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Fourth-Grade Music Students' Perceptions Of Music Improvisation: An Ethnographic Case Study, Ashley Elizabeth Cobb

Theses and Dissertations

I facilitated this ethnographic case study to better understand potential successes and difficulties music improvisation presents in music facilitating and learning from the student perspective. The purpose of this research was to examine my fourth-grade students’ perceptions of music improvisation via improvisatory music circles using the following guiding research questions. Regarding 30-minute improvisatory music circles: 1) How do fourth-grade students (a) define music improvisation, (b) respond to facilitator-selected improvisatory music activities during improvisatory music circles, and (c) make decisions while participating in improvisatory music circles? 2) How did those students’ perceptions change throughout data collection?

I collected data from five …

A Survey Of Secondary Music Educators Regarding The Perceived Impact Of Integrating Non-Ensemble General Music Activities Within Secondary-Level Performing Ensembles, Brandon Morris

Masters Theses, 2020-current

The purpose of this study was to survey Commonwealth of Virginia middle and high school music educators concerning the impact of integrating non-ensemble general music activities within secondary ensembles. Specifically, the questions focused on integrating guitar/piano, composition, and music technology into (non-jazz) performance ensembles, as identified through the lens of the NAfME Performing Strand. For the purposes of this study, non-ensemble general music courses were defined as courses that are traditionally not viewed as performance classes. Throughout this study, the integration of general music activities in secondary performance ensembles was examined through the lens of the NAfME Performing Strand.

The …

Soundcurrents: Exploring Sound’S Potential To Catalyze Creative Critical Consciousness In Adolescent Music Students And Undergraduate Music Education Majors, Jashen I. Edwards

Electronic Thesis and Dissertation Repository

The purpose of this study was to examine how and in what ways a reorientation towards sound could catalyze creative critical consciousness in high school music students and university music undergraduates. Specifically, this study sought to uncover how and in what ways sonic lifeworlds: everyday sound currents streaming in/out/through participants’ lived experiences at school, home, neighborhood, park, playground, street, alleyway, train station, cyberspace could potentially excite creative aspects of knowing and being via “cultural production” (Gaztambide-Fernández, 2011) and also elicit critical ways of thinking about and responding to the world as “cultural citizens” (Benedict & Schmidt, 2014). This study stems …

An Analysis Of Allan Holdsworth’S Techniques And Their Application To Fundamental Melodic Devices, James Dasilva

Recital Papers

This thesis analyzes Allan Holdsworth's improvisational style for the purpose of applying his techniques, such as string skipping and omnidirectional fretboard movement, beyond the jazz-rock idiom and expanding the melodic potential of the guitar.

Creative Practice For Classical String Players With Live Looping, Caleb Yang

Student Theses

In recent years, string pedagogy discussions have highlighted the greater need for creative practice as classical string players. Since the second half of the nineteenth century, string methods have shifted towards a limited scope of improvisatory techniques, parallelling the decline of improvisation in Western classical music performance practices. This thesis explores live looping as a practice tool to facilitate learning concepts and help string players develop musicianship skills including improvisation, participate in non-classical genres, and explore their creative voices. Examining the results of string educators that incorporate live looping into their own teaching reveals the tool’s effectiveness in bridging curricula …

Co-Constructive Music Improvisers: An Ethnographic Case Study, Emma Elizabeth Young

Theses and Dissertations

The purpose of this exploratory ethnographic case study was to examine music improvisations co-constructed by my elementary students and me, their music teacher. Guiding research questions were (a) How do my elementary students and I co-construct music improvisations? (b) How do I describe our music improvisations? (c) How do my elementary students describe our music improvisations? (d) How do my elementary students describe their own music improvisations? (e) How do my elementary students describe their peers’ music improvisations?

I facilitated co-constructive music improvisation sessions with each music class at Coosa Elementary School for seven weeks during Fall 2020. Each student …

The Effects Of Improvisation In Beginning Musical Instruction On Music Literacy, Brandon Tyson

Williams Honors College, Honors Research Projects

Teaching is a skill that has many different techniques and strategies. Each instructional strategy is valid for giving the student the opportunity to learn. In the 1993 article “Improvisation is the Manifestation of Musical Thought,” Azzara states that improvisation is a spontaneous expression of musical concepts. Many have used improvisation to bring knowledge together and synthesize the content. Improvisation is a tool that can be utilized at any point in the educational process. Opportunities for improvisational play gives students personal experiences on leading to skill development in listening and performing of the skills. After a solid foundation of performance ability …

Developing A Systematic Approach For Teaching Beginning Improvisation Using The Concert Percussion Ensemble, Ian Mcclaflin

Dissertations

Typically, when studying percussion at a University, a student is required to be proficient at multiple aspects of percussion (snare drum, mallet keyboards, drum set, hand drumming, etc.) and work through multiple method books and solos on the different instruments. This often leaves little to no room for the study of improvisation on their instrument.

Examined in this study are the following points pertaining to the state of teaching improvisation:

• There is an apparent lack of improvisation in the classroom
• Teachers often feel unprepared in teaching improvisation
• Improvisation is most commonly associated with jazz
• Both teachers and students tend to …

Lived Experience Of Music Therapists As Musician-Therapists, Kotoe Suzuki

Expressive Therapies Dissertations

The dissertation research explored the lived experiences of music therapists who are performing musicians. A conceptual foundation of music therapists as musicians, a “musician-therapist” who is deeply versed in the unique properties of music can be identified in the literature (Ansdell & Verney, 2008; Nordoff & Robbins, 1973). The objectives of this study were to explore three topics: 1) deeper understandings of music therapists’ musical improvisation both in clinical and nonclinical settings, 2) the connection between music therapists’ personal and professional musical growth, and 3) identity formation. A qualitative method was chosen for this research including reflexive/embodied/interpretative phenomenology, and arts-based …

Examining The Fears, Benefits, And Applications Of Teaching Improvisation In General Music, Krystle Boyd

Theses

This project focused on identifying and resolving fears associated with teaching improvisation in the general music classroom. The primary focus was on music educators and providing them with reassurance, reasoning, and plans on how to begin the process of teaching improvisation and follow through so that it is a well-developed initiative that will be built upon and utilized for years to come. This project demonstrated plans for an entire year of 5th grade general music instruction and provided a curriculum map, lesson plans, rubrics, and a manual of explanation for the lessons and activities.

Philosophy Of Music Education, Mary Elizabeth Barba

Honors Theses and Capstones

A philosophy of music education refers to the value of music, the value of teaching music, and how to practically utilize those values in the music classroom. This thesis explores the philosophies of Emile Jacques-Dalcroze, Carl Orff, Zoltan Kodaly, Bennett Reimer, and David Elliott, and suggests practical applications or their philosophies in the orchestral classroom, especially in the context of ear training and improvisation. From these philosophies, the author develops their own personal philosophy of music education, most broadly defined by the claim that music is key to experiencing and understanding feelingful experiences.

Effect Of Self-Evaluation On Jazz Improvisation Achievement, Ollie Eugene Liddell

Electronic Theses and Dissertations

No abstract provided.

Practising Jazz Performance: An Investigation Into The Process That Underpins Optimal Instrumental Practice In The Jazz Idiom, Christopher J. Tarr

Theses: Doctorates and Masters

Little formal research has been undertaken into the processes associated with jazz improvisation, particularly those associated with practising to become an elite jazz improviser. This study seeks to understand the role of instrumental practice, particularly physical practice strategies and the associated mental states, in the development of jazz improvisers. Interviews were conducted with six improvisers of various ages, instruments and backgrounds. The study identified a number of strategies specific to jazz practice that differed from traditional practice strategies described in Western art literature, particularly in relation to the importance of the ear-to-instrument connection. Accordingly, the study sets out a series …

A Description Of The Musical Concepts Artist-Level Jazz Musicians Employ While Improvising, Jonathan Whitmire

Electronic Theses and Dissertations

The purpose of this study is to analyze musical concepts employed by artist-level jazz performers (professional jazz musicians) playing an improvised solo. These concepts are then compared to the participant's pedagogical background in improvisation. Subjects were videorecorded performing an improvised solo with an accompaniment track of "Take the ‘A' Train". They then participated in an observational research method referred to as stimulated recall where each performer watched the video directly following the performance and attempted to classify the musical concepts they used in their improvised solo. Categories of musical concepts included: scales/modes, chords/arpeggios, memorized licks, melodic variation, rhythmic variation, range/intensity, …