Theses and Dissertations from UMD

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New submissions to the thesis/dissertation collections are added automatically as they are received from the Graduate School. Currently, the Graduate School deposits all theses and dissertations from a given semester after the official graduation date. This means that there may be up to a 4 month delay in the appearance of a give thesis/dissertation in DRUM

More information is available at Theses and Dissertations at University of Maryland Libraries.

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An analysis of elementary education majors' and music majors' experiences with Comprehensive Musicianship principles in high school general music courses
(2010) Sitarz, Jane Margaret; Montgomery, Janet M; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The purpose of this study was to determine the percentage of elementary education majors and music majors at a mid-Atlantic university who experienced principles of the Comprehensive Musicianship approach during their high school general music experiences. Principles of the Comprehensive Musicianship approach came from Heavner's (1995) theoretical Comprehensive Musicianship curriculum model, and include concepts, content, activities, instructional literature, and evaluation techniques. Two hundred seventy three elementary education majors and music majors were invited to complete a questionnaire about their high school general music experiences, and 43 usable responses were obtained. Percentages of participants who experienced each of the Comprehensive Musicianship principles were calculated, and results indicated that Comprehensive Musicianship principles were not experienced equally. These findings reveal the need for greater attention to the equality of Comprehensive Musicianship principles in high school general music courses.
The effect of violin, keyboard, and singing instruction on the spatial ability and music aptitude of young children
(2010) Tai, Tzu-Ching; Montgomery, Janet; Hewitt, Michael P; Curriculum and Instruction; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The purpose of this study was to examine the effects of violin, keyboard, and singing instruction on spatial ability and music aptitude of children ages four to seven years. Specifically, this research attempted to determine: (a) whether formal music learning in the violin, keyboard and singing conditions enhanced children's spatial ability and music aptitude, and (b) whether children's spatial ability and music aptitude differed among these learning conditions. In addition, this study sought to examine the relationships among children's age, their development of spatial ability, and music aptitude in the given music instruction. A pretest-posttest two by three factorial design was employed in the study. Children (N=88) ages four to seven years were randomly assigned to one of three instructional groups (violin, keyboard, or singing) and received 45 minutes of music instruction four times a week for 16 days. Spatial reasoning skills were measured using two subtests, the Object Assembly and the Block Design of the Wechsler Preschool and Primary Scale of Intelligence-III, while music aptitude was measured using the Primary Measures of Music Audiation or the Intermediate Measures of Music Audiation. An ANOVA with repeated measures was used to analyze children's mean scores on spatial abilities and music aptitude. Using an alpha level of .05, results indicated that the violin and keyboard groups significantly improved on spatial-temporal reasoning over four weeks of instruction. The spatial-temporal reasoning scores of 4-5 year olds significantly increased from the pretest to posttest while the scores of 6-7 year olds remained statistically constant. Regarding music aptitude, the tonal aptitude scores of 4-5 year olds singing group significantly increased over four weeks of music instruction. No statistically significant differences were found on the spatial recognition and rhythm aptitude scores among the three instructional groups for either age level. The study concluded that (a) violin and keyboard instruction might influence the spatial-temporal reasoning of young children, (b) younger children's spatial-temporal reasoning ability might be more enhanced by music instruction than those of older children, and (c) singing instruction appears to help young children develop their tonal aptitude. Pedagogical implications for music education were discussed.
Opera Delaware's Family Opera Theatre
(2010) Covert, Kalle; Haggh-Huglo, Barbara; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
Nearly every opera company in North America conducts some form of outreach to children with the intent to educate and develop young audiences. By examining the forty-year history of Opera Delaware's Family Opera Theatre, the biography of its most influential director, Evelyn Swensson, and four children's operas commissioned and produced by the company, I identify the educational and artistic goals that have made this company successful. These include allowing children opportunities to participate in the creation of professional opera, providing high quality preparatory materials, and performing operas based on quality children's books that are taught in the school curriculum. The critical analysis of four original children's operas compares the approaches of three different composers to this task and demonstrates key features of successful children's opera, which include brevity, relevant subject matter, repetition of themes or lyrics, and a balance between musical elements that are familiar and unfamiliar to children.
In Search of Signature Pedagogies for Teacher Education: The Critical Case of Kodály-Inspired Music Teacher Education
(2010) Baumann, Paul J.; Malen, Betty; Education Policy, and Leadership; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The purposes of this study are to identify the features of Kodály-inspired music teacher education programs that either confirm or refute the notion that signature pedagogies (Shulman, 2005 a, b, c) are present in this form of teacher education and to identify whether and how philosophical, pedagogical, and institutional influences support such pedagogies. Signature pedagogies are shared modes of teaching that are distinct to a specific profession. These pedagogies, based in the cognitive, practical, and normative apprenticeships of professional preparation, dominate the preparation programs of a profession, both within and across institutions. This study employs a collective case study design to examine Kodály-inspired teacher education programs, specifically those endorsed by the Organization of American Kodály Educators (OAKE). This study serves as a critical test of the applicability of the construct of signature pedagogies to teacher education. Because these programs purport to hold shared philosophical and pedagogical ideals and are governed by an endorsing body (OAKE), signature pedagogies ought to be present in these programs if they are present in any teacher education programs. Embedded in this collective case are: (1) a history of Kodály-inspired pedagogy and its adoption and adaptation in the U.S., (2) case studies of two prominent and influential OAKE-endorsed Kodály-inspired teacher education programs, and (3) case studies of four to five faculty in each of these programs. Data sources include primary and secondary texts and documents, observations of the various events and activities that occur as a part of Kodály-inspired teacher education programs, and focus group and individual interviews with program faculty and students. This study finds that the two case sites possess four signature pedagogies: (1) demonstration teaching, (2) master class teaching, (3) discovery learning, and (4) the music literature collection and retrieval system. These pedagogies appear to be inextricably tethered to the contexts, professional body (OAKE), and work of Kodály-inspired music educators though multiple complex linkages. The study closes by assessing the applicability and usefulness of the construct for the discourses and study of teacher education and by offering revisions to the construct that may help to improve the construct's usefulness in future research.
The Effects of Gender and Grade Level on the Compositional Processes of Sixth, Seventh, and Eighth Grade Students
(2009) Kurtz, Jonathan David; Carter, Bruce A; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The purpose of this study was to examine the effects of grade level and gender on the amount of time early adolescents spent on selected compositional processes (exploration, repetition, development, and silence). This study serves as an extension of the Kratus (1989) study that examined the compositional processes used by 7, 9, and 11-year-olds. For this study, 30 students in grades 6, 7, and 8 were given 10 minutes to compose a piece of music on an electronic keyboard. Following the composition time, students were asked to play their compositions two times in a row. The time spent on the compositional processes of exploration, development, repetition, and silence was analyzed quantitatively by the researcher and two independent judges. Analysis showed no significant relationships between grade level and the use of compositional processes. No gender differences were found, and all students in grades 6-8 were able create a composition to some degree. Although no significant main effects were observed, analysis of the mean time spent on the process of development indicates that a trend may exist in which older students spend more time developing ideas than younger students.
Exploring the experiences of three teachers at a summer youth music camp: "As positive for the faculty as it is for the kids"
(2009) Belin, Leah Rachel; Montgomery, Janet; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The purpose of this single case study ethnography was to explore the experiences of three music teachers at a summer youth music camp (SYMC) at a large university outside a metropolitan area on the East Coast. This exploration was intended to investigate the following research questions: (a) Why did the participants choose to participate in SYMC, (b) How did the participants benefit from participation in SYMC, and (c) How did the experiences of the participants relate to the professional and nonprofessional aspects of SYMC? Data analysis revealed two major themes: nonprofessional aspects of participation and professional aspects of participation. The professional aspects of camp were of more benefit to the participants and were a stronger motivation for participation than the nonprofessional aspects. The results of the present study held implications for SYMC as a learning community and as an opportunity for professional development for music teachers.
Expanding the Choral Conductor's Horizon: The Application of Selected Literary Theories to the Process of Choral Score Study
(2009) Seighman, Gary Bernard; Maclary, Edward; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The main premise of this document is that the various movements associated with literary theory can provide unique interpretative insights for the modern choral conductor during score study. Traditionally, score study involves making performance decisions based upon formal analysis, study of performance practices, examination of historical and stylistic information, and practical ensemble considerations. By adopting a stance that also acknowledges elements offered by literary theory, the conductor can begin to uncover those elements in the music that maximize the potential for the singer to have a meaningful musical experience. Literary theory deals critically with the process of interpretation and focuses especially on the relationship between the literary text and the reader. On one end of the literary theory spectrum, formalist studies of interpretation place value only on the words and notes and their grammatical relationship with one another while ignoring historical information as a determinant source for meaning. On the other end, Reader-Response Criticism focuses on the attributes of the reader, understood as part of the culture he belongs to, and through his personal background and experiences. Many branches of theory are located in the middle and consider how the properties of a text fuse with a reader's expectations and guide him to a particular interpretation. The adaptation of these theories to music is not new, as shown by the sizeable corpus of books and articles devoted to musico-literary studies. Few if any of these studies focus exclusively on choral repertoire or address practical issues of score preparation and conducting gesture, however. This document surveys several literary theories, identifies their key concepts, and adapts them to the analysis of specific choral works. The result is a series of analyses that offer fresh perspectives for a variety of choral works. Topics include, but are not limited to the following: uncovering hidden dialogue, music as a system of signs (semiotics), tropes and hermeneutic windows, the vocality of text, and conducting gesture as metaphor. The goal of musico-literary studies as it relates to choral training should be to educate a new generation of conductors who understand the processes of how we as both performers and listeners perceive meaning from our vast repertory and to develop strategies that improve its accessibility.
"Like Who You Are:" Socially Constructed Identity in the Middle School Band
(2008-09-03) Hoffman, Adria R; Silvey, Philip E; Curriculum and Instruction; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The purpose of this study was to explore the band classroom as a social context and examine its influence on middle school students' identity constructions. Identity theory in sociological research and social identity theory in the field of social psychology provided the theoretical bases for this study. However, the integration of both theories suggested by Deaux and Martin (2003) as well as Stets and Burke (2000) proved most applicable to this inquiry. Both intergroup processes and role identities were explored. This qualitative study included six band students enrolled in a large public middle school located in a metropolitan area on the East Coast. Enrolled in the same sixth grade band class, each of the six participants played a different instrument, and therefore provided a unique perspective on social interactions and the school experience. Ethnography and narrative inquiry informed the data collection process and methodological choices for this collective case study. Data collection included classroom observations, open-ended interviews, and weekly student journals. Data was collected over a period of 5.5 months, ending as students chose to continue or discontinue their band enrollment for the subsequent school year. Interview transcripts, field notes, and student journals were systematically coded first on a case-by-case basis, then compared, contrasted, and interpreted across cases. Findings supported prior research on musical identity and music education. Students simultaneously valued perceived characteristics of their own group while devaluing those of other groups. In addition to supporting prior research findings, this study indicated that middle school band students make choices regarding course enrollment based on influences (rejection or affirmation) of those around them. Students initially chose to enroll in band because friends, teachers, and family members encouraged them to do so. Once they felt accepted as band members, they found particular roles in the band classroom. Based on others' affirmation or rejection of their competency in such roles, they reevaluated whether they felt they belonged in the band. Those who felt rejected or less competent chose to enroll in other courses. Students who felt successful and found unique roles within the band more strongly identified with the group.
Charles Fowler and His Vision for Music Education: An Introduction and Selected Writings From 1964 to 1989
(2008-06-01) Resta, Craig Michael; McCarthy, Marie F; Curriculum and Instruction; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
Charles Fowler, eminent advocate for arts education, devoted his career to the idea that music was critical to the development of young people and could positively impact schooling and society. During his 45-year career, he served in many roles: as teacher, supervisor, professor, scholar, author, editor, consultant, and advocate. Although his contributions are prolific, this research represents the first full-scale study that considers his work as an entire body. The purpose of this dissertation is to introduce Fowler as a significant figure in the field of music education, codify the major periods of his career, identify important writings, contextualize them within their times, and review them according to his vision for music education. Utilizing historical method and content analysis, several thousand documents were examined from the Charles Fowler Papers archived at the University of Maryland, College Park. Following an introduction to Fowler and his work, four periods of his career are presented, with the two middle periods, 1964 to 1973 and 1974 to 1989 serving as the focus of the study. Selected works were chosen based on their relevance to important events in Fowler's life and their relationship to his philosophy and viewpoint. The works were analyzed and contextualized by using primary source documents, foundational texts in music education, Fowler's own commentary, and interviews with established scholars and colleagues who knew him and respected his work. Finally, these writings traced the development of Fowler's vision which advocated music education can serve as an agent of social change. Findings reveal that Fowler's initial vision was based on the seven reconstructionist objectives he outlined in his 1964 dissertation. Based on these objectives, fifteen broad themes emerged in his writings during the period of 1964 to 1989. The themes elaborate on Fowler's vision for music education and its value to society, and relate to core concepts of reform, democracy, creativity, advocacy, and social change. It is hoped that this study will serve as a catalyst to encourage others to continue research into the life and career of Charles Fowler, along with further writing about reform and pragmatic change within the music education profession.
Authorship and Methodology Patterns in Music Education Research, 1984-2007
(2008-05-05) Farmer, Dawn Marie; Hewitt, Michael P.; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The purpose of this study was to evaluate gender-related authorship and research methodology patterns in music education research. Articles were examined in order to determine if the frequency of women authors in the sample matched the frequency of women receiving doctoral degrees in music education. Furthermore, methodologies of the articles were tallied to determine what types of research were being published and in what frequencies. Analysis of seven top-tier music education journals published from 1984 to 2007 suggested that women published below the expected frequency and that quantitative research comprised 78.93% of published articles. Data indicated that women were less frequent authors than men, but published a greater percentage of qualitative research. The number of women authors increased from the Early Period (1984-1991) to Late Period (1992-2007), as did the number of authors writing qualitative research.

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