Exploring Pedagogical Approaches And Discussion For Young Beginner Double Bass Players,
2025
Louisiana State University and Agricultural and Mechanical College
Exploring Pedagogical Approaches And Discussion For Young Beginner Double Bass Players, Jiaying Zhang
LSU Doctoral Dissertations
In recent years, early childhood education for the double bass has gained increasing attention and plays a crucial role in shaping the future development of the instrument. However, compared to other instruments, research on early childhood education for the double bass remains relatively underdeveloped, with a lack of written materials on the subject. This thesis introduces the formation of early childhood teaching concepts and explains why parents play an irreplaceable role in a child’s initial exposure to music learning. By collecting and analyzing traditional double bass teaching methods and integrating common principles from other string instrument teaching approaches, this study …
"Come Tempesta In Mar": Awe And Terror In Haydn’S Sacred Music,
2025
University of Leeds
"Come Tempesta In Mar": Awe And Terror In Haydn’S Sacred Music, Clive Mcclelland
HAYDN: Online Journal of the Haydn Society of North America
Haydn’s so-called Sturm und Drang symphonies are renowned for exhibiting a range of disruptive features. While some commentators have attempted to link this with a personal crisis in Haydn’s life, there is no evidence to support the idea. Furthermore, it is misleading to make an association here between stormy musical writing in general and the German literary Sturm und Drang. The principal musical topos that Haydn employs is one that I have termed tempesta, and its origins lie in the storm scenes of Baroque opera. Here there was often a supernatural association involving a deity either as instigator …
A Case For The Original Setting Of Rachmaninoff’S Piano Sonata No. 2, Op. 36,
2025
Louisiana State University and Agricultural and Mechanical College
A Case For The Original Setting Of Rachmaninoff’S Piano Sonata No. 2, Op. 36, Alexias L. Ferrer
LSU Doctoral Dissertations
This document aims to examine both the original 1913 and revised 1931 settings of Sergei Rachmaninoff’s Piano Sonata No. 2 Op. 36, and to present a case in favor of the lesser-known 1913 rendition of the piece as the more definitive setting of the work. The study begins with historical background information on the work and shows how the piece originated from a mature composer at the most productive period in his life and contrasts this to the historical background of the work’s revision. In a deeper analysis of form and content, the positives and negative qualities of each version …
Imperative Duality Of Music Teacher Technological Education,
2025
Teachers College at Columbia University
Imperative Duality Of Music Teacher Technological Education, Drew X. Coles, Cato Zane
Journal of the Association for Technology in Music Instruction
Referencing the TPACK (Technological Pedagogical and Content Knowledge) framework articulated by Mishra and Koehler, this article explains the need for educators to acknowledge and educate themselves regarding different proficiency tracks within the world of music technological content knowledge. We argue that our concept of “Imperative Duality” elaborates upon, and works to balance, the three elements of the TPACK framework: content knowledge, technological expertise, and pedagogical skills. With imperative duality, we explore the idea that educators must possess both content and technological knowledge to facilitate effective and comprehensive music tech instruction. This article also explores some music technology content and technological …
Reassessing Haydn’S Orfeo In The Theatre,
2025
McGill University
Reassessing Haydn’S Orfeo In The Theatre, Dorian Bandy, Caryl Clark
HAYDN: Online Journal of the Haydn Society of North America
Haydn’s last opera, L’anima del filosofo (The Soul of the Philosopher), is a highly unusual retelling of the Orpheus myth. Written for London in 1791 to a libretto by C. F. Badini, the opera was never staged during the composer’s lifetime. Shut down in rehearsal and banned from performance, the opera never reached the stage because many of its themes—including the apocalyptic storm at the end—piqued British anxieties towards events unfolding in revolutionary France. The opera finally premiered in 1951, with Maria Callas singing the role of Euridice. Universal Edition prepared the performing material from sources photographed behind …
Required Related: Why Music And Audio Technology Courses Are Not Enough For Success In The Music Industry,
2025
Millersville University
Required Related: Why Music And Audio Technology Courses Are Not Enough For Success In The Music Industry, Barry G. Atticks, Dain Estes
Journal of the Association for Technology in Music Instruction
This pilot study evaluates the relevance of ancillary courses (required related) in music technology curricula, emphasizing the alignment of academic offerings with industry needs. While core subjects like studio recording and sound design are well-studied, this research focuses on related courses outside the primary sequence, including technology, business, industry-specific, core music, and education courses. Surveying 20 professionals across various music technology sectors, we assessed the importance of topics such as basic electronics, wireless systems, media studies, and industrial safety. Results indicate that basic electronics and wireless systems are crucial. Media studies and industrial safety courses are also valued highly, though …
Jazz And Politics: Was Ornette Coleman Inspired By The Civil Rights Movement?,
2025
Univercity of Utah, Salt Lake City, USA
Jazz And Politics: Was Ornette Coleman Inspired By The Civil Rights Movement?, Jason Dreher, Josiah Boornazian
The IASJ Journal of Applied Jazz Research
Due in part to increasing intellectual and political polarization in the United States in recent decades, there has been a resultant decrease in viewpoint diversity and an increase in instances of groupthink and widespread conceptual bias in the construction of many jazz history narratives. One example of these phenomena is the historiographical narratives linking free jazz and avant-garde jazz with the Civil Rights Movement in twentieth-century America. In the past several decades, the narrative that free jazz and/or avant-garde jazz was predominantly artistically inspired by the Civil Rights Movement has become broadly espoused by a wide variety of both scholarly …
Lee Konitz’S Use Of Standards’ Melody In Improvisation,
2025
NOVA University, Lisbon, Portugal
Lee Konitz’S Use Of Standards’ Melody In Improvisation, Gonçalo Pazeres, Ricardo Pinheiro
The IASJ Journal of Applied Jazz Research
The main goal of this article is to examine the mechanisms through which Lee Konitz uses the melody of jazz standards in his improvisation process. Beginning with the transcription and comprehensive analysis of five improvised solos, and using the thematic analysis method, we identified melodic ideas coming from the songs on which the saxophonist builds some of his solos. Our conclusion is that Lee Konitz, besides clearly quoting the melody of jazz standards on which he improvises, also frequently uses some of its notes as target-notes, and develops melodic motifs inspired by that same melody.
Scale Choices, Modal Harmony, And The Interpretation Of Slash Chord Notation For “Naima” By John Coltrane,
2025
University of Utah
Scale Choices, Modal Harmony, And The Interpretation Of Slash Chord Notation For “Naima” By John Coltrane, Josiah Boornazian
The IASJ Journal of Applied Jazz Research
This analysis of Naima is intended to provide useful conceptual tools for those who are interested in analyzing the harmonic language of modal jazz. The goals: to demonstrate the value of thinking about jazz harmony using slash chords, to suggest specific scale choice options to fit each chord in “Naima,” and to offer an explanation of how jazz composers can use modal harmony to create a sense of harmonic tension, release, and motion. Such an approach can provide a useful framework which will open new vistas of harmonic and melodic vocabulary for jazz composers, performers, and educators.
Audiotactile Music Theory And Jazz Education: Historical And Pedagogical Perspectives,
2025
CNRS, Paris, France
Audiotactile Music Theory And Jazz Education: Historical And Pedagogical Perspectives, Stéphane Audard
The IASJ Journal of Applied Jazz Research
The Audiotactile Music Theory offers new perspectives for considering the issues associated with the institutionalization of jazz education and the gradual transition from informal transmission situations to formalized curricula. The aim of this article is to show how certain central the concepts of the ‘Audiotactile Music Theory’ can be used in a dual historical and pedagogical perspective, to overcome certain dichotomies that structure discourses on jazz teaching at different times: written/oral, formal/informal and art/popular music. The Audiotactile Music Theory also allows us to question the place of jazz in music teaching institutions today, and our own pedagogical practice.
Twin Sons Of Different Mothers: Harmonic Convergence In Jazz And Classical Music,
2025
Grand Valley State University
Twin Sons Of Different Mothers: Harmonic Convergence In Jazz And Classical Music, Kurt Ellenberger
The IASJ Journal of Applied Jazz Research
Jazz and classical music are two of the most celebrated genres of “art music.” Their origins could not be more disparate. The two genres are, on the surface, very different from one another. Yet, the humanity and creativity that shines through across time and space speak to something else at play: an unfathomably deep connection that defies the temporal, geographical, racial, and cultural differences, revealing instead the shared human spirit that is manifested in these powerful artistic expressions.
The Shape(S) Of Jazz To Come. Jazz Studies, Interpretation, Theory And Education Research Project,
2025
ESML, Lisbon, Portugal
The Shape(S) Of Jazz To Come. Jazz Studies, Interpretation, Theory And Education Research Project, Ricardo Pinheiro
The IASJ Journal of Applied Jazz Research
Jazz Studies: interpretation, theory and education is a research project developed at Escola Superior de Música de Lisboa, Polytechnic University of Lisbon, that involved the collaboration between the Jazz and Composition Departments. The focus of the project coordinated by Ricardo Pinheiro (with the collaboration of Carlos Caires and Carlos Marecos) was to rethink artistic research outputs in the field of jazz studies, questioning the hegemony of the current musicological paradigm (Cook, 2014; Pinheiro and Caires 2019; Pinheiro, Caires and Neto 2024), and to explore the broad academic, scientific and artistic scope that this field can provide.
European Jazz Does Not Exist,
2025
Leiden University, The Netherlands
European Jazz Does Not Exist, Wouter Turkenburg
The IASJ Journal of Applied Jazz Research
Marion Dunkel and Josiah Boornazian have critically analyzed and evaluated important questions such as: What is jazz, and what it is not? How have its histories been written in the past? What are the various approaches in jazz historiography? Both authors provide useful suggestions to move past the confusing, standard teleological presentation of jazz history, and the methods used in the construction of jazz historiographies. I argue that jazz history must function as a dynamic and life-long applicable tool assisting the jazz musician in the decisions to be taken in musical, social, and cultural interactions.
Toxic Jazz Narratives - Dispelling The Illusory Relationship Between Suffering And Creativity,
2025
Augusta University, Augusta, GA 30912, USA
Toxic Jazz Narratives - Dispelling The Illusory Relationship Between Suffering And Creativity, Rob Foster
The IASJ Journal of Applied Jazz Research
The trope of the suffering artist is a persistent theme in discussions about jazz, often overshadowing the music itself. The focus on the negative aspects of an artist's biography can inadvertently shape students' perceptions, leading them to associate artistic greatness with personal turmoil rather than with the technical and expressive aspects of the music. The emphasis on tragic life stories in introductory jazz courses can detract from a holistic understanding of the genre. Jazz should be explored as a rich tapestry of musical innovation, cultural expression, and collaborative effort, rather than through the lens of individual suffering. Highlighting the achievements …
Notes From The Editor,
2025
James Madison University
Taking It To The Limit: Curricular Responses To Credit Hour Caps In Music Teacher Education Programs,
2025
Kansas State University
Taking It To The Limit: Curricular Responses To Credit Hour Caps In Music Teacher Education Programs, Phillip D. Payne, Edward C. Hoffman Iii, Aaron T. Wacker, Ashley D. Allen
Research & Issues in Music Education
As tuition rates continue to rise, credit hours required for degree completion emerges as a primary topic of concern. Undergraduate music education programs (or degrees) typically require a high number of credit hours which may also necessitate student class overloads, summer coursework, and/or program completion that could exceed the expected term of four years. To better understand the extent of current degree requirements and offerings, we examined credit allocation practices at 100 randomly selected NASM institutions. Specifically, we focused on emerging trends, commonalities, and potential insights to better guide policymakers when addressing legislative mandates focused on credit hour caps. Findings …
The Youth Music Institute At The University Of Wisconsin, Summer 1969,
2025
Illinois State University
The Youth Music Institute At The University Of Wisconsin, Summer 1969, Phillip Hash
Faculty Publications - Music
The purpose of this historical study was to examine the planning, implementation, participants, and activities associated with the Youth Music Institute (YMI) held at the University of Wisconsin from July 7 to August 1, 1969. Organizers hoped this event would bridge the communication gap between society, educational institutions, and youth through a collaborative learning environment involving students, music educators, guidance counselors, and professional recording artists. Participants used the term “youth music” to encompass multiple genres that captured the interest of young people, including various forms of rock, blues, soul, country western, jazz, and ethnic styles. The program consisted of lectures …
Diversity Representation In Ilmea All-State Programming 1990-2025,
2025
Illinois State University
Diversity Representation In Ilmea All-State Programming 1990-2025, Lucinda Boucher
Theses and Dissertations
The purpose of this study was to examine the diversity of ILMEA All-State programming from 1990–2025. This study compiled information regarding the composers and arrangers of the pieces selected, as well as the conductors for each ensemble. In the band category, 3.22% (n = 11) of all composers and arrangers (N = 342) were female and 4.39% (n= 15) were people of color. In orchestra, 1.67% (n = 3) were female and 6.67% (n = 12) were composers of color of all composers and arrangers (N = 180). The percentage of female composers …
How Much Glass Can I Break Before They Fire Me? Negotiating Ethically-Constructive Education In A Fractured Political Landscape,
2025
Berklee College of Music
How Much Glass Can I Break Before They Fire Me? Negotiating Ethically-Constructive Education In A Fractured Political Landscape, Mya Scarlato, Katie Kelly
Faculty Works
Amid the myriad of political disagreements that arise among collective identity groups vying for space within the educational curriculum, we offer in this article a theoretical framework through which we argue that schools are uniquely positioned to serve as spaces in which students can negotiate the ethical and moral selves of their choosing. Drawing upon the work from educational philosopher Maxine Greene (1988) and ethics philosopher Kwame Anthony Appiah (2005), we suggest that 1) the development or ‘becoming’ of one’s identity is an ethical endeavour, 2) negotiating identity space in both education and society at large is a moral endeavour, …
The Effect Of Note Highlighting On Note Identification Accuracy In Beginning Band Students,
2025
University of Northern Iowa
The Effect Of Note Highlighting On Note Identification Accuracy In Beginning Band Students, Thomas R. Knowles
Graduate Research Papers
This study was completed in the spring of 2025 and is based on the effectiveness of colored notation in music reading in beginning band students. An extensive literature review was conducted that supports the usage of color in educational material. Extensive research has been done on color in music education, and that research was used in this study. This study’s primary question is how color affects student note-reading. The hypothesis generated for the study is that students who receive highlighted notes see improvement in their note-reading compared to those who do not. The method used in this study was a …
