Arts and Humanities Commons^™

Studiohub: Streamlining Communication In Private Music Studios, Joseph Klinck

Honors Theses

At the start of the project, I asked the question “what technology is available to horn players today?” Through an independent study in Spring 2017, I surveyed websites, blogs, YouTube channels, computer software, and mobile apps, reviewing and rating each one, and discussing their strengths and weaknesses.

From this project, I determined that one key piece of technology missing in the music world was some way to unify and streamline the activities of private music teachers and their students. Through my own experiences, and through talking with other music students, I determined three objectives for this streamlining technology: assign and …

State Of The Art: A Sampling Of Twenty-First-Century American Baroque Flute Pedagogy, Tamara Tanner

Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance

During the Baroque flute revival in 1970s Europe, American modern flute instructors who were interested in studying Baroque flute traveled to Europe to work with professional instructors. They then transmitted that knowledge to their students upon returning to America, furthering the modern study of Baroque flute in America. Now, thanks to their efforts and those of academic institutions and professional organizations such as the National Flute Association, there are many opportunities in America to hear performances by dynamic Baroque flutists, to perform and compete on Baroque flute, and to learn from respected Baroque flute instructors. There are also numerous texts …

Mucp 183-983: Applied Music Composition--A Course Benchmark Portfolio, Gregory Simon

UNL Faculty Course Portfolios

MUCP 183-983, Applied Music Composition, is the core of the music composition course curriculum for students at all levels, from freshman to doctoral candidate. Like all applied lesson environments, it is a one-on-one, individualized study that principally involves the instructor giving students feedback on their musical works-in-progress. This time-honored paradigm for teaching composition has produced brilliant artists, but is rife with pitfalls and traps that can tarnish a student’s growth: composition pedagogues can coerce students into writing music like their teachers, or can prescribe a curriculum that makes composition accessible only to students who have already played classical music for …