For musicians of all kinds, practice is an essential component in establishing and refining their skills. How a musician learns the art of practicing, and at what point in their musical and cognitive development can vary drastically. The purpose of this research is to understand how two groups of musicians, undergraduate vocal performance majors and undergraduate piano performance majors, developed (or consequently failed to develop) their respective knowledge pertaining to effective practice prior to entering the university setting, and how their practice habits changed (or consequently failed to change) after beginning study with a university instructor. This is accomplished by comparing the practice habits of the two groups prior to entering the university setting, and, after gaining admission into the degree program. Findings are supplemented with recent research pertaining to the study of learning and various types of practice.

Kaikhosru Shapurji Sorabji (1892-1988) was an English composer-pianist of Parsi descent. Although he composed many works for piano, these compositions remain largely unknown to the public due to the composer's self-imposed 40-year ban on public performances of all his works and the immense technical difficulty of his music. This research proposes a comparative study of Sorabji's two versions of Rapsodie espagnole de Maurice Ravel-Transcription de concert pour piano (1923, 1945). These transcriptions are based on Ravel's orchestral work and are different in terms of the style of their arrangements: the 1923 version is more of a literal transcription, whereas the 1945 version has been expanded upon the former. This dissertation compares the differences between the two versions, as well as identifying how Sorabji infused his own style into the 1945 transcription. This study relies on primary sources including writings and manuscripts of Sorabji, and secondary sources such as articles on interpreting Sorabji's piano works and biographies about Sorabji.

The wind bands in Japan are considered by many scholars and wind band conductors to be among some of the finest ensembles in today's wind ensemble medium. The literature and repertoire of Japanese ensembles have evolved from orchestral transcriptions, patriotic music, and military marches to original compositions by European, American, and Japanese composers. British conductor Timothy Reynish states that Japanese wind band music has looked traditionally towards the United States and occasionally United Kingdom for inspiration and repertoire. This phenomenon can be attributed to the many collegiate American and the few English wind band conductors who traveled to Japan as guest conductors, and in some cases, became residents of Japan. The focus of this study is to closely examine this significant impact of American collegiate wind band conductors, their influence on Japanese programming and how that programming has affected the collegiate repertoire. This study includes surveys of repertoire, concert programs, discographies of recordings, and interviews with prominent American conductors currently conducting in Japan. This research documents the impact that American wind band conductors have had on the programming of Japanese wind bands and how their influence have altered the collegiate repertoire. Evidence of this impact is documented by Toshio Akiyama, …

The purpose of this dissertation is to offer a pedagogical guide to Woodsprite and Waterbug Collection (1977) by Dan Beaty (1937-2002) through an analysis of its pedagogical values and teaching applications. This set consists of twelve short, intermediate-level pieces, featuring various contemporary idioms. Each piece is also pedagogically written to help intermediate students to refine specific pianistic techniques beyond the elementary level. In addition, Beaty's collection expands students' musical vision and musicianship for more advanced studies via the incorporation of contemporary music theory and techniques. These qualities make Woodsprite and Waterbug Collection a valuable tool for intermediate piano students. It is also useful for instructors searching for repertoire to introduce contemporary idioms. The author hopes that this study will encourage performers, teachers and scholars to consider this work and Beaty's other piano compositions. By studying Woodsprite and Waterbug Collection, students will be more appreciative of contemporary repertoire and will welcome learning similar pieces in the future.

Unsuk Chin (b.1961), a Korean-born woman composer, was a student of Gyorgy Sandor Ligeti (1923-2006). Chin's work reflects the influence of Ligeti but also undeniably has its own style. This study investigates the six piano etudes so far published from 12 Piano Etudes (1995-2003) by Unsuk Chin and compares them with Ligeti's piano etudes to highlight the influence of the teacher on the student and to aid pianists in facing the unique technical challenges posed by both sets of etudes. The practice guide provided in this study for each specific technical difficulty requires a degree of patience from a student which, if followed, will enhance the performance.

Written in 1999, Concerto Piccolino is a part of the Composer's Guild of New Jersey Vibraphone Commission, which contains a collection of twelve soli written exclusively for vibraphone. Concerto Piccolino presents vibrant opportunities for both performer and listener to experience the compositional world of Milton Babbitt. With its limited register, ability to control duration and create extreme dynamics, the vibraphone serves as an appropriate vehicle for Babbitt's multi-dimensional style. The intent of this study is to first situate this work into Babbitt's compositional output as well as referencing Babbitt's other works for solo percussion. Next, an investigation into the background structure will provide a recommended analytical framework. Included is a performance guide for how these structures should be realized via surface materials throughout the interpretive and internalization stages of the work. Examining a recommended progression from analysis through performance will demonstrate Concerto Piccolino's significance and proper place in the standard repertoire of percussion. The study concludes with discussing connections to pedagogy and how the importance of Babbitt's work, as well as other composers of serious music, is vital to the forward progress of music performance.

The choral music of Hyo-won Woo, the composer of Oh! KOREA, is being widely performed by universities and professional choruses in Korea, as well as throughout the world. The work exhibits Woo's remarkable compositional style, which displays traditional Korean musical influences. Hyo-Won Woo's Oh! KOREA consisting of four movements, is for chorus, two pianos, and both Eastern and Western percussion instruments. Woo's Oh! KOREA employs an excellent introduction to the Korean choral repertoire for Western audiences, rooted in traditional Korean folk tunes. As today's choral conductors, singers, and audience cannot fully appreciate the value of this traditional Korean work and will likely not understand its intended context, it is therefore necessary to provide an in-depth investigation of this work for any conductor considering a performance of this piece. This study includes influences of traditional Korean elements within Oh! KOREA and rehearsal and performance consideration for Western choir directors.