Music Practice Commons^™

How Theories About Instrumental Practice Strategies In Western Music Evolved Since The 1700'S: A Select Annotated Bibliography, University Of Denver

Musicology and Ethnomusicology: Student Scholarship

As music teachers, we introduce our students to a variety of methods for learning their instrument. In addition, it is necessary to impart wisdom on how to practice those methods and strategic ways to approach the learning and preparing of pieces for performance.

This paper will endeavor to compare and contrast how those strategies and techniques have evolved over the past 300+ years to better understand what practice strategies are “tried and true”, which have been discarded over time, and what has been added to the pantheon of strategies and scientific studies as performance practice and our understanding of psychology …

Developing Variation In The Late Work Of Morton Gould And Why It Matters, J. Wesley Flinn

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

American composer Morton Gould (1913-1996) was remarkably consistent stylistically over the course of his compositional career; this project examines certain motivic transformational techniques used in two of his last works, Stringmusic (1993, winner of the Pulitzer Prize) and Remembrance Day (Soliloquy for a Passing Century) (1995). These techniques, which can generally be filed under the principle of developing variation, are: 1. Mirroring and reversal; 2. Rotation; 3. Motivic expansion and contraction; 4. Additive sets; and 5. Asymmetric injection. After an overview of each technique, I give a full analysis of the fourth movement of Stringmusic using the approaches described …

Eighteenth And Nineteenth Century Bassoon Tutors And Their Published Contributions To Bassoon Pedagogy, Gina Michelle Moore

Senior Honors Projects, 2010-2019

This research project is a survey of eighteenth and nineteenth century bassoon tutors and their contributions to bassoon pedagogy. Tutors for this project were chosen from the two main schools of bassoon playing and pedagogy during the time centered in France and Germany. Bassoon teachers surveyed will include: Joseph Frölich, Karl Almenräder, Christian Julius Weissenborn, Ludwig Milde, Etienne Ozi, Eugène Jancourt, and Eugène Bourdeau.