This documentary was filmed primarily in the Czech Republic in 2011 and highlights Czech bluegrass musicians and Lee Bidgood's performance of original Czech bluegrass songs filmed at the Down Home in Johnson City, TN. Post-production work was done at ETSU, and the film was completed in 2013. KLRU in Austin, Texas, is the presenting station for the documentary. / https://dc.etsu.edu/etsu_books/1106/thumbnail.jpg

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This thesis focuses on the question of authenticity in old-time music, and the ways in which it is studied in ETSU’s Bluegrass, Old-Time, and Country Music Studies program. In an academic setting, old-time is often studied in more of a historical or anthropological context and less as a specific style of music. Arguments for authenticity in this music have been made since the popularity of such films as “O Brother, Where Art Thou?” and “Cold Mountain”, which brought a lot of outside attention to the genres of bluegrass and old-time music, as well as defining the aesthetics associated with them. Contemporary composition and performance of old-time music exists, but is not typically studied in an academic setting, or evaluated for how it adds to the musical tradition. The intention of this thesis is to validate the existence of contemporary composition in old-time music, and its authenticity within the genre.

Researchers have investigated music education majors’ process of socialization to a teacher identity and found evidence of bias against the music education career path regarding perceptions of performance ability. Researchers have also identified that those on musical career paths share influential experiences and influences during adolescence in common, mostly related to performance. The purpose of this study was to examine, thorough the lens of social identity theory (SIT), whether these biases were formed during adolescence. The participants for this study were 821 high school musicians of varying experience and backgrounds. Participants reported significantly stronger levels of self- categorization (V = 0.256, F [5, 816] = 56.11, p = < .0001, η2 = .256) and differentiation (V = 0.459, F [5, 816] = 138.35, p = < .0001, η2 = .459) in favor of the music performance career path. In contrast, participants allocated resources significantly (V = 0.021, F [1, 821] = 17.39, p = < .0001, η2 = .021) in favor of the music education career path. Multiple regression of self-categorization, differentiation, and resource allocation scores found significant predictors among each of the demographic characteristics. Scores of 12th grade participants were significantly more in alignment with the music performance career path when compared to 9th grade participants, as was an increase in median family income percentile. Those who identified as soloists self-categorized and differentiated significantly in favor of the music performance career path compared with those who identified a choir as their main performance ensemble. The intention to major in music was also found to be a significant predictor of self-categorization and resource allocation in favor of the music performance career path when compared to those who were unsure or did not intend to major in music. Findings from this study demonstrate that the biases found among undergraduate musicians are present among adolescent musicians, along with other aspects of social identity development. Strategies to combat these biases are discussed, as well as the implications of these results as a possible outcome of the centrality of performance in music education.

Online communication is a common component of contemporary life. However, research into its impact on well-being has found conflicting results. Although social media may have a detrimental impact on well-being, particularly in young adults (O’Reilly et al., 2018), some studies have found social media networking to have a beneficial influence on well-being (Ellison et al., 2007; Kim, 2017), which may contribute to improved academic performance among students (Al-Rahmi & Othman, 2013). The potential for such effects to extend to musicians in their experience of music performance anxiety (MPA) was the impetus for the current qualitative study, whose purpose was to explore friend and follower engagement on social media and its connection to self-esteem and MPA, using the PERMA Model (Seligman, 2011) to guide the inquiry. Six novice college-aged piano students completed State-Trait Anxiety (STAI-S) and Coopersmith Self-Esteem (CSEI) inventories, a demographic and social media use questionnaire, and two individual semi-structured interviews. Data were collected (1) at the outset of the study; (2) (a) after posting a short video excerpt of the piano performance on social media platforms and interacting with friends and followers, and (b) 30 minutes before the official performance at a live event; and (3) after the completion of the live performance. The findings suggest potential benefits of social media networking on novice music students’ well-being, Self-Esteem, and MPA. Social media interaction with friends and followers and novice piano students was frequently noted as a positive and significant contributing element to and preparation for participants’ successful performances. The awareness of the PERMA model assisted some participants in experiencing positive emotions, improving their well-being, elevating their self-esteem, and lowering their MPA. The feelings of happiness and well-being included in PERMA were linked to improved relationships between participants and their social media friends and were reported to improve their motivation, mastery, and achievement of goals, as well as feelings of support and encouragement. Negative comments did not affect participants with high self-esteem; however, it was not possible to observe the effects of negative comments on participants with low self-esteem since the one student with low self-esteem did not receive negative feedback. Despite findings from previous studies on the challenges and negative impacts of social media networking on students’ well-being, results of the current study indicate that it has the potential to be used positively. Mindful use of social media platforms may be an effective tool to help music students showcase their interests, talents, and achievements. As such, teachers may consider building strategies into their lessons to help students use social media as a learning tool for performance preparation. More research is needed on larger and more diverse groups of musicians to better understand the role of social media networking in music performance and its impact on musicians’ experience of MPA. Strategies for improving the practice and effectiveness of sharing music performances on social media platforms are discussed as pedagogical and performance-readiness tools. This study provides a starting point for music educators, administrators, and students in developing a more comprehensive understanding of the potentials and/or drawbacks of social media networking with regard to self-esteem and MPA.

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A symphony in three movements with parts for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns(?), 3 trumpets, 3 trombones, 1 tuba, 1 timpanist, 1 cymbal, 1 triangle, 1 xylophone, 1 piano, 1 harp, violins one and two, viola, cello, and standing bass(?)

Throughout Germany the singing society (usually a Maennerchor), is an important institution in the cultural life of every, hamlet, town, and city. During the middle of the nineteenth century, many such societies sprang up throughout America. California had a liberal share of these during the pioneer days. Some of these organizations have persisted until the present day. The function which they performed in enriching the lives of their members, and the contribution which they made to the life of the community seems to the investigator a valid reason for investigation into their background and history. As far as the investigator can discover, no such study has been made. Since "every civilization is a synthesis of man's conquest of life" it seemed worth-while to study the attack which the German-born citizen made upon life in the new world. Part of this attack was through the singing societies which he transplanted from the old world. Why he did this, how he did it, and with what musical success, forms the body of this thesis. The material has been presented in chronological sequence. The sources which led to the formation of singing societies in Germany are briefly treated in the first chapter. Thee gaudy period of the pioneers comprises the second chapter. The third chapter is devoted to that period which is characterized by a nostalgic love for the Fatherland, as well as a genuine, self-respecting loyalty to the new country. The modern period, in which present day citizens carry on the old tradition, comprises the fourth chapter. This is followed by an attempt at objective evaluation. Included in this is an examination of critical comment as published in present day newspapers.

The problem considered in this study arises from the different functions and objectives of the Junior college. From the time the Junior college was established to the present day, objectives, purposes and functions of this unique institution have been changing.Much has been recommended by music education organisations regarding the objectives of the Junior college music department. In 1938 a Junior college music committe submitted to the Music Educators National Conference the following objectives for the Junior college music department: 1. To meet the needs of the community in the enrichment of social living through; a) Ability to participate in some form of musical activity b) Ability to be an intelligent listener 3. To provide the necessary prerequisite courses for further study in the university or professional school 3. To equip the student of superior talent to undertake a musical career by providing so-called terminal course

If America wishes to see the day when good music drama shall become her best and at the same time her most popular form of entertainment she must investigate the condition of music-drama as it is at present and then decide upon a future method of action to improve that condition. In a small way, that may be blazing the trail, I have set about to follow the above suggestions. l have made an investigation of music-drama in America, with particular emphasis on music-drama in the colleges and the universities and, as a result, have a definite suggestion to make for a future method or action -- namely: the addition of a good course in applied music-drama to the curriculum of every four-year liberal arts college and university (there are some six hundred and forty-six of them) in the United States.