▼ The purpose of this thesis was to describe the historical and educational implications of composition contests for wind bands and to analyze the two award winning works from the 2007 Ticheli Composition Contest: Whirlwind by Jodie Blackshaw and Shadow Rituals by Michael Markowski. A detailed performance analysis of each work included: (a) program notes, (b) historical/programmatic background material, (c) a formal analysis, (d) technical considerations for rehearsal, and (e) conducting challenges. I concluded that different methods of structure were used in the composition of these two new works for beginning and intermediate wind band. The Ticheli Composition Contest was found to be the only one of five contests that awards composers for works written for beginning and intermediate ensembles. Whirlwind was found to be structured around meter, shifting from free time to structured 3/4 time and back to free time. The entirety of the work is based on a four-note melody that is presented in solo, duet, and round form. Expression, style, and tone color were the primary foci of this work. Shadow Rituals was structured around key relationships. Markowski shifts key areas by both consonance and dissonance. This relationship is set up by the altering consonant and dissonant dyads created by the melodic line and accompanimental figure of the opening theme. The minor third is prevalent throughout the work, appearing intervallically in melodic material, as well as harmonically in tonal shifts. Both works were found to have well-conceived formal structures (e.g., rhythmically, melodically, and harmonically cohesive); and to be technically challenging and appropriate for use with beginning and intermediate ensembles. Advisors/Committee Members: Thompson, Kenneth.

▼ This study investigated the effects of auditioning for band and seating placement on the motivation and musical self-esteem of high school wind musicians. Subjects were 31 students involved in the band program of one high school in a suburban Ohio community. Students in this band program were required to audition for placement into a ranked seating order within one of two ability-based concert bands. Motivation in music was measured by the Asmus Motivating Factors scale, and musical self-esteem was measured by a researcher-designed questionnaire loosely based upon items from the Svengalis Self-Concept in Music scale and the Schmitt Self-Esteem of Musical Ability scale. These questionnaires were distributed immediately prior to auditions, just after auditions, and one month after auditions (when the bands had performed in concert once together). Pretest, posttest, and follow-up scores were compared using statistical means, the Repeated Measures Analysis of Variance (ANOVA) test, and Tukey’s Multiple Comparison procedure. Statistical differences between the pretest and posttest scores indicated short-term effects of band and seating placement on motivation and musical self-esteem, and differences between the pretest and follow-up indicated long-term effects. Results indicated no statistically significant effects of band and seating placement on the motivation and musical self-esteem of high school wind musicians in this study. Statistical trends in this study indicated that 1) students in this study decreased in the strength of their attributions over time, 2) students tended to attribute their achievements in music to ability first, followed by effort, affect toward music, classroom environment, and background in music, 3) students tended to attribute their achievements to ability rather than to effort, 4) most negative effects of the band and seating placement process on the motivation and musical self-esteem of high school wind musicians were short-lived in nature, 5) students who placed the highest did not increase in their motivation and self-esteem in the long-term, 6) students who placed the lowest did not decrease in their motivation and self-esteem in the long-term, and 7) the results from several groups indicated that music students are motivated by factors other than achievement in music. The results implied that students already expected where they would be placed, and that music educators should 1) not be as concerned about the negative effects of the audition process, 2) cultivate positive effort attributions and musical self-esteem in students of all ability levels, and 3) understand that achievement serves as a motivator for some (but not all) students. Advisors/Committee Members: Moss, Bruce.

▼ The purpose of this study was to examine the history, growth, and development of an award winning public school string program. This study provided a description of a model of an excellent orchestra program and produced a general benefit to novice teachers who are setting up new programs, and to music educators by adding to our knowledge of the unique characteristics of a successful string program. There were three major sections of discussion in this study: (1) preparation for setting up a string program; (2) delivery of instruction in elementary, middle school, and high school levels of the program; and (3) continued growth, development, and support of the program. This research was accomplished by analysis of the following data: (a) live observations of class instruction at elementary, middle school, and high school, (b) orchestra handbooks and documents regarding curriculum and other guidelines; and (c) transcripts of interviews with faculty from Upper Arlington City Schools. Results show that individual faculty qualifications and experience prepare them to teach all levels of string classes. Based on their experiences, they are able to create an organized curriculum, design goal directed instructional plans, teach effectively as a team, and sustain a successful string program. Advisors/Committee Members: Colprit, Elaine J.