Rozprawy doktorskie: „Career in music publicity”

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Branscome, Eric E. "Music Career Opportunities and Career Compatibility: Interviews with University Music Faculty Members and Professional Musicians". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28398/.

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This study used a semistructured interview schedule to identify the music career opportunities available to students who graduate with an undergraduate music degree, and the skills, interests, work values, and personal characteristics that may determine a person's suitability for these music careers. Six university faculty members from each of the 11 NASM-accredited undergraduate music degree fields participated in the study (n = 66). Fourteen professional musicians who were recommended by these faculty members also participated in the study. Concerning the musical and non-musical skills that may determine a person's suitability for a music career, participants consistently noted the importance of performance skills in their respective fields. Participants also consistently cited people skills, and noted that most musicians interact with people on a daily basis, and use people skills to build social networks that may lead to employment. When asked about the interests that may lead someone to a music career, participants commonly cited the importance of good high school ensemble experiences in students' music career decisions. Concerning the rewarding aspects of music careers, many participants noted that they were more rewarded by the ability to support themselves doing what they loved, than by fame or wealth. Concerning the personal characteristics that may determine music career compatibility, participants noted that tenacity is essential to contend with intense competition, extended periods of unemployment, and other common struggles of professional musicians. When asked about music career opportunities in their respective fields, participants reported numerous music careers, some of which were excluded from previous music career inventories. In addition, participants noted that there may be careers for non-musicians in some music career fields. Participants also noted that some music careers may be listed in more than one music career field, creating potential confusion for music career advisors. Finally, participants noted transitions in many music careers that may change the professional expectations of these careers.

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Boston, Shiela C. "Satis N. Coleman (1878-1961) her career in music education /". Full text available online (restricted access), 1992. http://images.lib.monash.edu.au/ts/theses/Boston.pdf.

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Siebert, Johanna J. "Why music teachers remain in the profession : conversations with career music educators /". Digitized version, 2007. http://hdl.handle.net/1802/5629.

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Ballantyne, Julie. "Effectiveness of Preservice Music Teacher Education Programs: Perceptions of Early-Career Music Teachers". Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16074/1/Julie_Ballantyne_Thesis.pdf.

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The quality of teaching occurring in schools is directly linked to the quality of preservice preparation that teachers receive (Darling-Hammond, 2000). This is particularly important in the area of music teacher education, given the unique challenges that classroom music teachers commonly face (Ballantyne, 2001). This thesis explores early-career music teachers' perceptions of the effectiveness of their preservice teacher education programs in Queensland. It also explores influences impacting upon early-career music teachers' perceptions of effectiveness and early-career music teachers' perceived needs in relation to their preservice preparation. The study addresses the research questions through the use of questionnaires and semi-structured interviews. In Stage 1 of the research, questionnaires were completed by 76 secondary classroom music teachers in their first four years of teaching in Queensland, Australia. In Stage 2 of the research, 15 of these teachers were interviewed to explore findings from the questionnaire in depth. Findings suggest that preservice teachers perceive a need for teacher education courses to be contextualised, integrated and allow for the continual development of knowledge and skills throughout their early years in schools. This research provides an empirical basis for reconceptualising music teacher education courses and raises important issues that music teacher educators need to address in order to ensure that graduates are adequately prepared for classroom music teaching.

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Ballantyne, Julie. "Effectiveness of Preservice Music Teacher Education Programs: Perceptions of Early-Career Music Teachers". Queensland University of Technology, 2005. http://eprints.qut.edu.au/16074/.

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The quality of teaching occurring in schools is directly linked to the quality of preservice preparation that teachers receive (Darling-Hammond, 2000). This is particularly important in the area of music teacher education, given the unique challenges that classroom music teachers commonly face (Ballantyne, 2001). This thesis explores early-career music teachers' perceptions of the effectiveness of their preservice teacher education programs in Queensland. It also explores influences impacting upon early-career music teachers' perceptions of effectiveness and early-career music teachers' perceived needs in relation to their preservice preparation. The study addresses the research questions through the use of questionnaires and semi-structured interviews. In Stage 1 of the research, questionnaires were completed by 76 secondary classroom music teachers in their first four years of teaching in Queensland, Australia. In Stage 2 of the research, 15 of these teachers were interviewed to explore findings from the questionnaire in depth. Findings suggest that preservice teachers perceive a need for teacher education courses to be contextualised, integrated and allow for the continual development of knowledge and skills throughout their early years in schools. This research provides an empirical basis for reconceptualising music teacher education courses and raises important issues that music teacher educators need to address in order to ensure that graduates are adequately prepared for classroom music teaching.

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Munnelly, Karen Patricia. "Understanding Career & Degree Expectations of Undergraduate Music Majors". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1490135404312177.

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Jansen, van Rensburg Wim Petrus. "Interpreting music consumption data published by the music industry to inform the career choices of music graduates". Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62641.

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Bowen, Hustedt Michele Ann. "The life and career of Himie Voxman". Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/465.

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Corley, Scott Randolph. "Thomas Lee Dvorak: a career as music educator and conductor". Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2198.

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Thomas Lee Dvorak (b. 1941) uniquely blended his experience as a music educator with his long career as a collegiate conductor. In his ten-year career as a public school instrumental music educator, Dvorak taught bands at the elementary, middle school or junior high, and high school levels. During this time, he encountered beginning instrumental music instructional methods that allowed his beginning band students to advance at a rapid pace. Dvorak parlayed his school band teaching experience with his growing reputation in band music education into an appointment to the music education faculty at the University of Michigan. At Michigan, Dvorak combined his experience and duties in music education with a conducting position when he was assigned to conduct the University of Michigan Youth Band/Wind Ensemble in 1975. After being named its Director of Bands in 1979, Dvorak created a similar symbiotic role for himself at the University of Wisconsin--Milwaukee (UWM) when he founded the Greater Milwaukee Youth Wind Ensemble in 1982. Throughout his twenty-seven year tenure as Director of Bands at UWM, Dvorak also combined education and conducting through the mentorship of graduate conducting students, his sponsorship of new and original music for young/developing bands, and his outreach work with Milwaukee-area school band programs. Dvorak also enjoyed a reputation as an insightful interpreter of wind band music, a leader of national professional organizations, authority on wind band repertoire, and as a frequently invited guest conductor of school, collegiate, and professional ensembles Thomas Dvorak retired from UWM in May 2007 and was named Professor Emeritus of Music.

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Kehrberg, Kevin Donald. "“I’LL FLY AWAY”: THE MUSIC AND CAREER OF ALBERT E. BRUMLEY". UKnowledge, 2010. http://uknowledge.uky.edu/gradschool_diss/49.

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Albert E. Brumley (1905-1977) was the most influential American gospel song composer of the twentieth century, penning such “classics” within the genre as “Jesus, Hold My Hand,” “I’ll Meet You in the Morning,” “If We Never Meet Again,” “Turn Your Radio On,” and “Rank Strangers to Me.” His “I’ll Fly Away” has become the most recorded gospel song in American history with over one thousand recordings to date, and several of his works transcend cultural boundaries of style, genre, race, denomination, and doctrine. However, the racialized historiography of American gospel music has left Brumley—from America’s lesser-known white gospel traditions of convention singing and southern gospel music—largely untouched by scholarly scrutiny. Comprising nearly four hundred works, most of which appeared in annual shapenote gospel songbooks published during the 1930s and 1940s, Brumley’s music is central to many Americans’ religious identity. This thesis represents the first thorough, academic assessment of his music, career, and his work’s cultural impact. Deeper examinations of the composer’s personal life and his work as a songwriter, as well as a fresh look at his publishing business’s growth and development, contribute a more complete biography. A broad analysis of his output—including a complete thematic catalogue of his published works—provides a framework for interpreting Brumley’s general compositional style and offers a context for understanding his music’s enduring legacy within popular music history, especially southern gospel, black gospel, and country music. Research into the cultural history of one particular Brumley work—“I’ll Fly Away”—and its various incarnations in music, television, film, and other outlets acts as a lens through which to view his impact on American music and society. This thesis ultimately argues that Brumley’s compositions have influenced the development of religious and popular music in America much more significantly than indicated by current scholarship, and that his music has become an important medium for American cultural expression that stretches well beyond the confines of the convention-singing and southern gospel traditions. As a result, it recognizes him as an emblematic figure of American music deserving inclusion within the ranks of its greatest contributors.

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Richie, Anne Elise. "The professional female singer and career longevity| Reflections, choices, and challenges". Thesis, The Florida State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564953.

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This study seeks to provide female singers and their teachers with insight on achieving career longevity through the collection of data and commentary from seasoned professional female singers. One hundred artists from the United States and Canada, each with a singing career spanning twenty years or longer, were invited to complete the online survey The Professional Female Singer and Career Longevity via SurveyMonkey.com.

Participants, ages 45-75, responded to an array of questions to create an overview of their vocal careers. Each singer provided answers on physical and vocal health challenges they experienced as well as, the impact of menopause, hormone replacement therapy, and the perceived benefits of teaching to maintain the voice. Respondents also shared information on the lifestyle, dietary, and other choices they believe contributed to career longevity.

The sample population, composed of forty-nine mezzo-sopranos and fifty-one sopranos, is predominantly made up of baby boomers, the generation born between 1946 and 1964. It is significant to note that none of the one hundred singers reported being "retired" from the profession. All continue to engage in performing, teaching, or a combination thereof.

According to the U.S. Census Bureau life expectancy over the past century for women has nearly doubled from an average of 48.3 years in 1900 to 81.3 years in 2010. Women can now expect to live a considerable portion of their life in a postmenopausal state. This document adds first hand reports by female professional singers to the present voice science research on the benefits of diet, exercise, lifestyle choices and hormone therapy. Singers should be educated to the benefits of maintaining hormonal balance and its direct impact on preserving the voice. Further study is warranted to explore which hormone replacement therapies are proving to have the greatest vocal benefit and to disseminate information on which natural/alternative medicines and modalities female singers and voice teachers feel help maintain their voices and contribute to career longevity.

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Spurgeon, Alan Linder. "George Oscar Bowen : his career and contributions to music education /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1990.

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Cordell, Laura Michele Portune. "Bridging the Gap, Transitioning Vocalists from Academia to Career". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1311268981.

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Klein, Jeff. "Identity Protection: Copyright, Right of Publicity, and the Artist's Negative Voice". Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395585265.

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Plummer, Declan. "'Music based on worth' : the conducting career of Sir Hamilton Harty". Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557640.

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This thesis assesses the conducting career of Sir Hamilton Harty, particularly his conductorship with the Halle Orchestra from 1920 to 1933, and places his career in the context of the social, economic and political changes brought about by World War I, the introduction of mass culture, and the effects of the Great Depression. The thesis re-examines Harty's legacy: reviews from numerous newspapers and journals demonstrate the quality of his conducting and the supreme standards he achieved with the Halle Orchestra; and a detailed study of the Halle programmes and the orchestra's finances from 1920 to 1933 shows that, by comparison to other British orchestras, Harty was one of the most catholic conductors in Britain who laboured under particularly difficult financial restrictions. The thesis is structured in eight chapters. Chapters one to three discuss Harty's career prior to his Halle appointment in 1920. They explain how his conservative aesthetic beliefs, catholic tastes, and conducting abilities were shaped by his informal education in Ireland, the artistic limitations of Belfast and Dublin in the late nineteenth century, his career as an accompanist in Dublin and London and his engagements with the London Symphony Orchestra and the Halle Orchestra from 1911 to 1919. Chapters four to six discuss Harty's conductorship with the Halle Orchestra from 1920 and 1933, and include an examination of the orchestra's first BBC broadcasts and gramophone recordings, reviews of Harty's conducting and the structure of his programmes. Chapter seven discusses Harty's artistic beliefs, demonstrating how they represented an outdated reaction to modernism, and his conducting style, including comparisons with other contemporary conductors. Chapter eight discusses Harty's tours in America and Australia from 1931 to 1936 in detail and provides additional accounts of his conducting abilities. Appendices, music examples, figures and a select bibliography are included.

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Pelletier, Christina L. "The Learning Communities of Exemplary Mid-Career Elementary General Music Teachers". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365004386.

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Harriott, Janette Donovan. "Barbara Andress : her career and contributions to early childhood music education /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1999.

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Slight, Claire Louise. "Exploring the university to career transitions of UK music postgraduate students". Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/13219/.

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This thesis explores the experience of studying taught music master’s degrees by observing both student and higher education perspectives. Little is currently known about the career transitions of taught postgraduate students, as until recently research has tended to focus upon undergraduates and research postgraduates. Additionally, much of the research on musicians’ career transitions has considered music education and performance students. The current thesis focuses upon musicology and music psychology degrees which were non-vocational and lacked compulsory music-making course content. A two stage study was conducted. Stage one involved longitudinal interviews with sixteen student participants who were all enrolled at three English institutions at the beginning of the study. Participants took part in four semi-structured interviews at six month intervals. The aim of these interviews was to observe the students’ experiences during and after their master’s study. Alongside this, stage two aimed to explore the higher education perspective by interviewing course tutors and careers advisors attached to each of the students’ courses. Qualitative analytical methods were used and a social psychology perspective was taken when considering the student experience. This approach highlights the reciprocal interaction between the self and the social environment. The career transition involved a period of personal and vocational development during which individuals were transformed through learning. Participants were motivated to realise a greater sense of personal fulfilment by pursuing their interests and achieving personal goals. The participants’ confidence in their professional practice increased and they developed greater self-awareness which was beneficial when deciding upon career plans. However, students’ coping methods and the extent of their exploration impacted upon their experiences of studying and the career transition. The results highlight the need for clear pre-enrolment information and flexible course structures in order to support students’ developing professional identities.

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Lucas, Chanel M. "Too old to rock? Investigating the Queensland mid-career music scene". Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/135592/1/Chanel_Lucas_Thesis.pdf.

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'Too Old to Rock: Investigating the Queensland Mid-Career Music Scene' examines the career support needs of independent mid-career musicians in Queensland and provides a contextual review of the musical landscape and the state of independent mid-career musicians in Queensland. The average age of a working artist in Australia is 46 years old and artists in Australia work well into old age in their creative work. In the Australian population, established artists are practising for longer and there are many professional mid-career artists who will work on their creative work for some time in the future. This study focused on this large group of established mid-career musicians (with 15 years or more professional experience) in Queensland, on how they conduct their professional practice or careers long-term, and on what professional development is accessed or required by them in the middle of their career.

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Powers, Emma. "A KENTUCKY PIONEER IN MUSIC THERAPY: AN ORAL HISTORY ON THE LIFE AND CAREER OF LORINDA JONES". UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/136.

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Lorinda Jones, MT-BC, is the longest practicing music therapist in Kentucky. She began her work as a music therapist in 1995 and built a private practice, which expanded over the course of the next 20 years to include services in 16 counties. Ms. Jones’ perspective on the growth of music therapy, both within the state and nationwide, as well as her extensive knowledge of Appalachian folk music, makes her an invaluable resource to Kentucky music therapists. The purpose of this study was to present a historical account of the life and career of Lorinda Jones, to gain her perspective on the field of music therapy in Kentucky, and to learn about how she incorporates Appalachian music into her work with clients. The researcher found that Ms. Jones’ impact on the field of music therapy in Kentucky goes far beyond the individuals with whom she has personally interacted and that her role as a teacher to students of music therapy continues to influence the profession.

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Kauffman, Joseph William. "WEATHERING THE PERFECT STORM: PREPARING THE NEXT GENERATION FOR A CAREER IN MUSIC PERFORMANCE". Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/524784.

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Music Performance
D.M.A.
A brief study of the history of classical music and the subsequent performance of it reveal magnificent innovative achievements in the inspired evolution of composers and the performing artists that have presented it. Throughout the centuries these performers have stimulated generations of audiences while taking them on musical journeys that cover the complete spectrum of human emotion. Today the classical music world faces weighty challenges that that could very well crush the future of this valuable art form and lead the industry into a desolate demise. A thick cloud of smoke has descended upon these once proud and distinguished music institutions in the United States. Orchestras, opera companies, and other traditional performing institutions are facing financial tribulations, and many of these organizations have already shut their doors. Interest in classical music has plummeted and audiences have continued to disintegrate along with it. In the meantime, music colleges and conservatories have ignored the plight of the professional organizations in turmoil by continuing to train performers in the United States the same way that they have always done since the National Association of Music Schools developed their accreditation standards in 1924. This has led to a generation of music performance majors being trained for jobs that are no longer viable. What’s worse, once these students are finished studying, their music colleges and conservatories disregard them, and institutions move forward with training the next generation of students who will undoubtedly face a similar fate. Along with the turmoil surrounding traditional performing institutions and a music performance curriculum built for a different time, another problem exists that will ultimately push these two concerns to the forefront in the coming years. Higher education in the United States is beginning to experience a colossally devastating financial crisis as a result of decades of unlimited federal student loan aid, decreased state funding, overspending by institutions, and technological alternatives to traditional education that have triggered steady increases in tuition rates for students. These increases have culminated in a substantial amount of graduates taking on debt, on which significant percentages of those graduates are now defaulting. Subsequently, enrollment in higher education has been dropping every year since 2011, and a growing number of prospective students are losing faith in the system and are looking towards alternative avenues to receive their educations. A “perfect storm” has developed in our midst. Several problematic elements of the storm have been simmering for quite a while, but have never been properly confronted or treated. Now a fresh set of storm indicators are emerging that will further emphasize the severity of the problems that have been there for years. Addressing challenges in institutions that have done things the same way for many decades can admittedly be arduous. But regardless of how long these problems have been ignored, they generally don’t go away by themselves, and they often become so insurmountable that only undesirable solutions are feasible. The perfect storm threatening the classical music world is not going away, but, fortunately, reforms are possible that can assist music colleges and conservatories in weathering it and help to reverse the negative forecast. The purpose of this monograph will be to detail the different elements that make up this “perfect storm,” and explain why reforming the music performance curriculum so that it becomes relevant to the current realities of being a 21st-century performing artist is essential. In order to be able to proceed with these reforms, a fundamental reorganization of foundational aspects in music higher education needs to occur. This project is not something that I wanted to take on, but I felt that it was my duty to do everything possible to reinvigorate and transform the training of performing musicians so that the next generation will be able to succeed in saving our art from its downward trajectory and move it onto a path of sustainability and relevance. I am writing this for my colleagues who are navigating the professional music world, for current music students, for future prospective students preparing to enter the music industry, for current and future music professors, for deans in music schools, and for the accreditors who build the music performance curriculum.
Temple University--Theses

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Stokes, James M. Jr. "The Musical Life and Career of James B. Underwood". The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1213188623.

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Verrill, Mary G. "Self concept of locked out career musicians| A phenomenological study". Thesis, Saint Mary's University of Minnesota, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3714347.

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For career musicians who underwent a lockout by their managements, such a traumatic disruption was an opportunity for learning to occur about their profession, music performance, and themselves. Using Jarvis’s (2004, p. 106) model of adult learning processes, a phenomenological study sought to answer the research question: How did the lived experience of career musicians during a labor lockout change their self-concept as musicians? To arrive at an essence of that experience, quantitative and qualitative data were gathered by using a demographic questionnaire and interviews. The population was identified from published rosters of two acclaimed orchestras that locked out their musicians in the 2012–13 and 2013–14 performance seasons. The qualitative data analysis followed Creswell’s (2007, p. 159) method to arrive at a description of the “essence” of lived experience by career musicians during a labor lockout. Results confirmed the lockouts provided “disjunctures” as catalysts for “lifelong education” (Jarvis, 2004), even though musicians’ self-concept were affirmed. As a group, musicians fit Haiven’s (2006) matrix of negotiation when performing with a top-down, hierarchical organization, but not when performing in a collaborative organization, bringing musicians into Haiven’s (2006) “union zone.” However, results departed from Haiven’s (2006) matrix by indicating career musicians’ high need for social networks and less dependency on work deployment within collaborative organizations. The essence of musicians’ experiences during a labor lockout could inform the fields of labor relations, andragogy, music education, music psychology, and organizational change.

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Olson, Ted. "The Life and Career of Charles K. Wolfe". Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1117.

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Rogers, Seth A. "Metric Displacement of Tony Williams' Early Career". Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1274307983.

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Mossolow, Alexandra Xenia Sabina. "The career of South African soprano Nellie du Toit, born 1929". Thesis, Stellenbosch : University of Stellenbosch, 2003. http://hdl.handle.net/10019.1/16394.

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Thesis (M. Mus.)--University of Stellenbosch, 2003.
ENGLISH ABSTRACT: Who is Nellie du Toit and what is the extent of her career as singer and voice teacher? The void in South African historiography in respect to the life and work of South African performing artists gave rise to investigate the career of Nellie du Toit. Known as one of South Africa’s most illustrious opera singers of the 1960’s and 1970’s, who made her career exclusively in South Africa, she is regarded as one of the most sought after voice teachers. Her career as singer spanned almost three decades. As voice teacher her career of over forty years is still ongoing. This study traces her biographical details chronologically beginning with her youth years in a very musical family. Her full-time music studies took place at the South African College of Music in Cape Town, from 1950 to 1952. Here her singing teacher Madame Adelheid Armhold and Gregorio Fiasconaro, head of the Opera School, were influential in laying the foundations for her career. After a period of over a year in England Du Toit was one of several young South African singers to contribute to pioneering opera in South Africa, often sung in the vernacular. Du Toit sang in forty-five opera seasons for the Provincial Arts Councils in the seventeen years between 1963 and 1979, when her opera career ended. In 1986 she returned to the opera stage as the Marschallin in Der Rosenkavalier by Richard Strauss. This was also her final farewell as opera singer. The title role in Madama Butterfly can be regarded as her hallmark. Her stunning portrayal of Lucia in Lucia di Lammermoor was regarded as a mile stone in South African opera history, as was her interpretation of Jenůfa. She was also hailed as a Mozart singer. Not only was she regarded as one of the world’s best “Butterflies” at the International Madame Butterfly Competition in Japan in 1970, but has she also been awarded three Nederburg Opera Prizes. Apart from opera, Du Toit gave numerous recitals of classical and light classical music, regularly sang in orchestral concerts and oratorio and was active as broadcasting artist. Her work as voice teacher always ran parallel to her singing activities. Her academic career at the Universities at Stellenbosch and Cape Town spanned fourteen years: from 1980 to 1993. Nellie du Toit’s achievements in music were laureated with the Medal of Honour from the Academy of Arts and Sciences in 1986 and an Honorary Doctorate from the University of Stellenbosch in 1998.
AFRIKAANSE OPSOMMING: Wie is Nellie du Toit en wat is die omvang van haar loopbaan as sangeres en sangpedagoog? Die leemte in Suid-Afrikaanse historiografie met betrekking tot die lewe en werk van Suid- Afrikaanse uitvoerende kunstenaars het aanleiding gegee tot hierdie ondersoek na die loopbaan van Nellie du Toit. Bekend as een van Suid Afrika se vermaarde operasangeresse van die 1960’s en 1970’s wat haar loopbaan eksklusief in Suid-Afrika gemaak het, word sy ook beskou as een van die mees gesogte sangpedagoë. Haar loopbaan as uitvoerende kunstenaar het oor byna drie dekades gestrek. Haar loopbaan as sangpedagoog, ná meer as veertig jaar, gaan steeds voort. Hierdie studie ondersoek haar lewe en loopbaan chronologies, beginnende met haar jeugjare in ŉ baie musikale gesin. Haar voltydse musiekstudies aan die Suid-Afrikaanse Musiekkollege in Kaapstad het van 1950 tot 1952 geduur. Hier het Madame Adelheid Armhold, haar sangpedagoog, en Gregorio Fiasconaro, hoof van die Operaskool, ŉ stewige fondament vir haar loopbaan gelê. Na ŉ tydperk van meer as ŉ jaar in Engeland, het Nellie du Toit een van die jong Suid-Afrikaanse sangers geword wat operabaanbrekerswerk in Suid-Afrika gedoen het. Du Toit het in vyf-en-veertig operaseisoene vir die Uitvoerende Kunsterade gesing in die sewentien jaar tussen 1963 en 1979, die jaar waarin haar operaloopbaan tot ŉ einde gekom het. In 1986 het sy na die operaverhoog teruggekeer in die rol van die Marschallin in Der Rosenkavalier van Richard Strauss. Dit was ook haar finale vaarwel as operasangeres. Die titelrol in Madama Butterfly kan as Du Toit se kenteken beskou word. Haar merkwaardige uitbeelding van Lucia in Lucia di Lammermoor is beskou as ŉ mylpaal in die Suid-Afrikaanse operageskiedenis. Dit geld ook vir haar vertolking van Jenůfa. Sy was ook hoog aangeskryf as Mozart-sangeres. Nellie du Toit is as een van die wêreld se beste “Butterflies” aangewys tydens die Internasionale Madame Butterfly Kompetisie in Japan in 1970. Daarbenewens het sy in Suid-Afrika drie Nederburg Operapryse ingepalm. Afgesien van opera het Nellie du Toit talryke uitvoerings van klassieke en ligte klassieke musiek gegee en gereeld in orkeskonserte, oratoria en as uitsaaikunstenaar opgetree. Naas haar loopbaan as uitvoerder het haar aktiwiteite as sangpedagoog byna ononderbroke voortgegaan. Haar akademiese loopbaan aan die Universiteite van Stellenbosch en Kaapstad het oor veertien jaar gestrek: van 1980 tot 1993. Nellie du Toit se prestasies in musiek is bekroon met die Erepenning van die Akademie vir Wetenskap en Kuns in 1986 en ŉ eredoktorsgraad van die Universiteit van Stellenbosch in 1998.

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AOYAMA, ERIKO. "NOAH GREENBERG AND THE NEW YORK PRO MUSICA: THE CAREER, RECEPTION, AND IMPACT". University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1092344734.

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Royo, Johanna Lucia. "Self-Efficacy in Music Education Vocal Instruction: A Collective Case Study of Four Undergraduate Vocal Music Education Majors". Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/320010.

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While much research exists on self-efficacy in music programs, few research studies have qualitatively examined the impact of vocal performance settings on music education majors' self-efficacies and career goals. This collective case study examines the self-efficacy perceptions of four undergraduate vocal music education students in five vocal performance and rehearsal settings: (a) voice lessons, (b) studio classes, (c) choral rehearsals, (d) choral performances, and (e) juries. During a spring semester at a major university in the southwestern United States, I examined how participants' perceptions of their family backgrounds, career goals, lifestyles, peers, and student-teacher relationships influenced their vocal self-efficacy perceptions and music career goals. Data collection included observations, individual interviews with participants, and one focus group interview. Coding methods were used to analyze the interview transcripts and observation field notes. Triangulation, peer review, and member checks of transcriptions were used to ensure accuracy. Findings are documented case-by-case and as cross-case themes. I found that mastery experiences and family support during adolescence influenced participants' initial decisions to major in music but had little influence on vocal self-efficacy during the study. Secondly, self-efficacy changes noted throughout the study influenced participants' career goals. Other emergent themes included the role of memory, teacher feedback, concept comprehension and socialization. I conclude with cross-case themes and offer ideas for future self-efficacy research.

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Councill, Kimberly H. "Student career perception 6th-11th grade music students' assessment of self-efficacy, social perception, and potential enjoyment for music education and other possible careers /". Columbus, Ohio : Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1086096912.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xiii, 144 p. : ill. (some col.). Advisors: Patricia J. Flowers and Jacqueline C. Henninger, School of Music. Includes bibliographical references (p. 138-144).

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Chandler, Michael (Michael Douglas). "It's the Kids!: Examining Early-Career Elementary General Music Teacher Longevity in Title I Settings". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248427/.

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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, and concern for her students. All four teachers strongly expressed the important role their love of working with children and seeing them grow, progress, and learn played in their desire to continue teaching. Of all the contributing factors, the participants' ethic of care seemed to be the most significant influence on their decisions to continue teaching. They also spoke extensively about the role of their love for music as a subject. Conclusions address implications for the field and recommendations for future research.

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Fischer, Sarah Hope. "Career Intentions and Experiences of Pre- and In-Service Female Band Teachers". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365793694.

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Brown, Caitlin Elizabeth. "Sources for the reevaluation of George Frederick Root's career| The autobiography & a secular cantata". Thesis, University of Maryland, College Park, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1543536.

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Music scholarship has failed to fully assess the impact of the American composer George Frederick Root beyond his work in the church, classroom, and home. Most famous for composing "The Battle Cry of Freedom" and acting as music education pioneer Lowell Mason's associate, Root's other contributions to American music are often overlooked, particularly his body of secular cantatas for amateur choirs. This paper examines the commonly relayed biography of Root, Root's place in American historiography, and the advantages of examining his own autobiography. Finally, this paper presents a case study of The Haymakers and its possible place in future studies of Root. By better examining his career, we see that George Frederick Root was a typical nineteenth-century American man and that he was also a composer notable for his ability to serve the musical needs of his audience. Root pioneered large-scale choral works targeted at amateur performers with his secular cantatas and, consequently, served a wider swath of American performers and listeners.

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Russell, Joshua Alexander. "Career decisions of string music educators: Factors associated with retention, migration, and attrition". Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3273719.

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Olson, Ted S. "Traditional Plus: A Journey through Doc Watson's Recording Career". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5528.

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Szabó, Zsolt. "Dr. Gusztáv Höna : his performance and pedagogical career and contributions to the development of the Hungarian trombone school". Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3201.

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Costa, Robyn Dixon. "A Biography and Survey of the Musical Career of Grover Schiltz". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243886001.

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Burland, Karen. "Becoming a musician : a longitudinal study investigating the career transitions of undergraduate music students". Thesis, University of Sheffield, 2005. http://etheses.whiterose.ac.uk/15097/.

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This thesis examines the nature of the transition between training as an undergraduate musician and choosing whether or not to pursue a career as a professional performer. Previous studies of musical development have focused on children's skill acquisition, but few have considered the roles of motivation, practice, and the social environment in the transition into the music profession. Musicians making early career choices are also progressing through one of the most critical life-span changes - from adolescence to young adulthood - and little is known about how the psychological changes occurring during this time influence a musician's development. A two-year longitudinal study was conducted with a group of 32 musicians who, at the beginning of the study, were undergraduate music students attending either a British music college or university. Eight interviews were conducted with each of the participants. These were primarily qualitative in design, being either structured or semi structured and the data were analysed using qualitative and quantitative analysis techniques. The findings indicate that distinct characteristics defined the musicians who chose to pursue a professional performance career which differed from those for whom music became an amateur interest. The results suggest that the four factors of motivation, musical identity, learning styles and coping strategies interact and influence the career choices of the musicians. It is suggested that an individual's musical identity and his/her coping strategies play an integral role in the process of becoming a professional or amateur musician. A Dynamic Model of Musical Identity Formation and Career Choice is proposed in order to depict and explain the complex process of becoming a professional or amateur musician in adulthood.

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Nino, Contreras Camilo Andres. "Entrepreneurship and career development in higher music education within the context of the creative industries in Colombia". Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/234042/1/Camilo%20Andres_Nino%20Contreras_Thesis.pdf.

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This qualitative investigation explores the current creative industries landscape; understandings of entrepreneurship; and career development practices in higher music education in Colombia. In order to gain a deep understanding of the context, interviews and official documents from state/government, industry and education sectors were conducted and examined. The study found that entrepreneurship’s understanding is diverse, and working independently among sector shows a lack of knowledge and opportunities to students’ career development. Learnings have been distilled into a set of principles and recommendations for the inclusion of entrepreneurship in higher music education, and calls for significant change in legislation and education.

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Wanken, Matthew David. "A 'Mity' life: the career of Miles H. Johnson". Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5874.

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This thesis provides a historical account of the career of Miles “Mity” Johnson. Johnson taught music for thirty-seven years at St. Olaf College in Northfield, Minnesota. During those years, he led the St. Olaf Band to national and international prominence. Johnson’s professional influences traverse his work as a collegiate band director, and horn recitalist and teacher, as well as his contributions to professional development for conductors and the adult community band movement. This research draws heavily on archival materials from the Shaw-Olson Center for College History at St. Olaf College along with several personal collections, including Johnson’s own private collection. Oral interviews with family members, colleagues, and former students supplemented archival materials. Johnson’s career spanned the second half of the twentieth century, a period that witnessed important growth in repertoire, professional development, and other areas in the concert band field, and this thesis highlights his reactions and contributions to those changes. Chapters explore Johnson’s family, education, and military background; followed by details of his public school and St. Olaf College teaching career. Examining the areas of domestic and international touring, concert programming, and horn teaching during Johnson’s tenure at St. Olaf reveals significant contributions to the band field. Also included are Johnson’s numerous guest conducting engagements at All-State band performances and the Vestfold Summer music camp in Norway. Research on Johnson’s establishment of the Minnesota Instrumental Conducting Symposium (MICS) and the Minnesota Symphonic Winds (MSW) adult community band, give further insight into Johnson’s broader contributions to the wind band profession.

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Harris, Rod (Rod D. ). "Musician and teacher: the relationship between role identification and intrinsic career satisfaction of the music faculty at doctoral degree granting institutions". Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332810/.

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The purpose of this study was to investigate the relationship between identification with the teacher or musician role and intrinsic career satisfaction by college music teachers in doctoral degree granting institutions.

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Scheppmann, Margaret R. "FACTORS INFLUENCING MUSIC THERAPY CAREER CHOICE IN THE UNITED STATES: A STUDY OF STUDENT VALUES AND EXPECTANCIES". UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/147.

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The understanding of why students decide to become music therapists is valuable information for music therapy educators and policy makers and published information is lacking. The use of expectancy-value theory provides a framework to understand student choices. Researchers can better understand why students purse a career in music therapy by examining students’ abilities, beliefs, expectancies, and values related to the choice. The purpose of this study was to examine why current undergraduate and equivalency students want to be music therapists. Music therapy students (N = 129) throughout the United States provided insight into their decision to become music therapists by completing a survey with questions about their expectancies and values. Results indicated that both undergraduate and equivalency students tended to choose to be music therapists because they expected music therapy to be a career that requires hard work and expert knowledge while maintaining their interest and morale. Results of a correlational analysis suggest there are several choice-making variables that may influence each other, indicating that the decision to become a music therapist is a complex process for students. Finally, the results of a Mann-Whitney U test suggested that there was no significant difference between the expectancies and values that influenced undergraduate and equivalency students’ choices to become music therapists. Music therapists in many capacities may use this information to improve recruitment and engagement of music therapy students.

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Swezey, Shane C. "WHAT KEEPS US WELL? PROFESSIONAL QUALITY OF LIFE AND CAREER SUSTAINING BEHAVIORS OF MUSIC THERAPY PROFESSIONALS". UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/17.

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Self-care can be seen as not only critical for individual professionals, but also for the growth of the helping professions and the quality of care which clients receive. The purpose of this study was to investigate use of career-sustaining behaviors and the levels of professional quality of life in music therapy professionals. This study investigated research questions regarding use of career sustaining behaviors and levels of professional quality of life, the relationship between these variables, the differences in the use of career sustaining behavior by demographics, and the use of music as a self-care strategy. An online survey was sent to all professional members of the American Music Therapy Association. A total of 403 participants were included in the study for the purposes of data analysis. Findings from the study indicate that music therapy professionals are in the average to low ranges for burnout and secondary traumatic stress. However, a portion of the sample was identified to be at risk for these factors. Differences existed in the use of career sustaining behaviors between demographic variables, indicating self-care behaviors vary among professionals. The field of music therapy should further investigate these areas to best provide opportunities for professional self-care.

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Stephens, April. "William Harold Fletcher (b. 1923): His Life and Career in Music Education at Oklahoma Christian University, 1950-2012". Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/228435.

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The purpose of this study was to examine the life of William Harold Fletcher (b. 1923) and his contributions to music education. The study is divided into a prologue, six chapters, and an epilogue: Early Life (1923-1941), College Studies and Military Service (1941-1948), Central Christian College: The Formative Years (1948-1960), Oklahoma Christian College: The Department of Music (1960-1980), The Department of Music (1980-2012), and Discussion and Conclusion. Fletcher, the first faculty member at Central Christian College (1950), dedicated his career to creating a strong music program for the college (now named Oklahoma Christian University). For the first thirteen years of its existence, Fletcher was the music department's sole full-time faculty member. He conducted, taught, and produced musical productions that were well received by the community. His contributions to music education include teacher, composer, conductor, and philosopher. Though not maintaining a highly politicized career, Fletcher's contribution to the field of music education remains substantial. His teaching methods and passion for music have inspired students for more than sixty years. Fletcher has received multiple honors for his teaching including the dedication of the Oklahoma Christian University music department as "The Harold and Mary Helon Fletcher Center for Music." This dissertation presents a glimpse of William Harold Fletcher the teacher, musician, composer, and free-spirited individual.

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Ordoulidis, Nikolaos. "The recording career of Vasílis Tsitsánis (1936-1983) : an analysis of his music and the problems of research into Greek popular music". Thesis, University of Leeds, 2012. http://etheses.whiterose.ac.uk/3230/.

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There is a clear and abundant evidence to suggest that Vasílis Tsitsánis (1915-1984) was a well known songwriter, bouzouki virtuoso, lyricist and singer both in Greece and abroad. The evaluation of his work reveals that he remains a key figure in the history of Greek popular music. Vasílis Tsitsánis as musician and composer was an innovator, his musical roots in rembétiko being transformed through his creative effort is said to have led to the development and establishment of the modern laikó style. An analysis of Vasílis Tsitsánis's commercial recordings does indeed reveal aspects of his unique contribution as both performer and composer. However, the analysis also reveals the development of a style that was to have a major impact on the history of Greek popular music. Situating Tsitsánis's work in the context of broader social and political developments in Greece, this thesis is the first in-depth analysis of Tsitsánis's musical style with a focus on songs found on his commercial recordings, from 1936 to 1983. Research on the recording career of Vasílis Tsitsánis not only reveals information regarding his own music, which is in itself important alone given the contribution he is said to have made by rembétiko scholars, it also sheds light on more general issues regarding the Greek popular style that have been previously neglected.

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Age, Alessander Henrique. "Musica no alvo : um estudo da musica publicitaria nas decadas de 1950 e 1960 no Brasil". [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284761.

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Orientador: Claudiney Rodrigues Carrasco
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-07T18:01:31Z (GMT). No. of bitstreams: 1 Age_AlessanderHenrique_M.pdf: 860700 bytes, checksum: bf90f16240cbd731e21ec17603d9de3f (MD5) Previous issue date: 2006
Resumo: A presente dissertação de mestrado aborda a inserção da música na linguagem publicitária e sua influência no processo de comunicação. Através de um levantamento histórico e analítico, procura-se entender como a música atuou dentro do contexto publicitário nas décadas de 1950 e 1960. Para tanto, com base na teoria da publicidade e música de cinema, foram analisados filmes publicitários e anúncios de rádio produzidos nas cidades de São Paulo e Rio de Janeiro nesse período
Mestrado
Mestre em Música

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Riley, Steven Robert. "Gary! the impacts, influences, and innovations of the career of Gary E. Smith". Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1741.

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This thesis provides a historical account of the career of Gary E. Smith, Associate Director of Bands Emeritus at the University of Illinois at Urbana-Champaign. Specific attention is given to Mr. Smith’s influences as a collegiate band director and his innovations in the band products industry. This study contributes to the growing scholarship of historical accounts of influential collegiate band directors and is the first to chronicle someone who served as an Associate Director of Bands. Research methods utilized during the writing of this thesis included oral interviews with Mr. Smith, his family, and his former students. Moreover, Mr. Smith’s professional papers were reviewed at the Sousa Archives and Center for American Music. Additional research included reviewing multiple editions of the Syracuse-Wawasee Journal, Indiana Statesman, Daily Illini, and annual yearbooks from the educational institutions where Mr. Smith served on faculty. This study begins by highlighting Smith’s childhood influences and chronicles his career through his retirement at the University of Illinois. Emphasis is given to his influence with the Marching Illini and his commercial ventures, including the Smith Walbridge Clinics, Director’s Showcase International, and his textbook, The System. Thorough examination of Mr. Smith’s career reveals several themes regarding his personality: He is totally dedicated to the success of his students; he tirelessly works to build personal relationships with everyone he encounters; and he has a passion for self-improvement. Gary Smith is known for his many professional impacts, influences, and innovations but is beloved by the profession for his genuine, compassionate, and down-to-earth personality.

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Garner, Charles. "Fletcher Henderson, king of swing: a summary of his career, his music and his influences /". Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10257925.

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Thesis (Ed.D.) -- Teachers College, Columbia University, 1991.
Typescript; issued also on microfilm. Sponsor: Harold Abeles. Dissertation Committee: Lenore Pogonowski. Discography: p. 228-230. Includes bibliographical references: (leaves 211-217).

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Kowalczyk, Beata Maria. ""Transnational" art world : career patterns of japanese musicians in the European world of classical music". Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01E003.

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Toujours plus visibles sur les scènes occidentales de la musique classique, les musicien-ne-s japonais-e-s évoluant en Europe constituent un phénomène social intéressant. Adoptant deux perspectives complémentaires - celle des «mondes de l’art» et des trajectoires d’artistes d’un côté, et celle des mobilités et des migrations de travailleurs d’un autre -, cette thèse vise à examiner la construction des carrières artistiques des musicien-ne-s japonais en Europe étudiées comme des trajectoires «transnationales» de professionnel-le-s qualifié-e-s. Comment se fait-il que des personnes socialisées dans une culture particulière, déménagent dans un environnement socioculturel hétérogène pour étudier et construire leur vie professionnelle et individuelle à l’étranger ? Est-ce que leurs trajectoires nous permettent de les classer comme des « artistes cosmopolites » ? Ou bien la construction sociale de leur carrière ressemble-t-elle davantage à celle des «migrants»? L’analyse s’appuie sur un matériau de 50 entretiens semi-structurés conduits avec des musicien-ne-s japonais-e-s dans leur langue maternelle et 20 interviews/conversations menées avec des experts/informateurs. En comparant deux environnements très différents, la France et la Pologne, j’ai cherché à neutraliser l’impact que diverses idiosyncrasies environnementales, structurelles et socioculturelles peuvent exercer sur la dynamique des carrières de ces musicien-ne-s. En conclusion, l’examen des modes d’insertion dans l’éducation musicale mis en rapport avec l’origine sociale des répondant-e-s m’a amené à distinguer quatre profils professionnels : (1) les héritier-e-s professionnel-le-s, (2) les héritier-e-s des rêves parentaux, (3) les ancien-ne-s élèves de brass band et (4) les pratiquant-e-s avocationnel-le-s. En outre, le matériel recueilli au cours de mes recherches a montré que les carrières des musicien-ne-s japonais-e-s opèrent sur plusieurs niveaux et que la "transnationalité" supposée – que j’associe au concept de « double absence » de Sayad (1977, 1999) – a été conditionnée par une combinaison de différents déterminants sociaux (origines sociales, genre, spécialisation instrumentale, systèmes éducatifs et possibilité de conversion du capital ainsi que les politiques migratoires, les marchés du travail, ou encore les arrangements de l’État de providence). Ces éléments ont en effet largement influencé et, dans certains cas, fait dérailler les parcours professionnels étudiés
Japanese musicians arriving to Europe for the purpose of studies and work have become more and more visible in the context of classical art scenes, and they do not constitute a niche sample anymore. Combining two perspectives – that of the “art world” on the one hand and that of labour mobility and migration on the other, – this thesis examines the dynamics of Japanese musicians’ artistic careers establishing themselves in Europe in the context of “transnational” trajectories of skilled professionals. How do people, socialized in one particular culture, relocate to a disparate socio-cultural environment to study and then to build their professional as well as individual lives abroad? Shall these musicians be conceived of as “cosmopolite” artists? Or does the social construction of their careers bring them closer to “migrants”? This study is based on 50 semi-structured interviews conducted with Japanese musicians in their mother tongue as well as 20 interviews/conversations led with experts/informers. Comparing two substantially disparate environments, the French and the Polish ones, I aimed at distilling the impact that various structural as well as socio-cultural environmental idiosyncrasies have on career dynamics. In conclusion, examining modes of insertion into music education against the background of respondents’ social origins led me to distinguish four main career trajectories: (1) professional heirs; (2) inheritors of parental dreams; (3) brass band alumni and (4) avocational practitioners. Furthermore, the collected material unveiled that their careers are multilayered. Consequently, the presupposed “transnationality” – that I associate with Abdelmalek Sayad’s concept of “double absence” – has been conditioned by a combination of various social factors (i.e., social origins, gender, specialization, education systems and the possibility of conversion of capitals be it social or cultural; as well as migration policies, labor markets or structure of the welfare state in the hosts societies), which largely influence, and in some cases, derail the studied professional paths

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Kuebel, Christa. "PREPARATION, CONTINUING EDUCATION, AND PROFESSIONAL DEVELOPMENT OF INSTRUMENTAL MUSIC MAJORS TEACHING ELEMENTARY GENERAL MUSIC". Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1491408733327604.

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Terban, Jessica L. "Strategies Used by Women High School Band Directors to Meet the Challenge of Balancing Career and Family". Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300125561.

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