Master of Arts, The Ohio State University, 2014, Music

The purpose this study is to illustrate current trends in show design and wind arranging within the marching band and drum corps activity. Through a comprehensive review of literature a need for further study on this subject was discovered. Specifically, texts from the 1950s, 60s, and 70s focused primarily on marching band arranging practices with minimal influence of show design. Since the 1980s, several documents have been written that discuss show design with some degree of detail, but have neglected to thoroughly address changes in marching band arranging. It is the aim of this thesis to discuss current trends and techniques in marching band wind arranging, and the higher level of detail placed into show conceptualization used by drum corps, competitive, and show band.

Doctor of Musical Arts, The Ohio State University, 2004, Music

The issue of literature selection for performing ensembles is of criticalimportance for band directors in the schools with many authorities agreeing that the repertoire chosen for study is the curriculum for these classes. Preservice professionals and less experienced directors of wind bands may lack skills for determining the quality of materials chosen for study, as well as knowledge of standard literature for these ensembles. For this study, a survey group of collegiate directors of bands was selected on the basis of their expertise in wind literature. Most other studies on repertoire for wind bands have employed random selection methods to choose survey respondents. These selected participants were asked to respond to a survey concerning standard literature for band and the criteria for identifying quality in band literature. They were also asked to nominate high school band directors whose opinions they respect on the topic of repertoire selection. These recommended directors were asked to complete a similar survey. The survey respondents included 83 directors from both the collegiate and high school levels who teach in all six regions of the College Band Directors National Association. The respondents exhibited a wealth of experience in the field with most indicating that they had twelve or more years of teaching experience. The ultimate goal of the project was to construct a syllabus for a course in wind literature that would include the results of this research. The course builds upon the concerns expressed and recommendations derived from the review of literature, as well as the recommendations of the survey respondents. The survey identified 24 grade III-VI works from the standard literature of the wind band that through study and analysis would provide insight for determining criteria of quality in wind literature. In addition, a list of criteria for determining quality in music was substantiated for use as a catalyst for discussion in the class and to se (open full item for complete abstract)

Master of Music (MM), Bowling Green State University, 2012, Music Education

The purpose of this study was to conduct a case study of a band director who uses comprehensive musicianship instruction in middle school bands. To determine the subject of this study, I selected ten directors based upon their reputation of success and my knowledge of middle school band directors in District 1 of the Ohio Music Education Association. I then e-mailed them a request to complete a survey that ascertained their understanding and use of comprehensive musicianship. Mr. Richard Brimmer, Director of Bands at Lake Local Schools, was chosen as the subject of this case study because his survey answers demonstrated clear knowledge and implementation of comprehensive musicianship. I visited Brimmer's school for a total of 16 full school days in March, April, and May of 2012, and collected data in the following ways: (a) entrance and exit interviews consisting of semi-structured questions conducted during my first and last full weeks of observation; (b) observations of the four middle school bands that I documented in a journal notebook; (c) observation notes that served as prompts for end-of-week reflective discussions with Brimmer to gain his reactions to class events; (d) a survey distributed to assenting band students during my final visit to determine their reactions to Brimmer's instructional methods; and (e) artifacts, including method books used, quizzes and tests, major projects, performance assessment rubrics and any additional resources used in class. Analysis of the data collected revealed the following four instructional themes in Brimmer's teaching: (a) music theory, (b) performance skills, (c) musical independence, and (d) music's relationship to other aspects of life. Although the research literature has shown that the primary reason teachers do not use comprehensive musicianship is performance demands, Brimmer's use of it keeps performance at the center of his instruction. While he does not follow one specific comprehensive musicianship model (open full item for complete abstract)

Bachelor of Arts (BA), Ohio University, 2023, Music

The purpose of this thesis is to provide disciplinary context for my creative projects in marching band show design. I designed two shows: Dancing Queens, a three movement work in the traditional style of marching, and Hydrodynamics, a three movement work in the style of contemporary marching band. Dancing Queens features the music of my own original marching band arrangements of “The Sign” by Lizzo, “I Will Survive” by Gloria Gaynor, and “Dancing Queen” by ABBA. Hydrodynamics features all original music by Andrew Yozviak with movements titled “Water”, “Steam”, and “Ice”, published originally by Marching Band Concepts Inc.. Considerations for student growth, performer ability, educational benefits, and entertainment value framed the scope and depth of the resulting products. Topics of study include reading and writing drill charts, development of show concept, music selection and arranging, and prop design. Various marching systems and practices are utilized and the conventions of each style are explored through implementation of current and historical trends of set and concept design in Pyware 3D. These creative projects were the culmination of my work with faculty tutor Joshua Boyer, working with the drill writing software, Pyware 3D. Drill writing tools, visual and audio editing, and photo/image manipulation software were utilized to enhance the visual software of Pyware 3D to create videos of the 3D rendering of the projects.

Master of Music (MM), Bowling Green State University, 2020, Music Composition

Scherzo is a non-programmatic work that develops two main themes. The overall character of the piece is that of a quirky march, with abrupt skips or elongations that keep the theme from settling into predictability. Scherzo consists of three main sections in ABA form. The two A sections are comprised of the scherzo material that gives the piece its name. This theme cycles through variations of orchestration, rhythm, key, accompaniment, and other musical characteristics. The B section contains contrasting material in a much slower tempo. The B theme is lyrical and expressive, with less of the quirky and abrupt character of the A material. The harmonic language in Scherzo is mainly triadic but not functionally tonal. In the A section, various chord extensions and color tones plus an emphasis on the tritone are explored. The B section follows a more typical chord progression as fits its lyrical nature. Rhythmically, Scherzo has a constant pulse like a march, which is continuously interrupted and evaded to contribute to the playfulness of the A sections. Importantly, I drew upon my experience being a member of concert bands for twelve years. My aim is that the piece fit within the performance capabilities (Grade V) of an average collegiate, or very good high school, concert band. Composers who influenced Scherzo include David Maslanka, Igor Stravinsky, Vincent Persichetti, and Paul Hindemith. Among Maslanka's band works, A Child's Garden of Dreams and The Unending Stream of Life have been particularly influential, and I look to his works as ways to develop material in new and interesting ways within an audience-accessible idiom. Hindemith's and Persichetti's band pieces, Konzert fur Blasorchester and Symphony for Band, respectively, were also influential. I tried to emulate their Neo-Classical elements, including their harmonic language and developmental techniques. Several works by Stravinsky provided direct inspiration, especially those that match the whimsical (open full item for complete abstract)

Doctor of Philosophy, The Ohio State University, 2019, Music

The purpose of this study was to investigate the potential benefits of high school marching band participation from the perspectives of high school band directors, band students, and band parents. Through the use of survey methodology, this research aimed to examine the potential musical benefits as they pertain to the 2014 NAfME music education standards for ensembles. This study also examined the potential social benefits as they relate to the constructs for social and emotional learning outcomes as stated by the Collaborative for Academic, Social, and Emotional Learning (CASEL). The participants included 14 band programs purposefully sampled to represent a variety of demographic and philosophical variables. Three unique questionnaires were developed (one for the director, one for students, and one for parents) containing items for participants to rate on a Likert-type scale, as well as prompts which requested narrative response. Results from all three surveys (directors N = 14, students N = 431, parents N = 331) showed unanimous agreement that the improved concept of rhythm was the highest perceived musical benefit of marching band participation. Evidence regarding the social benefits showed that participants viewed marching band as an activity that mostly improves the SEL competencies of relationship skills, self-management, and self- awareness.

Doctor of Musical Arts, The Ohio State University, 2019, Music

During the past four decades, the wind band music of David Maslanka has been held in high regard and performed throughout the world. Many works by Maslanka have been accepted into the growing body of standard repertoire for the wind band. Symphony No. 10: The River of Time is the final work by this highly respected composer. The purpose of this document is to record all information pertaining to the commissioning, composition, and completion of the symphony. Performance considerations will also be addressed. The data generated here will be valuable for future performances and its historical contribution to wind band repertoire. The composer's compositional approach and use of meditation will be examined as well as the completion of the work by Maslanka's son, Matthew Maslanka, following the composer's death.

DMA, University of Cincinnati, 2011, College-Conservatory of Music: Composition

In many ways, the Concerto for Piano and Wind Ensemble reflects my experiences at the University of Cincinnati. Composed mainly during the first four months of 2011, and originally intended as a summary of the various compositional techniques honed during my doctoral studies, the work also gained a programmatic element, seemingly without any conscious effort on my part. Although the concerto is in one continuous movement, it is divided into three main sections, each alluding to my state of mind during my three years as a full-time student at UC. Approximately 27 minutes in duration, this is my largest composition so far.

Master of Education, University of Toledo, 2004, Music Education

For band directors, the retention of students during the transition from junior high school to high school is a very important issue. At a time when high school graduation requirements are rising and elective credits are decreasing, directors must be focused on the reasons students decide to remain in band. For these reasons, a survey of band directors has been completed that attempts to gauge what they perceive as the most important factors in student retention. While all of the questions in the survey were important with regards to retention, the most important aspects dealt with the parental, musical and social aspects of band. The survey also seems to indicate, from the directors' point of view, that students have a wide variety of needs. Directors who can adapt their teaching philosophy to meet student needs will be the most likely to retain students during the transition to high school.

Master of Arts, The Ohio State University, 2010, Music

From humble beginnings, the concert wind bands at The Ohio State University developed from a utilitarian campus group to a nationally recognized program, serving the artistic, educational, and aesthetic needs of the students for whom it exists. From an educational standpoint, the Ohio State band program is not alone in this development. Across the country, similar wind groups began as makeshift military bands, fashioned loosely in the style of traveling professional groups from the early twentieth century. As these bands became established campus ensembles, eventually serving the academic needs of music departments and schools, directors began to selectively model their programs on the philosophical and educational trends of the day. Reflective of the national progression of the wind band movement, the Ohio State band directors demonstrated a desire to perform original and often contemporary literature, to replicate the instrumentation of other leading university band programs, and to seek performance opportunities that would bring recognition to the ensemble and attract talented prospective students. As opportunities and resources grew for band directors at Ohio State, value-based decisions were made, which resulted from the directors' own philosophical views on performance and education, limited only by the support and funding provided by campus administrators. By the 1960s, wind band advocates could no longer claim a professional disadvantage based on the limitations of repertoire or the curricular acceptance of bands at the post-secondary level. Rather, directors had to choose the path that their programs would take, determining the best balance for their institution, drawing from campus traditions and contemporary methodologies endorsed by leading professionals in their field. During this time at Ohio State, as well as at other institutions, long-established directors would build reputations of excellence and expectations of tradition with their band that wou (open full item for complete abstract)

Doctor of Philosophy, The Ohio State University, 2009, Music

The purpose of this study was to survey Ohio high school marching band directors to obtain their perceptions of need, and their undergraduate preparation, in the area of marching band techniques. It was determined that a questionnaire was the best method to solicit opinions. Responses were solicited from a sample of 400 Ohio high school marching band directors. A total of 226 questionnaires were returned, representing 56.5% of the target sample, of which 214 were usable. Results from the survey indicated that 67.8% of the respondents had taken a full course in marching band techniques as an undergraduate student. The results also revealed that 72.9% of the respondents had participated in a collegiate marching band. Data were collected regarding twenty-eight teaching factors related to teaching a high school marching band. For each factor participants were asked to define their perceived degree of need for preparation in the undergraduate curriculum. Participants were also asked to indicate their perceived degree of preparation for each factor through coursework in marching band techniques and through participation in a collegiate marching band. The factors indicated to have the highest degree of need were those from the category “skills for marching band rehearsals” and from the category “marching band music.” The factors perceived by the participants to have the highest degree of preparation through coursework were those from the “philosophical” category, and the factors the respondents felt best prepared for through participation in a collegiate marching band were from the category “show design techniques.” Respondents indicated a higher degree of need than degree of preparation for all twenty-eight of the teaching factors. Results indicate that respondents perceived twelve of the factors were best prepared through coursework, while sixteen of the factors were perceived to have been best prepared through participation in a collegiate marching band. For this rea (open full item for complete abstract)

Doctor of Philosophy, The Ohio State University, 2007, Music

The purpose of this study was to identify factors among first-year students influencing nonparticipation in collegiate band programs at The Ohio State University. This study arose from four primary concerns: 1) a need for a study focusing on the retention of non-music major band members from high school to college; 2) a need for a review and update of previous studies focusing on retention of band students from high school to college; 3) a need for a study of this nature to focus specifically on an individual large university; and 4) a need to provide data intended to improve recruiting techniques for large college band programs. Distribution and collection of a survey questionnaire was accomplished through two methods: 1) direct distribution of the questionnaire in selected classes and 2) electronic mail distribution with information provided from the SAT/ACT Interest Inventory. The total sample population for the study was 280 (n = 280) first-year students. Descriptive statistics were developed in the examination and presentation of the data. Results from the survey indicated the variable most influential to nonparticipation in bands at The Ohio State University was the perceived time commitment thought to be inherent from participation in a college band program. Of equal importance was the fact that 83.6% of respondents had made the decision not to participate in bands at The Ohio State University prior to enrollment into the university. Data suggest a first-year student's decision not to participate in bands was influenced by factors such as: a) time conflict with other courses; b) an overall declining interest in band; c) concerns about academic course load; d) musical proficiency; e) fear of auditioning; f) lack of information about the college band program; and g) negative high school band experiences. Data provided did not find a relationship between nonparticipation and: a) reputation of the college band conductor, and b) advice from college academic adviso (open full item for complete abstract)

Doctor of Philosophy, The Ohio State University, 2003, Chemistry

Photocatalytic properties of a material are highly dependent upon the energy levels of the conduction and valence bands relative to the reactantfs HOMO and LUMO. Band edge positions control the wavelength of light that can be absorbed and the permissible surface redox reactions. These band edges are affected by (a) the charge transfer energy from the oxygen to metal, (b) local symmetry about the metal, (c) the connectivity of the MOn polyhedra, and (d) inductive effects from highly electropositive spectator cations. Ternary perovskite, ordered double perovskite and perovskite-related oxides with d0 transition metals (Ti4+, Nb5+, Ta5+, Mo6+, and W6+) in octahedral coordination have been systematically investigated to quantitatively understand the effects of cation substitution and structural features, such as symmetry about the transition metal. Measurements of the materialfs energetic band gap were made using UV/Vis diffuse reflectance spectroscopy, and linear muffin tin orbital calculations were utilized to help discern trends in the measured band gaps. The cubic perovskite oxides give the minimal band gap energies for the transition metal of interest in octahedral coordination. Band gaps of elpasolite compounds are shown to be a measure of the oxygen-to-metal charge transfer, and thus, is a measure of that transition metalfs effective electronegativity. Distortions from the ideal, cubic structure lead to increases in the band gap. Other than going from ternary to quarternary perovskites, out-of-center distortions of the octahedra have the greatest affect on the band gap. Changes in the M-O-M bond angle have the next most significant affect on the band gap. Changes in dimensionality have almost no affect on the band gap; however, structural distortions arising from those changes may increase the band gap. Finally, inductive effects of spectator ions were negligible in the double perovskite compounds, although slight variations in band gap energies occurred with the (open full item for complete abstract)

Master of Music (MM), Bowling Green State University, 2011, Music Composition

SWAT is a seven-minute work for symphonic band. The instrumentation follows the standard symphonic band arrangement, featuring multiple performers per wind part, as well as piano, timpani, and four percussion parts. As the title suggests, SWAT is influenced by my own experience with a SWAT (special weapons and tactics) team raid in the Fall of 2009. The composition follows the general chronological order of events of the raid, featuring the progression from sleep, waking, the raid itself, and finally to the period of reflection and post-event trauma. Furthermore, the music motivically, texturally, rhythmically, and instrumentally reflects the intense physical, mental, and emotional stress of the actual event. As mentioned above, the formal structure of SWAT is loosely influenced by the progression of events that transpired the night of the SWAT team raid. In this respect, the piece unfolds as a three-part form based on the following distinct events from the raid: the period of sleep prior to the raid (Section A), the time in which the SWAT team searched the residence (Section B), and finally the traumatic reflection after the event (Section C). While the inspiration for this structure is narrative in nature the composition itself is not strictly programmatic, but instead features loose musical portraits of each of these events. With this in mind, the intent of SWAT is not to retell the story of the raid, but rather to musically portray the extreme psychological impact of the experience. The harmonic language of SWAT is based on a nine-note set (9-4 [012345789]) derived from an extended tertian sonority that forms the foundation of the pitch-material for the piece. Different subsets of this original set are explored throughout the work, forming an ever-changing yet structurally cohesive harmonic surface. In terms of macro-structure, the original set (T0) is used throughout Section A, the tritone transposition (T6) is used throughout Section B, and their combinatio (open full item for complete abstract)

Master of Music (MM), Bowling Green State University, 2011, Music Education/Comprehensive Music Education

The lack of women band directors, especially at the high school and collegiate levels, is an area of concern for music educators. Previous research has identified balancing career and family responsibilities as a challenge for professional women, and a possible factor in the inequality of men and women in the band directing profession. The purpose of the study was to investigate strategies used by women high school band directors to meet the challenge of balancing career and family. College band directors in Michigan and Ohio nominated women high school band directors based on the following criteria, (a) female, (b) current or former high school band director in Michigan or Ohio, (c) married or divorced, and/or caregiver of a child during the period of employment as a high school band director. Semi-structured, open-ended live interviews were conducted with four women exhibiting a range of experiences with balancing a career as a high school band director and family responsibilities. Interviews were recorded and subsequently transcribed. The analysis initially focused on issues presented in previous research, such as spousal support, childcare methods, time management, and family and career planning and was further guided by the interview of each subject allowing the researcher to identify challenges and strategies related to balancing a career as a band director and family responsibilities. Analysis and coding of data within and across cases revealed challenges and strategies commonly related to a theme of time. Participants reported challenges and strategies related to the time requirements of the high school band director position and parenting. Numerous afterschool and weekend commitments contributed to participants' emotional distress and guilt from being separated from their children, maintaining personal relationships, and difficulty staying healthy. Strategies used by participants to cope with their time commitments included: relying on their spouses (open full item for complete abstract)

Master of Music (MM), Bowling Green State University, 2010, Music Education

The purpose of the study was to conduct a multiple case study of six exemplary band directors' repertoire selection processes. Two collegiate, two high school, and two middle school band directors were nominated based on their outstanding reputations as instrumental music educators and their knowledge in repertoire selection. Each band director was interviewed in person and asked ten semi-structured interview questions on the repertoire selection process they use for the ensembles that they teach. Each interview lasted approximately 45 minutes and was video-recorded and transcribed. The band directors identified a number of factors that are important in the repertoire selection process with the most important being that the music is high quality. The band directors use different criteria in determining quality of music, which include form, harmony, scoring, variety, and unpredictability. The directors select music that is appropriate for their ensemble's ability level by selecting works that will challenge the students but also allow them to be successful in making music. The band directors indicated that an effective concert program has a variety of composers and styles as well as works that appeal to the audience, students, and conductor. The band directors also offer suggestions on how young band directors can become more effective in the repertoire selection process.

Master of Music (MM), Bowling Green State University, 2006, Music Education/Comprehensive Music Education

The purpose of this study was to review five beginning band methods for inclusion of comprehensive musicianship and adherence to the National Standards for Music Education. Band Expressions (Smith & Smith, 2003), Essential Elements 2000 Plus DVD (Lautzenheiser et. al., 2004), Standard of Excellence: Enhanced Comprehensive Band Method (Pearson, 2004), The Yamaha Advantage: Musicianship from Day One (Clark & Feldstein, 2001), and Accent on Achievement (O'Reilly & Williams, 1997) were reviewed for inclusion of items, topics, and musical skills that each should address according to the National Standards for Music Education as well as books, articles, and studies on comprehensive musicianship. The number of times each band method addresses a topic cited as a standard in the National Standards and/or included in comprehensive musicianship was charted. While all five band methods assist directors in providing comprehensive instruction and adhering to the National Standards, only Band Expressions integrates all of the topics reviewed in this thesis into the band method.

Doctor of Philosophy, University of Toledo, 2021, Physics

Polycrystalline Cadmium Telluride has been developed to be one of the most commercially successful materials for photovoltaic module production with power conversion efficiencies over 21% for research cells to over 18% for module efficiencies. However, little is known about these record devices architecture or the processing methods. Following conventional understanding of a CdTe solar cell operation, researchers have put extensive efforts over the years to improve the CdTe device performance through improved material quality and diode quality. While this have gained some benefit, performance limiting factors to these devices remains unchanged. Deviating from conventional concepts, better understanding of the device physics is needed in order to further improve these devices. This dissertation focusses on identifying these loss mechanisms and setting guidelines to fabricating high efficiency CdTe devices through both experimental and numerical simulation. Experimental work discusses the details to construction and characterization of a CdTe deposition system and employing the new understanding of improving the CdTe device to achieve high performing CdTe devices. Here the traditional CdS window layer is replaced by a wide bandgap MgxZn1-xO to increase the photocurrent generation with better band alignment. With optimum deposition and processing conditions, work demonstrates a device with power conversion efficiency >16%. With a good front contact, performance of the device can be limited by the poor back contact. Expanding the understanding to front contact band alignment, characteristics of a back buffer layer suitable for CdTe back contact is also explored. Through 1D numerical simulation of the conduction and valence band offset, doping levels of the CdTe and back buffer layer material, this dissertation work sets the guideline to achieving CdTe device performance up to 25%.

Doctor of Philosophy, Case Western Reserve University, 2021, Music Education

The purpose of this research was to examine women high school band directors' perceptions of the relationship between their gender and professional identities and how this perception related to other aspects of their professional lives. The perception of the relationship between gender and professional identity was examined through the construct of gender and professional identity integration (GPII), an individual difference variable indicating the extent to which individuals perceive their identities as compatible or conflicting. Variables related to the professional lives of women high school band directors included age, professional background, teaching position attributes, same gender role models and mentors, gender-related experiences in professional contexts, and intended career trajectory. Data were collected from women who were members of the Band Directors Group on Facebook (N = 206) using an online questionnaire. Results indicated that GPII was significantly related to age and also the number of years teaching high school band, but this relationship was weaker than between GPII and age. GPII was significantly higher for those teaching only band. Surprisingly, there was no relationship between GPII and the presence of same-gender role models or mentors. However, GPII did differ depending on whether participants perceived they were acknowledged and respected by other band directors and also if participants reported they had experienced sexism or gendered treatment in work contexts.

Doctor of Philosophy, Case Western Reserve University, 2021, Music Education

The COVID-19 global pandemic altered PK-12 school music instruction in 2020-2021. The purpose of this multiple case study was to examine teaching and learning practices in high school band classrooms that were modified due to COVID-19. The research questions included (a) How do high school band teachers approach, construct, and adapt to coronavirus-era music teaching? (b) How do high school band students receive, describe, and adapt to coronavirus-era music learning? (c) How do high school band teachers and students work collaboratively toward building social and musical connections in the coronavirus-era music classroom? (d) What aspects of coronavirus-era band education do participants believe will shape future music classrooms? The research questions and analysis were developed using the theoretical framework of Communities of Practice Theory (Wenger, 1998). Participants included high school band teachers and students. Three high school band director participants were selected based on pre-determined criteria: that they had taught for 3 or more years at their current school with at least 5 total years of band teaching experience. The band students at the same three high schools were eligible to participate. Data was collected remotely and included interviews, observations, and journal entries. Data was analyzed within each case to describe the specific experiences of each band teacher and student participant. Cross-case analysis was then completed to determine similarities, differences, and unique qualities between the three cases. Themes from individual cases regarded band teacher strategies in remote and hybrid learning formats and how band teachers and students engaged in band camaraderie during COVID-19. Cross-case analysis produced overarching themes; including Responding to Student Needs, Self-Motivated vs. Group-Motivated, Hybrid Band Community, and Predictions for the Future. The data yielded four assertions regarding the experience of high school (open full item for complete abstract)