The purpose of the study was to investigate the leadership role of the Texas Bandmasters Association (1920-1997) in the development of the band program in Texas. It sought to determine TBA's effect on the band movement in Texas, and ascertain how the TBA has contributed to the emphasis on performance focus that is associated with the Texas band tradition. In doing so, the study also provided information regarding the association's goals, purposes, activities, and contributions during the time period under investigation. The historical data for the study was compiled from documentary sources and personal interview. Documentary sources included minutes of meetings from 1920-1997, information contained in various periodicals including the Southwestern Musician combined with the Texas Music Educator, and a nearly complete set of clinic-convention programs. Historical data from past researchers, including several masters theses and doctoral dissertations, and tapes and transcripts of interviews conducted by past researchers, as well as interviews conducted by this researcher, were also utilized. Much of the historical data for the study was located at the Texas Music Educators Association archives, housed at the association headquarters in Austin, Texas. The researcher identified five periods of the association's history. In addition to developing a historical chronology, …

The preparation of prospective music educators is a very complex undertaking that culminates with the student teaching practicum. However, the music student teaching experience may have less predictable expectations and results than the curriculum that precedes the event. The two-fold purpose of this study was (a) to investigate the music student teaching practicum in the State of Texas in an effort to establish current levels of success as perceived by the music educators involved in the process and (b) to identify any potentially problematic areas which might be in need of attention or revision. Thirty-six music educators (12 university supervisors, 12 cooperating teachers and 12 student teachers) who were recently involved in the music student teaching practicum in Texas were chosen as the sample in this two-round Delphi study. The first round Delphi survey, based on related literature, achieved consensus on 79% of the 108 item responses, and 15 of the 22 unresolved items reached consensus in round two of the Delphi process. The 34 sample members who completed the study ranked a final item in the second Delphi round concerning suggestions for the improvement of student teaching. The respondents showed a very high opinion of the music student teaching …

The two major research questions were: “What is the current status of 20 prominent piano pedagogy programs?” and “what is the vision of an ideal future piano pedagogy program from the perspective of 20 piano pedagogy leaders?” Subjects were the leaders of the top 20 US university piano pedagogy programs. A survey study with interview questions was used as the instrument for the study. The results showed that faculty, curriculum, and teacher training were three top factors that contributed to the quality of the programs. Most interviewed subjects held a doctoral degree in music. The curricular content and degree options were diverse across the selected programs. The content of teacher training included private and group teaching. The perceived best qualifications of a piano pedagogy instructor were to have a balanced education. Most programs had small or little to no budget, however, the preparatory program was perceived to be an enhancement to teacher training program finances. The greatest challenges were faculty acquisition and financial limitations. Gaining more money was the most common improvement priority for programs. To envision an ideal future piano pedagogy program, most leaders stated that an ideal program should contain encourage: (1) collaborating with other divisions' faculty members …

Kirke Mechem (b. 1925), American composer, has a musical output which includes a variety of genres, the most prolific being choral music. This document examines selected choral works by Mechem that are set to the poetry of Sara Teasdale (b. 1884, d. 1933). Included are biographical sketches of Mechem and Teasdale. Selected choral works examined include Christmas Carol (1969) SATB and guitar, The Winds of May, five movement choral cycle (1965) SATB, Birds at Dusk, from the choral cycle Winging Wildly (1998) SATB, and Barter (1995) SA, trumpet, piano 4-hands. Analysis of the poetry involved as well as musical attributes and compositional techniques, including meter, form, harmonic structures, wordpainting, rhythmic treatment and melodic characteristics are included in the discussion.

George Crumb (b.1929)'s Makrokosmos is recognized as one of the masterpieces of twentieth century piano writing. Inexplicably, volume four of Makrokosmos, Crumb's only four-hand piano piece, is rarely studied by Crumb scholars. According to Crumb's program notes, his Makrokosmos is meant to be a hybrid of piano and orchestral sound. Crumb devised a list of signs and abbreviated letters to explain his specific instructions to the performers. The pianists who plan to perform Makrokosmos need to study Crumb's notations carefully in order to faithfully realize the composer's intentions. This dissertation examines the composer's treatment of four hands at the piano. In addition, a performer's analysis and practical "translation" of these techniques is provided, in the hopes of rendering this amazing piece more accessible to pianists in search of new and wonderful repertoire for piano four hands. It is also hoped that future composers will be inspired by Crumb's innovations and imaginative ideas.

Jake Heggie, American art song and opera composer, began his association with Sister Helen Prejean, CSJ when he composed Dead Man Walking, an operatic adaptation of her memoirs. Though from two very different backgrounds, the two developed a deep friendship and spiritual bond that provided the impetus for further compositions dealing with spirituality. Heggie adapted Prejean's meditations as a text for his song cycle The Deepest Desire in 2002, producing what he considers to be his finest work to date. Using The Deepest Desire as a gateway, this paper explores the social and cultural aspects of their association, revealing their personal perspectives on their relationship, collaborations, and shared sense of spirituality. Chapters include the biographies and spiritual philosophies of both Heggie and Prejean, Heggie's compositional style, Dead Man Walking, a performance analysis of The Deepest Desire, and the continuing influence of the relationship between Heggie and Prejean on Heggie's work. The appendix includes transcriptions of personal interviews with both individuals, Prejean's original meditation texts, correspondence with Heggie, Prejean, and Joyce DiDonato, and performance notes for The Deepest Desire derived from a musical coaching with the composer.

Throughout centuries of great classical music, many viola compositions have been crafted from a wealth of literature for instruments of similar range. Clarinet, violin, and cello concerti and ensemble literature often adapt into challenging literature for the viola. In November 2009, Oxford Music Publishing gave me permission to transcribe and perform the Prelude, Allegro, and Pastorale by Rebecca Clarke in New York's famed Carnegie Hall - Weill Recital Hall. This dissertation explains the process by which I transcribed the Prelude, Allegro, and Pastorale from an original Bb-clarinet/viola duo, to a new arrangement for two violas (approved by Oxford Music Press arrangement license #7007940), and discusses challenges faced throughout the transcription process.

While the word “pedagogue” may evoke a vision of an instructor who is dogmatic and set in his own ways, the word descends from Greek origins: ped “child” + agogos “leader.” A pedagogue is, by definition, literally the servant who escorts the child to and from school – the “pedagogue” accompanies the student on the journey for knowledge. True to this definition, Douglas Campbell is model pedagogue – one who gently guided his countless students throughout their musical journeys. As Professor of Music (Horn) at Michigan State University for 45 years, and Horn Instructor at Interlochen Arts Camp for 25 years, Campbell was a significant influence on many developing hornists. Following their study with him, Campbell's students eventually won orchestral and college teaching positions across the United States and throughout the world. Having influenced an extraordinary number of horn students during his tenures at Michigan State University and Interlochen Arts Camp, Douglas Campbell's life and career serve as an excellent example of contemporary horn pedagogy in the United States. This dissertation provides a detailed biography of Douglas Campbell and provides evidence of his contributions to American horn pedagogy, while documenting Campbell’s performing career with the Richards Quintet, which toured the …

The study introduces the Cornelius Reid Archive and provides biographical and functional context for Reid’s teaching method, which he referred to as functional voice training. Biography, summary of Reid’s ideas on environmental control and vocal registration, together with descriptions taken from Reid’s own writings of the function and purpose of various exercises transcribed from the Archive, constitute the primary chapters. Appendices include complete transcription of ca. 170 exercises and several illustrations of Dr. Douglas Stanley’s overt teaching methods.

An examination is conducted of the life, career and musical styles of Richmond Matteson, an influential jazz euphonium and tuba performer of the twentieth century. The study includes a brief history of the euphonium's role in concert bands. A description of Matteson's background as a musician and clinician including education, influences and career changes will also be discussed. Analysis of Matteson's improvisational style and a transcription from the recording Dan's Blues is included. A formal analysis of Claude T. Smith's Variations for Baritone is provided, as well as a brief biography of the composer. Matteson's stylistic traits which Smith employed for the composition of Variations for Baritone are illustrated. The conclusion calls for further study of jazz styles by euphoniumists with more frequent performances of Variations for Baritone. Appendices include lists of Matteson's compositions and arrangements, a selected discography and a list of clinics and performances from 1982-1992.