The purpose of this study was to design and develop instructional units for teaching jazz piano comping to collegiate music students possessing basic piano skills but limited experience in jazz performance. In establishing bases and rationale for the instructional units, a number of issues were considered. These issues were (1) the need for teaching jazz piano comping, (2) a definition and explanation of the musical elements and characteristics of jazz and jazz comping, (3) an understanding of the African and European transmission traditions and musical characteristics that contributed to the development of jazz, (4) a review of literature relating to jazz piano comping, including jazz, music teaching and learning, and learning theory literature, and (5) a review of jazz piano comping practice from the swing era to the present, as reflected in the work of selected central jazz pianists. The twenty-four instructional units present basic harmonic and rhythmic materials of jazz piano comping. Harmonic materials include seven basic chord structures, harmonic extensions and alterations, upper-structure triads, II-V-I cadences, tritone substitution, chord successions, and typical chord progressions. Rhythmic materials include typical jazz rhythms. Each instructional unit is comprised of (A) presentation of a theoretical concept, (B) exercises for learning the particular concept, (C) a chord progression containing the particular concept, (D) a list of recorded examples of the chord progression for examination, and (E) suggested song titles for realization by the student. The instructional units are organized into four chapters of six units each. Instructional Units I through VI focus on individual voicings, organized into cycles of descending fifths. Units VII through XII focus on the II-V-I cadence and tritone substitution. Units XIII through XVIII focus on short chord successions. Units XIX through XXIV serves as a "summing up" of material presented in the first eighteen units. Overall, this work is designed to guide the student to technical proficiency, theoretical understanding, idiomatic fluency, and a creative approach to jazz piano comping. / School of Music

William Gillock, a 20th-century American composer and pedagogue, composed numerous works in the styles of different periods for early intermediate-level piano students. The purpose of this dissertation is to introduce Gillock's pieces to teachers of early intermediate students and illustrate how they can be used as a bridge to the study of similar music from Baroque, Classical, and Romantic periods. Gillock's Little Suite in Baroque Style is compared with Handel's Suite in E Major, HWV 430; his Accent on Analytical Sonatinas (Classical) is compared with Clementi's Piano Sonatinas, Op. 36, No. 3, 5, 6; and his Lyric Preludes in Romantic Style (Romantic) is compared with Chopin's 24 Preludes, Op. 28, No. 3, 6, 9, 16, 18, and 24. Each work is examined to reveal its compositional and technical elements along with pedagogical concepts.

The purpose of this dissertation is to offer a pedagogical guide to Woodsprite and Waterbug Collection (1977) by Dan Beaty (1937-2002) through an analysis of its pedagogical values and teaching applications. This set consists of twelve short, intermediate-level pieces, featuring various contemporary idioms. Each piece is also pedagogically written to help intermediate students to refine specific pianistic techniques beyond the elementary level. In addition, Beaty's collection expands students' musical vision and musicianship for more advanced studies via the incorporation of contemporary music theory and techniques. These qualities make Woodsprite and Waterbug Collection a valuable tool for intermediate piano students. It is also useful for instructors searching for repertoire to introduce contemporary idioms. The author hopes that this study will encourage performers, teachers and scholars to consider this work and Beaty's other piano compositions. By studying Woodsprite and Waterbug Collection, students will be more appreciative of contemporary repertoire and will welcome learning similar pieces in the future.

Yvonne Desportes (1907-1993) was an influential female composer, teacher, and music theorist. Her early success as a recipient of the Prix de Rome for composition (1932) marked the beginning of her distinguished career in music culminating in a 35-year professorship at the Paris Conservatory. Despite the relative obscurity of her music, Desportes was a prolific composer and published numerous works for clarinet quartet. This dissertation seeks to promote the clarinet music of Yvonne Desportes through a pedagogical examination of her clarinet quartets. The equitable parts and quality of Desportes' compositional style allow her clarinet quartets to be effective teaching tools for the development of fundamental clarinet skills relating to tone, technique, and musical style.