The purpose of the current study is to provide students and instructors with a resource to study and teach steelpan through an understanding of the fundamental design and patterns inherent on each instrument. This will be accomplished through an investigation of how an awareness of the symmetrical note layout of the tenor pan, double seconds, triple cellos and six bass can be utilized when learning fundamental music concepts such as scales and chords. Caused by their symmetrical design, the patterns used in steelpan construction interact with the patterns of scales and chords to create commonalities that remain consistent when transposed. When students and teachers are aware of these commonalities, they can be utilized when teaching and learning the instruments. These patterns also inform performance on the instruments, as the commonalities in the transposable patterns lead to recurring stickings. Because of this, the stickings of scales and chords will be discussed throughout the study to determine how the symmetrical design of the instruments can be used to inform stickings. With this study, the author intends to demonstrate the importance of learning the organization of the instrument's note layout, rather than memorizing the location of each note independently. Because of steelpan's cyclical nature, and because the instruments do not conform to a chromatic centric note layout, it can be harder for students to identify the patterns used in steelpan construction. As a result, many novice steelpannists view the note layout of the instruments as a random assortment of notes. The steelpans have been methodically designed, however, and patterns in their note layout do exist. This study should serve as a resource for students and teachers to both acknowledge and understand these patterns.

Master of Music / Department of Music, Theatre and Dance / Kurt R. Gartner / The current study is an in depth look of the impact of steel pan ensemble within the college curriculum of the Midwest. The goal of the study is to further understand what perceived impacts steel pan ensemble might have on student learning through the perceptions of both instructors and students. The ensemble's impact on the students’ senses of rhythm, ability to listen and balance in an ensemble, their understanding of voicing and harmony, and appreciation of world music were all investigated through both the perceptions of the students as well as the instructors. Other areas investigated were the role of the instructor to determine how their teaching methods and topics covered impacted the students' opinion of the ensemble. This includes, but is not limited to, time spent teaching improvisation, rote teaching versus Western notation, and adding historical context by teaching the students the history of the ensemble. The Midwest region was chosen both for its high density of collegiate steel pan ensembles as well as its encompassing of some of the oldest pan ensembles in the U.S. The study used an explanatory mixed methodology employing two surveys, a student version and an instructor version, distributed to the collegiate steel pan ensembles of the Midwest via the internet. The researcher intends for the current data to serve the music community in several ways: first, by determining exactly what the students and instructors value about the ensemble, we will better understand how an instrument created less than a century ago was able to infiltrate music programs all over the world. Second, giving instructors insight on the students' perspectives will also enable them to create a more effective and enjoyable curriculum. And lastly, with this information, instructors and program supervisors will be better suited to determine just how large of a role the ensemble should play in their students' education.

The Master’s Recital recorded on the compact disc that accompanies this paper presents seven compositions. Five of them are my own, and two are my arrangements of compositions by musicians that I admire. The paper includes scores of the original compositions and arrangements, as well as program notes that offer historical background, summaries of the form, and observations on performance practice for each selection. My goal is to demonstrate to jazz devotees and to music lovers in general the capabilities of the steel pan instrument within a jazz combo setting. Each composition exploits the full range of challenges the percussionist faces in a jazz combo performance. I explore different stylistic approaches and musical concepts that enable a high level of improvised musical performance on an instrument that is relatively new to jazz.

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