Doctor of Philosophy, Case Western Reserve University, 2011, Music Education

The purpose of this study was to explore reasons why participants chose to enroll in, drop out of, or never enroll in high school music. A secondary purpose of this study was to identify what types of non-traditional music offerings participants would have been interested in as high school students. A researcher-designed survey was administered to 416 participants at six participating universities, each representing one of MENC's geographic regions. Participants responded to survey questions examining external and internal factors that may have affected their decision to enroll in high school music, which included: scheduling, socioeconomic status, teachers, parents, peers, social identity, intrinsic motivation, attitude, attributions, and self-concept. Participants also responded to questions pertaining to types of courses offered at their high school and their level of interest in non-traditional high school music offerings. One-way ANOVAs revealed significant differences among the groups on most of the survey factors. Overall, those participants who were never enrolled in high school may have had difficulty fitting school music into their schedule, less parental encouragement, lower musical self-concept, and lower opinions of music teachers than those who were enrolled in high school music all four years or those who dropped out. In general, the participants who were never enrolled in high school music may not have listened to classical music, identified with a peer group within school music ensembles, enjoyed traditional repertoire, or had many friends who were in school music compared to those who were enrolled in high school music all four years or those who dropped out. The results also suggested that those who had enrolled in high school music all four years were significantly more interested in non-traditional music offerings than those who never enrolled. However, the participants who never enrolled in or dropped out of high school music indicated that the (open full item for complete abstract)

Committee: Kathleen A. Horvath PhD (Advisor); William I. Bauer PhD (Committee Member); Denise Davis PhD (Committee Member); Lisa H. Koops PhD (Committee Member) Subjects: Music Education

PHD, Kent State University, 2014, College of the Arts / School of Music, Hugh A. Glauser

Directors of school concert bands continue to program new and emergent works alongside pieces considered to be part of the core and traditional repertoire. The purpose of this dissertation was to discover what criteria directors consider important in their review of new and emergent concert band works for use in rehearsal and performance. A secondary objective examined if director experience and educational background influenced the evaluation of this music used in high school instrumental settings. In order to evaluate this recent repertoire, the Concert Band Repertoire Evaluation Criteria (CBREC) was developed by the researcher, and reviewed by a panel of collegiate directors. The review of the CBREC revealed it to be a reliable tool for the purposes of the study. An independent panel of experts in concert band repertoire selected three works to be reviewed by participants. Invited participants comprised band directors who hold membership in an international band fraternity. The teaching responsibilities of these directors included conducting concert bands at American senior high schools. Participant directors rated each work using the CBREC after viewing an image of the music score and listening to an audio recording of the piece. The participant directors had the option of rating their familiarity with each piece used and answering three open-ended questions regarding repertoire selection. Data collected from the participants indicated favorable mean ratings for the works used in the study. When the participant data were analyzed in sub-groups, several statistically significant findings were reported. Sub-groups including older directors, directors teaching only one ensemble, and directors who answered open-ended questions in the study demonstrated more stability in their ratings of the repertoire used in the study than did younger directors, directors teaching multiple ensembles, and directors who did not respond to open-ended questions. Results suggest (open full item for complete abstract)

Committee: Craig Resta Dr. (Advisor) Subjects: Music; Music Education

Master of Arts, The Ohio State University, 1960, Graduate School

Committee: Not Provided (Other) Subjects:

Master of Arts, The Ohio State University, 1962, Graduate School

Committee: Not Provided (Other) Subjects:

Master of Arts, The Ohio State University, 1960, Graduate School

Committee: Not Provided (Other) Subjects:

Master of Arts, The Ohio State University, 1963, Graduate School

Committee: Not Provided (Other) Subjects:

Master of Arts, The Ohio State University, 1963, Graduate School

Committee: Not Provided (Other) Subjects:

Master of Arts, The Ohio State University, 1968, Graduate School

Committee: Not Provided (Other) Subjects:

Doctor of Musical Arts, The Ohio State University, 2023, Music

For the orchestra conductor, performing a premiere is both an exciting and challenging experience. It is an honor and thrill to present someone's music to the public for the first time. Unlike that of a solo instrument or a small group, hearing the premiere of a large ensemble has particular value to the composer because a new orchestra composition can only be properly heard if the necessary group of musicians gather and rehearse it at an appointed time. On the other hand, it is a challenge for the conductor because there are no proper recordings or live performances to study in preparation. As one solution to this dilemma, conductors can engage in a dialogue with composers to better understand their musical, technical, and expressive intentions. In that process, composers can also encounter fresh and meaningful perspectives on their music from the standpoint of conductors and performers. Through the conductor's insight, the composer may come to appreciate elements in their music that they did not initially consider. Conductors frequently encounter performance problems and technical issues in rehearsal, and these can prove to have been foreign to the original compositional process. A productive dialogue between conductor and composer can be a driving force to improve a composition and provide opportunities for growth on both sides. This dissertation considers the premieres of orchestral works by three accomplished composers, focusing on the communication between composer and conductor: Libby Larsen's Earth (Holst Trope), Thomas Wells's Between Two Worlds, and Catherine Likhuta's From the Land of Tomorrow. We shall address the following elements in the preparation of these premieres: 1. The commission processes 2. Discussions between the conductors and the composers 3. Discussions with Miriam Burns, Professor of Orchestral Conducting at the Ohio State University 4. The author's score analysis and rehearsal considerations, gleaned from the rehearsals and premi (open full item for complete abstract)

Committee: Miriam R. Burns (Advisor); Vera Stanojevic Dr. (Committee Member); Graeme M. Boone Dr. (Committee Member); Russel Mikkelson Dr. (Committee Chair) Subjects: Music

Master of Science (MS), Bowling Green State University, 1954, Music Education

Committee: Warren J. Pelton (Advisor) Subjects: Music Education

Master of Science (MS), Bowling Green State University, 1954, Music Education

Committee: Ralph L. Beck (Advisor) Subjects: Music Education

Master of Science (MS), Bowling Green State University, 1954, Music Education

Committee: Warren J. Pelton (Advisor) Subjects: Music Education

Master of Science (MS), Bowling Green State University, 1954, Music Education

Committee: Ralph L. Beck (Advisor) Subjects: Music Education

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)

Committee: Nathan Kruse (Committee Chair); Lisa Koops (Committee Member); Ryan Scherber (Committee Member); Gary Deimling (Committee Member) Subjects: Education; Music; Music Education

Master of Music, Youngstown State University, 2021, Dana School of Music

Despite calls to broaden and diversify course offerings in music education, many music programs remain focused on large ensembles such as band, choir, and orchestra. One way to expand music programs can be through the inclusion of non-traditional music ensembles. An example of a non-traditional music ensemble is a rock band. This convergent mixed design study surveyed high school music teachers in the state of Ohio (N = 73) on their perspectives toward the inclusion of rock ensembles in their high school music classrooms. Statistical analyses showed a moderate relationship between jazz ensembles and rock bands and suggested that teachers who prefer and feel prepared to teach jazz may be more likely to offer a rock ensemble (p < .05). The results from open ended questions indicated complexity within teachers' factors surrounding the inclusion of rock band ensembles in a music curriculum. Teachers reported a variety of factors that would motivate or prevent them from offering rock ensembles, which included a fear of losing students from traditional ensembles and concern that students would be too busy to participate in a new ensemble. Furthermore, this study indicates that music teachers feel that they need training to feel more comfortable in offering non-traditional ensembles such as rock bands. The results of this study could have implications for both collegiate music education programs and high school music programs. University music education programs may consider creating a course in popular music pedagogy or incorporating popular music pedagogy into current methods courses. High school music programs may consider incorporating elements of rock music into established jazz programs.

Committee: Daniel Keown PhD (Advisor); Ewelina Boczkowska PhD (Committee Member); Kivie Cahn-Lipman PhD (Committee Member) Subjects: Music; Music Education

Doctor of Musical Arts, The Ohio State University, 2020, Music

The purpose of this document is to study the importance of the African American spiritual in the contemporary public-school choral classroom. This work analyzes ways in which the spiritual may be used to foster cultural and historical understanding and empathy within the choral ensemble. A brief history of slavery in the United States and the early folksongs of the slaves is given. The significance of the Fisk Jubilee Singers in the development of the concert spiritual is explored. Important musical, and structural elements common to the concert spiritual are investigated and the frequency of the use of dialect within the performance repertory is discussed. The acceptance and performance of the spiritual throughout the twentieth century is due to the contributions of its early arrangers. Several of the arrangers mentioned here include Harry T. Burleigh, John Rosamund Johnson and brother James Weldon Johnson, Hall Johnson, Eva Jessye, William Grant Still, Jester Hairston, Undine Smith Moore, and William Henry Smith. Excerpts of works by John Wesley Work, R. Nathaniel Dett and Leonard de Paur are included by way of example. A detailed examination of five concert spirituals and their usefulness and effectiveness in the modern choral ensemble is provided. The arrangers of those works include William L. Dawson, Alice Parker, Raymond Wise, Stacey V. Gibbs and Moses Hogan. Brief biographical information about each arranger is provided. Excerpts of interviews with both Alice Parker and Raymond Wise are used to support the analysis. Suggestions for the programming of these works as well as a pedagogic approach to their presentation in the classroom are given.

Committee: Robert Bode DMA (Advisor); Robert Ward DMA (Committee Member); Russell Mikkelson DMA (Committee Member) Subjects: Music; Music Education

Master of Arts, Case Western Reserve University, 2020, Music Education

The purpose of this instrumental case study was to examine the teaching and classroom of a middle school general music teacher through the lens of self-determination theory (Deci & Ryan, 2000) in order to explore how she encouraged and developed student motivation. Data were generated through interviews, observations, field notes, and documents collected at a suburban middle school in the Midwest. Analysis of the data revealed the middle school general music teacher at this school encouraged and fostered motivation through proactive classroom management, active music making, content that was relevant and engaging to students, and a physically and emotionally safe classroom environment. Based on implications from this study, suggestions were made for ways that music educators can engage and motivate middle school general music students and how the profession as a whole can provide better resources and support for music educators working with young adolescents.

Committee: Koops Lisa (Committee Chair); Nathan Kruse (Committee Member); Matthew Garrett (Committee Member) Subjects: Music Education

Doctor of Philosophy, The Ohio State University, 1996, Graduate School

Committee: Not Provided (Other) Subjects: Education

Doctor of Philosophy, The Ohio State University, 1991, Graduate School

Committee: Not Provided (Other) Subjects: Education

Doctor of Philosophy, The Ohio State University, 1987, Graduate School

Committee: Not Provided (Other) Subjects: Education