INVESTIGATING THE USE OF MAZE-CBM FOR HIGH SCHOOL STUDENTS

Recent legislation and initiatives set forth high academic expectations for all high school graduates in the area of reading (National Governors Association Center for Best Practices, 2010; Every Student Succeeds Act, 2015). To determine which students need additional support to meet these reading standards, teachers can conduct universal screening using formative assessments. Maze Curriculum-Based Measurement (Maze-CBM) is a commonly used screening and progress monitoring assessment that the National Center on Intensive Intervention (2013) and the Center on Instruction (Torgesen & Miller, 2009) recommend. Despite the recommendation to use Maze-CBM, little research has been conducted on the reliability and validity of Maze-CBM for measuring reading ability for students at the secondary level (Mitchell & Wexler, 2016). In the papers included in this dissertation, I present an initial investigation into the use of Maze-CBM for secondary students. In the first paper, I investigated prior studies of Maze-CBM for students in Grades 6 through 12. Next, in the second paper, I investigated the alternate-form reliability and validity for screening students in Grades 9 and 10 using signal detection theory methods. In the third paper, I examined the effect of genre on Maze-CBM scores with a sample of students in Grades 9 and 10 using multilevel modeling. When writing these three papers, I discovered several important findings related to Maze-CBM. First, there are few studies that have investigated the technical adequacy of Maze-CBM for screening and progress monitoring students in Grades 6 through 12. Additionally, only two studies (McMaster, Wayman, & Cao, 2006; Pierce, McMaster, & Deno, 2010) examined the technical adequacy of Maze-CBM for high school students. A second finding is that the reliability of Maze-CBM is often below acceptable levels for making screening decisions or progress monitoring decisions (.80 and above and .90 and above, respectively; Salvia, Ysseldyke, & Bolt, 2007) for secondary students. A third finding is that Maze-CBM scores show promise of being a valid screening tool for reading ability of secondary students. Finally, I found that the genre of the text used in the Maze-CBM assessment does impact scores on Maze-CBM for students in Grades 9 and 10.

THE EFFECT OF A PROGRAM OF PORTABLE ELECTRONIC PIANO KEYBOARD EXPERIENCE ON THE ACQUISITION OF SIGHT-SINGING SKILL IN THE NOVICE HIGH SCHOOL CHORUS

The problem was to determine whether a method of aural and visual vocal training that included a program of portable electronic piano keyboard experience would be more effective in teaching sight-singing skills to novice high school chorus students than a method that included only aural and visual vocal training. A sub-problem was to determine whether novice chorus students enjoyed playing electronic keyboards in chorus as a reinforcement experience in sight-singing training. Students were randomly assigned to two treatment groups, tested with the Musical Aptitude Profile, Tonal Imagery, part A, and then trained separately. The experimental group sang repetitions of melodic patterns and utilized techniques associated with the Kodály Method while simultaneously playing keyboard. The comparison group received a similar treatment without using keyboards. The students were pre- and post-tested in sight-singing using the Vocal Sight-Reading Inventory. Results of the Analysis of Covariance using MAP scores as the covariate revealed no significant difference (p<.05) between post-test scores of the two groups. Improvement was noted in 96% of students from pre-test to post-test regardless of grouping. The repeated measures ANOVA revealed a significant relationship (p<.006) between aptitude group and post-test score. High aptitude students in both groups were found to benefit more from the training than low aptitude students. High aptitude keyboard group students achieved an average gain score that was 8.67 points higher than the comparison group. Of the total experimental group, 92% enjoyed playing keyboards in chorus. It is recommended that future research be undertaken to study the use of keyboards with advanced high school choruses and with uncertain singers in the high school chorus. Research is also needed to develop graded, valid, and reliable sight-singing tests for use in high school chorus. Techniques of the Kodály Method should be further investigated for use in high school sight-singing training.

High School Choral Students' Perceptions of Choral Music Experience

The purpose of this study is to explore high school students' perceptions of their choral experiences, providing an understanding of students' ongoing perspectives of choral experience. Specifically, how have these experiences influenced the formation of their musical identities as members of a choral ensemble? The researcher collected data from the three participants during a full school year. The participants were current students in the researcher's advanced choral ensemble. Through axial coding, three themes emerged: musical interpretation, attitude, and group efficacy. The study revealed that experienced choral students have well-informed musical perspectives that influence their choral experiences. Implications for music education include using students' perspectives for creating rehearsal strategies, planning and programming performances, and fostering a nurturing learning atmosphere. Suggestions for further research include comparing experienced students to non-experienced students, comparing ensembles with student-chosen repertoire to those with director-chosen repertoire, and further examining the impact of choral experience on musical identity.

TEACHING HIGH SCHOOL STUDENTS THE BEST CHORAL REPERTOIRE FROM THE GREAT COMPOSERS: MASTERWORKS AVAILABLE FOR IMMEDIATE, FREE ACCESS FROM THE CHORAL PUBLIC DOMAIN LIBRARY

Studying the choral works of the great composers of the past is always a worthy endeavor. For those aspiring to create an excellent high school choral program, it is critical to a student's musical foundation and heritage. Choral educators who teach high school are often bombarded with the most recently published new choral works, when they have a trove of excellent pieces right at their fingertips through websites like the Choral Public Domain Library (CPDL), all available at no cost. This project will explore the pedagogical reasons why this canon of public domain choral music should be taught at the high school level. A thorough guide to CPDL and an anthology of 200 works available on CPDL will provide the conductor with resources for programming this music. Though choral music in the public domain is free to all, publishers still publish this music and adhere copyright claims. This can create mistrust of legitimate editions on CPDL; why are they available at no cost when publishers are claiming copyright on similar editions? These issues will be thoroughly discussed in this project. For any given work on CPDL, there may be multiple editions available on the site. Choosing the right edition requires knowledge about basic editorial principles, especially for works written during the Renaissance period. A detailed discussion of these principles will provide the conductor with the tools needed to choose the best edition for his or her ensemble.