ positive experiences with evaluative performances, including students’ understandings, values, and goals related to music learning, and their abilities and inclinations as performers. The entire learning process must take place within a supportive relational context. When students have positive experiences with evaluative performances, their self-efficacy is heightened. They also experience self-determination regarding their music studies and their involvement in evaluative performances. The self-efficacy and self-determination that follow students’ success and positive experiences motivate further involvement in music study.

Beginning in 1939, the Concours International d'Exécution Musicale de Genève (CIEM; Geneva International Music Competition) is unique among international music competitions in its multidisciplinary approach. To date, fifteen works have been commissioned for clarinet for the years in which the clarinet was involved. The most well-known of these works is the unaccompanied work by Heinrich Sutermeister, Capriccio for Solo Clarinet in A, written in 1946 for the 1947 competition. This work is a staple in the unaccompanied clarinet repertoire. However, the other fourteen works commissioned for the competition are little known and to date no document has been prepared that examines each of these works in the context of the competition and clarinet literature. While perhaps less notable, works were also commissioned for a sight reading portion of the competition for many of the years in which the clarinet was a discipline chosen for the competition, two of which were published. These works are examined as well. This survey provides a critical, analytical, historical, performance-related and biographical review of the published and unpublished works commissioned for the clarinet by CIEM. The composers, competitors and the significance of these works and winners in the clarinet literature and history are included. A chapter is dedicated to each piece which includes performance considerations, critical, analytical, and historical information as well as biographical information regarding the composer and the competitors where available.