Music Pedagogy Commons^™

Master's Recital In Jazz Pedagogy: A Performance-Demonstration Of Rhythm Section Instruments, Trumpet, Electric Wind Instrument, Synthesizer, Compositions, And Arrangements By Demetrio Lyle, Demetrio Lyle

Dissertations and Theses @ UNI

My education at the University of Northern Iowa in the Master of Music, Jazz Pedagogy track has included two full academic years of continuous study as well as one year of independent study. During my two years in residence, I had the pleasure of experiencing an in-depth curriculum of classes, ensembles, and applied lessons, as well as opportunities to lead large and small ensembles. All of these components were designed to make me into a more effective jazz musician in the disciplines of performance, composition, arranging, and pedagogy.

The latter of these disciplines acts as the synthesis of the recital …

Increasing Student Perceptions Of Success And Inclusion Through Strategic Programming Of Underrepresented Composers, Joyce J. Beyer

Dissertations and Theses @ UNI

There is a disproportional representation of women and people of color in orchestra and classical music. Both on the stage and in the music being performed, white and male musicians are more prominent than women and people of color. This disproportionality impacts underrepresented people, especially young students.

A study was done to see if introducing students to successful women and people of color who were musicians would increase student perceptions of success and inclusion in orchestra. The study included 37 students from 5 public school orchestra programs. The treatment was a series of pre-designed mini-lessons on underrepresented musicians. Growth was …

Documenting Fifth-Grade Band Students’ Experiences In A Kodály-Centered Beginning Band Curriculum, Elisabeth Henderson Dhillon

Masters Theses, 2010-2019

ABSTRACT

Based on the work of Hungarian composer and educator Zoltán Kodály, the Kodály method, a sound-to-symbol approach to music-making and literacy stemming from an aural and auditory entry point, forms an integral aspect of many elementary level general music curricula in the United States. In this process-oriented, experiential approach, students hear and explore music kinesthetically, aurally and through folk and art song before visual concepts in the form of notes in formal notation are introduced.

In contrast, traditional beginning band methodologies tend not to incorporate a sound-to-symbol approach, teaching the intricacies of a complex new instrument in conjunction with …

2018-2019 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Daniel Guevara, Yue Yang, Zulfiya Bashirova, Ricardo Lemus, Ming Yue Fei, Guzal Isametdinova, Sheng Yuan Kuan, Joshua Cessna

Master Classes

No abstract provided.

2018-2019 Master Class - Alessandro Deljavan (Piano), Alessandro Deljavan, Nicole Marie P. Cortero, Jiawei Yuan, Kimia Rafieian

Master Classes

No abstract provided.

Technique For The Developing Dramatic Soprano, Amber James

Dissertations

This dissertation was inspired by a Facebook post by David L. Jones regarding common pedagogical problems in the dramatic soprano Fach. I am a dramatic soprano, who has dealt with many of the technical problems listed in his post. David L. Jones is an internationally recognized teacher and coach and has worked with some of the most well-known professional dramatic sopranos. After considering these pedagogical challenges, it was decided the best course of action was to interview professional singers, teachers, and coaches in the dramatic soprano Fach. After conducting a state of research, it was found that there …

The Baritone To Tenor Transition, John White

Dissertations

Many notable opera singers have been virtuosic tenors; Franco Corelli, Plácido Domingo, James King, José Carreras, Ramón Vinay, Jon Vickers, and Carlo Bergonzi. Besides being great tenors, each of these singers share the fact that they transitioned from baritone to tenor.

Perhaps nothing is more destructive to the confidence of a singer than to have his vocal identity or voice type challenged. Many singers have experienced this, and not always by way of advice or as a gentle suggestion, but rather, as a solution to a fundamental deficiency regarding the singer’s voice. Though undergoing a transition to another vocal fach …

The Challenges And Limitations Of Adapting Mozart's Così Fan Tutte For A Small University Setting, Christopher Lovely

Dissertations

In this dissertation, challenges and limitations related to presenting Così fan tutte within a small university setting are conveyed, as well as offering innovative ideas to create a manageable presentation. I recall my personal experience as Korepititor/Vocal Coach for The University of Southern Mississippi’s 2014 production of Mozart’s Così fan tutte. This document presents topics on the various workings of an opera production: pre-rehearsal preparation, language issues, rehearsal preparation, selection of singers, and production issues. It offers practical solutions to overcome various challenges a small university may encounter. Smaller university opera programs were surveyed regarding their adaptations of …

A Pedagogical Guide To Selected Intermediate And Early-Advanced Piano Works By Sergei Prokofiev: Developing Technical Skills To Master His Advanced Repertoire, Kaleb Davis

Dissertations

This dissertation provides the piano instructor and performer with a pedagogical guide to selected pieces by Prokofiev ranging in difficulty from intermediate to early-advanced. The pieces chosen for this guide help to address a variety of technical challenges that are essential to studying and performing Prokofiev’s more advanced works.

Chapter I offers an overview of Prokofiev’s musical style and addresses prominent technical challenges from his advanced piano repertoire. Chapter II is a pedagogical guide to the selected pieces, arranged into three levels of difficulty. For ease of reference, tables outlining the pieces with their technical challenges are placed at the …

A Brain-Friendly Approach To Music Literacy, Taylor Davis

Posters-at-the-Capitol

The purpose of this study was to explore how the brain processes information, stores it in long-term memory and then applies that knowledge to teaching music in a classroom/rehearsal setting. We observed how the working memory, the system responsible for processing information from short-term and long-term memory can function with greater efficiency. We observed how the number of items available for processing in the working memory may be increased through a process identified as “chunking.” Chunking is when short patterns, or bits of information, are combined to form longer sequences. When applying these brain-friendly learning concepts to music, the instructor …

Editor’S Essay, Michael E. Ruhling

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.

2018-2019 Master Class - Kae Hosoda-Ayer (Collaborative Piano), Kae Hosoda-Ayer, Guzal Isametdinova, Michael Puryear, Kristine Mezines, Kayla Williams, Feruza Dadabaeva, Askar Salimdjanov, Joshua Cessna, Yue Yang

Master Classes

No abstract provided.

2018-2019 Master Class - Lynn Chang (Violin), Lynn Chang, Yordan Tenev, Sheng Yuan Kuan, Shanshan Wei, Sing Hong Lee, Olga Konovalova, Ricardo Lemus, Joshua Cessna

Master Classes

No abstract provided.

2018-2019 Master Class - Margaret Mcdonald (Collaborative Piano), Margaret Mcdonald, Kristine Mezines, Lydia Roth, Feruza Dadabaeva, Askar Salimdjanov, Joshua Cessna, Alexander Ramazanov, Guzal Isametdinova, Katherine Baloff, Yordan Tenev, Daniel Moore, Georgiy Khokhlov

Master Classes

No abstract provided.

2018-2019 Master Class - Erika Eckert (Viola), Erika Eckert, Daniel Moore, Sheng Yuan Kuan, Kayla Williams, William Ford-Smith, Chang Hyun Paek

Master Classes

No abstract provided.

2018-2019 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Tinca Belinski, Sheng Yuan Kuan, Zulfiya Bashirova, Olga Konovalova, Askar Salimdjanov, Natalia Hidalgo, Yuhao Zhou

Master Classes

No abstract provided.

2018-2019 Master Class - Borivoj Martinic-Jercic (Violin), Borivoj Martinic-Jercic, Mario Zelaya, Sheng Yuan Kuan, David Brill, Shuyi Wang, Joshua Cessna, Shiyu Liu, Feruza Dadabaeva

Master Classes

No abstract provided.

2018-2019 Master Class - Lydia Artymiw (Piano), Lydia Artymiw, Jannina Eliana Pena, Kristine Mezines, Meiyu Wu, Guzal Isametdinova, Xiaoxiao Wang

Master Classes

No abstract provided.

“It’S Just The Way I Learn!” Inclusion From The Perspective Of A Student With Visual Impairment, Danni Gilbert

Glenn Korff School of Music: Faculty Publications

This article describes the inclusive experience of a student with visual impairment in secondary band settings. Information obtained from students with visual impairments who have experienced active participation in school music ensembles may provide much-needed insight into instructional strategies that could improve inclusion. Many music educators believe they lack adequate resources and training in including students with visual impairments. Therefore, a deeper understanding of the experience of participating in secondary performing ensembles from the viewpoints of students can help guide the efforts of those involved in their music education.

A Performance Guide To New Studies For Clarinet By Louis Desantis, Samuel Schreiber

LSU Doctoral Dissertations

Louis DeSantis (1893-1940) was a prominent Italian-American clarinetist during the twentieth century. His musical training began in Naples and after immigrating to America in 1912, he held principal clarinet positions with the Chicago Civic Opera Company (1914-1917), St. Louis Symphony Orchestra (1925-1926), Cleveland Orchestra (1926-1929), Philadelphia Orchestra (1930) and the CBS Symphony Orchestra (1931-1940).

Louis DeSantis’s New Studies for Clarinet offers the clarinetist a chance to further familiarize himself with selected orchestral excerpts while also exploring the beautiful aspects of the Italian “bel canto” singing style. The orchestral excerpts come from Ambroise Thomas’s Mignon, Franz Liszt’s Second Hungarian Rhapsody …