Master of Arts in Psychology, Cleveland State University, 2024, College of Liberal Arts and Social Sciences

There is a balance of gains and losses across the lifespan. One example of a gain is vocabulary, while an example of a loss is in one's reduced ability to understand speech in the presence of background noise. Investigations into the spoken word recognition environment can shed light on the differences in cognitive and auditory processing that occur throughout the lifespan. One component of the spoken word recognition environment is the listener. Patel's OPERA hypothesis (2011) suggests that the benefits listeners derive from musical training on neural encoding of speech is driven by adaptive plasticity in speech-processing networks. In the current research study, I investigated relationships between age, musicianship, and spoken word recognition. Participants heard a male talker say either a word or nonword and responded by pressing a designated key corresponding to word or nonword on their keyboard. Participants then completed the Goldsmiths Musical Sophistication Index, which was used to categorize each participant as either a musician or a nonmusician. Two repeated measures ANCOVAs were used to analyze the data. The covariate was years of musical experience. The results indicate that both younger and older adult musicians had more efficient responses (more accurate & faster) than nonmusicians. Additionally, participants were more efficient at responding to the easy words compared to the hard words. Interestingly, older adults had significantly more accurate responses than younger adults. The current study furthers our understanding of the connections between musicianship and spoken word recognition in younger and older adults.

Committee: Conor McLennan (Advisor); Eric Allard (Committee Member); Katherine Judge (Committee Member); Philip Allen (Committee Member) Subjects: Aging; Cognitive Psychology; Music; Psychology

PHD, Kent State University, 2017, College of the Arts / School of Music, Hugh A. Glauser

Todd Goodman's dissertation is in two parts: Part I is an operatic setting of the classic 1968 horror film Night of the Living Dead, with the original screenplay by George A. Romero and John Russo. The work, in two acts, is scored for eight principal soloists, six supporting soloists, chorus, and chamber orchestra--flute (doubling piccolo and alto flute), clarinet (doubling bass clarinet), violin, violoncello, piano, synthesizer, and percussion. The libretto for the opera is an adaptation by Stephen Catanzarite of the original screenplay, currently in the public domain. The opera is approximately two hours in duration. Part II, How Music Sounds: a Comprehensive Guide to the Study of the Grammar of Music, is a textbook intended for high-school students to help in their study of musicianship. This book creates a comprehensive foundation for teenage students to have a better understanding of the fundamentals of music through basic harmony, simple compositional technique, keyboarding skills, aural skills, and rhythmic comprehension. This textbook also includes historical contexts of how the theoretical understanding of music evolved—all at a pace that is conducive to the learning of that age group. This dissertation also includes a review of the current music theory, aural skills, and rhythmic studies textbooks currently in use throughout secondary education in the United States.

Committee: Ralph Lorenz PHD (Committee Co-Chair); Frank Wiley DMA (Committee Co-Chair); Jay White DMA (Committee Member); Mark Lewis PHD (Committee Member) Subjects: Music; Music Education

Doctor of Musical Arts, The Ohio State University, 2011, Music

Musicianship skills such as tonal understanding and music reading do not develop without deliberate training and practice aside from work focused on instrumental technique and repertoire. While these musicianship skills are addressed in sightsinging and aural skills curricula, most cello students do not have access such teaching until college, if ever. The use of variable learning principles in the study of tonal grammar at the instrument — scales, chords, arpeggios—may make learning slower but also broader and deeper and of more use to the student of any level.

Committee: Mark Rudoff MM (Advisor); Anna Gawboy PhD (Committee Member); Robert Gillespie PhD (Committee Member); Kia-Hui Tan DMA (Committee Member) Subjects: Music; Music Education

Master of Music, Oberlin College, 2009, Music Education

Through my experiences as a member of various large orchestral ensembles, I have been intrigued by how diverse my musical experiences were with different conductors. Some of these experiences have been thoroughly inspiring; I felt compelled to achieve higher levels of performance and convinced that I was a crucial part of creating something much larger than the notes on the page. Other experiences have been less musically fulfilling for me; I became disinterested and bored and felt little affective connection with the music. Reflecting on these different personal responses, I realized that the conductors in these experiences, in part, influenced such reactions. I trusted and admired these conductors for their confidence, musicality, and ability to lead a large group of people. In essence, these musical leaders possessed various leadership skills that contributed to their success, effectiveness, and appeal as conductors in my eyes. First, the successful conductors in my past experiences all possessed excellent musicianship in offering meaningful and powerful interpretations of the music and demonstrating complete knowledge of the score and its background. Second, these effective conductors maintained a sense of energy and momentum throughout their rehearsals that allowed me to stay focused and interested in music-making. They also presented musical concepts and ideas in ways that increased my understanding of the music. Lastly, I realized that these conductors' verbal comments provided me with specific feedback and understandable instructions on how to improve my performance. These conductors were futher able to depict their musical interpretations through conducting gestures, facial expressions, and physical demeanors. Therefore, I identified musicianship, organization, and instructional strategies—both verbal and nonverbal—as three significant leadership skills that has improved the quality of my orchestral experiences. Reflections on my own experiences as a membe (open full item for complete abstract)

Committee: Jody Kerchner (Advisor); Joanne Erwin (Committee Member); John Knight (Committee Member); Peggy Bennett (Committee Member); Bridget-Michaele Reischl (Committee Member) Subjects: Music

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)

Committee: Vincent Kantorski PhD (Advisor); Bruce Moss PhD (Committee Member) Subjects: Education; Fine Arts; Music; Music Education

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.

Committee: Kevin Schempf Kenneth Thompson (Advisor) Subjects: