The purpose of this study was to investigate the relationship between seventh, tenth, and twelfth graders' participation in school choir and their perceived levels of self-concept and social support. The problems of the study were to determine (1) if there were significant differences in perceived self-concept and social support levels of choir members and non-music students, and (2) if there were significant changes in self-concept and social support of choir members from grades seven to ten to twelve. A secondary concern was school activity involvement, to guard against attributing significant differences of self-concept and social support to choir participation alone.

The pain relieving efficacy of music listening combined with vibrotactile cutaneous stimulation was determined. Music with mechanical vibration (30min. session; average amplitude of 26μm; frequency range of 60-600Hz.) was applied to subjects with rheumatoid arthritis using the Music Vibration Table (MVT). Scores from pain relief visual analogue scales (VAS) and McGill Pain Questionnaires (MPQ) were compared to groups with music alone and placebo. ANOVA and post hoc analysis indicated that VAS scores from music with vibration were significantly greater than music alone or placebo. MPQ scores also indicated larger percentages of change in pain perception for the music with vibration condition. However, subjects receiving music alone showed a large percentage of change on the affective dimension of the MPQ. This investigation supports the application of music with a controlled, measurable music vibration for the relief of pain. The results of this study warrant further evaluation and development of treatment protocols using music and music vibration.

The purpose of this study was to compare the speaking fundamental frequency, physiological vocal range, singing voice quality, and self-perceptions of the singing and speaking voice between two groups of girls ages 11 through 15 years, who were pre-menarcheal by 6 months and post-menarcheal by 10 months or more. Subjects were volunteers who attended a North Texas public school system. Each subject was examined by an otolaryngologist. Age, height, weight, a hearing screening, and information on music classes and/or private music lessons were obtained. The speaking fundamental frequency measure was obtained by having each subject speak for 30 seconds on a subject of choice and read a passage of approximately 100 syllables. The vocal range measure was obtained by having each subject begin at an arbitrary pitch and sing mah and moo up the scale as high as possible and mah and moo down the scale as low as possible. These four measures were repeated with the researcher giving visual gestures. For singing-voice quality, each subject sang "America" in the key of her choice and again in the key of F major. Each subjects singing voice was rated according to breathiness. Data regarding self-perceptions of the singing and speaking voice …

The main purpose of this study was to consider the effects of amplification and vocal function exercises on the perceived vocal health of elementary music educators (N = 37) from Oklahoma (n = 11) and Texas (n = 26). Participants were assigned to the use of the ChatterVoxTM amplifier or vocal function exercises based on pretest scores on the Voice Handicap Index with Music Teacher Voice Questionnaire (VHI/MVQ). Following the 4-week study period, participants completed the posttest VHI/MVQ. The results of a one-way ANCOVA that used treatment group as the independent variable, the summed posttest scores as the dependent variable, and the summed pretest scores as the covariate or control variable indicated that there was a statistically significant difference between the adjusted means for the posttest scores, favoring the exercises group. The overall group and both treatment groups reported frequent loud voice use in work settings and in public places. The overall group and the amplification group reported hoarseness after prolonged talking. The exercises group did not report as great a problem with hoarseness after prolonged talking. Secondary purposes addressed demographic variables. Women perceived greater overall vocal difficulties than men; men frequently reported specific vocal complaints that were not commonly …

School orchestra programs are overwhelmingly concentrated in suburban districts, which are becoming increasingly racially and economically diverse. Diversifying suburbs lie at the crossroads of race, racism, and whiteness and findings drawn from these settings can have implications for racial dynamics in all educational contexts. The purpose of this instrumental case study was to explore how racially underrepresented students perceive race within an urban characteristic high school orchestra program through the lens of critical race theory. I developed a composite counter-story to examine the racialized experience of school orchestra told from the perspective of students of color with a particular interest on competition. Participants were six students and two teachers affiliated with the same high school orchestra program in Texas. Emergent thematic findings examined students' sense of racial belonging, mechanisms upholding the racial status quo, and fulfilling aspects of students' orchestra participation. Though the lens of critical race theory, I discuss how everyday whiteness, property of whiteness, and meritocracy function to maintain white hegemony in school orchestra.

The research problems of this dissertation were: 1) A description of the perceived value of music in light of political undercurrents in Boston prior to and during the years under investigation, and 2) the profile of the constituency of the Boston School Committee and Committee on Music in 1837 and 1845. Questions addressed the effect of religious and moral concerns of the day on the decision by the School Committee in 1837 to try music in the curriculum, and the possible effect of religious politics on Lowell Mason's dismissal from the schools in 1845. In the minds of mid-nineteenth century Bostonians, religious and moral values were intrinsic to the very nature of music. Key members on the School Committee portrayed music as being spiritual yet nonsectarian in its influence. Therefore, the findings suggest that music was believed to provide common ground between opposing and diverse religious sects. Reasons given for Mason's dismissal by John Sargent, a member of the Committee on Music, showed parallels to H. W. Day's accusations in the press a year earlier that Mason had managed his position in a sectarian manner. Sargent's background supports the theory that religious politics were at work in Mason's dismissal. Although …

The purpose of this study was to investigate factors contributing to the longevity of four early-career (5 to 10 years of experience) K–5 elementary general music teachers in Title I schools situated in four regions of the United States. The central research question was: How did early-career elementary general music teachers in Title I schools describe the opportunities and challenges that contributed to their decisions to continue teaching? Using Deci and Ryan's theory of self-determination as a theoretical framework, I analyzed how the four teachers reflected on the degree to which they each possessed autonomy, competence, and relatedness through recounting their perspectives, stories, and experiences. Although the participants shared many commonalities, they also experienced challenges and opportunities unique to their teaching environments. Results were mixed regarding their levels of autonomy and relatedness, but all four teachers possessed a high level of competence, which was likely a contributing factor to their longevity and potential to continue teaching. Nurture and care for children also emerged as a prominent theme from the results, which required the application of a separate theoretical framework. Noddings's theory of the ethic of care served as a lens for examining the myriad ways each participant demonstrated love, care, …

Mental imagery is a common theme in research that clarifies how musical thought relates to musical performance. Unfortunately, minimal information exists regarding mental imagery and singers. The purpose of this study was to probe the role, if any, mental imagery plays in the conceptualization of pitch and vowel. By interviewing singers at differing levels of expertise, basic information was obtained about the mental processes used by singers. Through evaluations of the singers' mental processes, it was concluded that 95% of the singers in the study employed mental imagery. All singers described using kinesthetic imagery, while the majority implemented sensory and auditory imagery. Viso-spatial imagery was implemented among the more experienced singers. The majority of singers also reported: imaging pitch and vowel interactively; imaging from an internal perspective; and utilizing mental rehearsal. Less than half of the singers described using methods other than mental imagery to conceptualize pitch and vowel.