Music Pedagogy Commons^™

The Search For Consistent Intonation: An Exploration And Guide For Violoncellists, Daniel Hoppe

Theses and Dissertations--Music

This paper provides a system that helps diagnose and address the specific challenge to cellists of intonation in any passage. Learning to play consistently in tune is essential for every cellist. In the over three hundred years of cello history, teachers have tried approaching the topic from a variety of perspectives. While each technique is useful in its own right, there is scant attention to how they work together. Viewing intonation through its component sub-skills is the first step toward integrating existing exercises and paving the way for further advances in pedagogy. The following paper categorizes training techniques according to …

March Performance Practices Of Henry Fillmore With Style Guides And Historical Editions Of Selected Works, James Robert Daughters

Theses and Dissertations--Music

With a career spanning over four decades, Henry Fillmore earned wide recognition as an important and prolific composer of marches and trombone smears in the wind band medium. While he contributed significantly to chamber music, solo literature, vocal settings, and arrangements for band, his compositions for wind band have arguably provided his most universal acclaim. Fillmore’s published marches are unique in that scores rarely had performance markings and contained little more than notes and repeat signs. Fillmore conducted most of his marches and altered march strains, changed orchestration, and added stylistic markings that were not indicated in the original printed …

On Unaccompanied Horn Music, Jason D. Klinect

Williams Honors College, Honors Research Projects

Unaccompanied music provides a host of challenges for solo musicians, and especially for wind players. The performer cannot rely on accompaniment for embouchure rest or for realization of the harmonic content, due to only being able to play one pitch at a time. An unaccompanied musician has to breathe life into the music by themselves, requiring an intimate knowledge of the music, even moreso than is already required. The pacing of the music, the dynamics, phrasing, and articulation need to be clearly conveyed to the audience by the performer alone. Likely due to the horn not having valves until the …

Master's Recital In Jazz Pedagogy: A Demonstration Of Proficiency On Rhythm Section Instruments, Compositions, And Arrangements By Sam Stranz, Sam Stranz

Dissertations and Theses @ UNI

The purpose of this recital is to demonstrate a practical competency in playing techniques on the rhythm section instruments piano, bass, and drum set in addition to presenting arrangements and compositions by the performer. The study of rhythm section instruments provides the solid understanding of jazz rhythm and harmony necessary for any jazz educator endeavoring to provide adequate instruction for his or her students. The study of jazz arranging and composition also aids in instructing students of jazz at any level of proficiency. Although not a complete representation of the studies required of a student studying jazz pedagogy, this recital …

2016-2017 Master Class - Stanislav Ioudenitch, Stanislav Ioudenitch, Sohyun Park, Yalyen Savignon, Akmal Irmatov, Hikari Nakamura, Ying Peng Wang, Alfonso Hernandez, Suhao Bai, Bailey Michelle Collins, Matthew Calderon, Sergei Skobin, Chance Israel

Master Classes

The recital of Stanislav Ioudenitch was held on Saturday, December 3, 2016. Please go to the concert page for more details.

2016-2017 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Sheng Yuan Kuan, Xiaonan Huang, Julia Jakkel, Yasa Poletaeva, Darren Matias, Huyen Anh Nguyen, Katherine Baloff

Master Classes

No abstract provided.

2016-2017 Master Class - John Miller (Bassoon), Erika Andersen, Michael Pittman, Sebastian Castellanos, Fabiola Hoya

Master Classes

No abstract provided.

Curious, Collaborative Creativity: Applying Student-Centered Principles To Performing Ensembles, Danni Gilbert

Glenn Korff School of Music: Faculty Publications

This article explores a comprehensive, student-centered alternative to traditional ensemble instruction with the goal of promoting better opportunities for musical independence and lifelong musicianship. Developed by Caron Collins from the Crane School of Music at the State University of New York–Potsdam, the Curious, Collaborative Creativity (CCC) concept fosters student-centered learning and the promotion of 21st-century skills by encouraging students to select, arrange, and compose the repertoire to be studied; to work together in teams to equally contribute to the learning/understanding of music; and to share their work through informances to engage and enlighten community members. Examples from a current ensemble …

2016-2017 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Sheng Yuan Kuan, Mario Zelaya, Virginia Mangum, Sergio Carleo, Yordan Tenev, Tinca Belinski

Master Classes

No abstract provided.

Women’S Perceptions Of The Usefulness Of Group Music Therapy In Addictions Recovery, Susan Gardstrom, Abigail Klemm, Kathleen M. Murphy

Department of Music Faculty Publications

This study represents our attempt to uncover aspects of group music therapy that women with addictions perceive as useful toward recovery – factors that have yet to be clearly identified in existing literature. Women in residential treatment for addictions to heroin and other substances were surveyed following group music therapy sessions involving vocal and instrumental re-creation, listening, and improvisation. Qualitative content analysis of data revealed four major findings. We learned that treatment is, in fact, seen as useful by these particular women and that Yalom’s theory provides a meaningful framework for identifying, understanding, and fostering mechanisms within the group music …

Resistances In Group Music Therapy With Women And Men With Substance Use Disorders, Susan Gardstrom, James Hiller

Department of Music Faculty Publications

In this paper, we explore client resistances in group music therapy with women and men in residential treatment for substance use disorders (SUDs). We describe how we have encountered resident resistances on women's and men's units within a gender-specific treatment facility and offer suggestions for pre-empting and addressing such resistances, offering both nonmusical and musical strategies and techniques. We emphasize a person-centered approach and an experience orientation, in which we view our primary responsibility as providing opportunities for the men and women to engage meaningfully with music, self, therapists, and other residents in order to identify problems and explore alternatives …

The Versatile Singer: A Guide To Vibrato & Straight Tone, Danya Katok

Dissertations, Theses, and Capstone Projects

Straight tone is a valuable tool that can be used by singers of any style to both improve technical ideals, such as resonance and focus, and provide a starting point for transforming the voice to meet the stylistic demands of any genre. By employing a resonant, minimally vibrated, balanced sound as the core of the voice, the versatile singer can stylistically unbalance the voice by layering colors and effects in ways appropriate for many types of singing. In order to fully understand the inner workings of vibrato and how it can be healthily minimized, my discussion of vibrato and straight …

"Clavichord For Beginners" By Joan Benson, Bernard Brauchli

Performance Practice Review

Bernard Brauchli reviews and discusses Joan Benson's 2014 work.

Benson, Joan. Clavichord for Beginners. Bloomington: Indiana University Press, 2014.

ISBN: 978-0253011589

A Comparative History And The Importance Of Chamber Music, Aaron M. Sacks

Capstone Projects and Master's Theses

This capstone presentation focuses on the role of chamber music in both social and academic contexts. Using examples from the past five centuries and including local examples, parallels and divergences are drawn to points of most import. The spotlight is upon three areas: a) what the role of chamber music was in the past, compared to today; b) why it is an important genre, to both musicians, as well as non-musicians, and c) in what ways more exposure to the form can be built. Much of the focus is on composers and their influence, but the impact of and upon …

Finding Jean-Blaise Martin: An Italianate Approach For A Modernized Baryton-Martin Fach, Aaron D. Agulay

Dissertations, 2014-2019

The voice type or ‘fach’ baryton-Martin was named for Nicolas Jean-Blaise Martin (1768–1837), a French baritone celebrated for his agile voice, brilliant timbre, and extensive range. Historical accounts described his voice as having the depth of a bass-baritone with a tenorial upper range. Unfortunately, with the departure of Martin and the evolution of voice types during the bel canto era, this particular voice category fell out of favor. However, there is a voice type that successfully evolved and survived the bel canto era: the modern lyric tenor. The manner in which we have grown accustomed to hearing singers of this …

The Origins And Development Of The Euphonium Concerto With Brass Band, Joel M. Collier

Dissertations, 2014-2019

Since shortly after its invention, the euphonium has been utilized as a solo instrument, both in chamber music settings with piano, and with large ensembles such as brass bands and wind bands. However, it was not until the composition of Joseph Horovitz’s Euphonium Concerto in 1972 that the euphonium was genuinely regarded as a serious solo instrument in the brass band, capable of performing large-scale, substantial works.

In the following two decades, several composers wrote concerti for euphonium and brass band, each building on the technical demands of their predecessors. Their contributions established the basis of the genre, and also …

The Creation Of A Skills-Based Grading System For Solo Trumpet Repertoire, Charles R. Ahlhorn

Dissertations, 2014-2019

This research organizes a sample of solo trumpet literature, selected from state music educators associations’ repertoire lists, into a bi-level, skills-based grading system. At the first level of classification, each work is assigned an overall difficulty rating of 1, 2, or 3, with the latter being the most demanding category. The second level of classification evaluates the requirements of each work in six particular skill areas: range, rhythm and meter, articulation, flexibility, endurance, and phrasing. The rating scale for these parameters ascends from 1 to 5, where 1 represents beginner-level skills and 5 connotes virtuoso-caliber challenges.

The goal of this …

Cello Technique: A Result Of Cello Construction And Its Effect On Virtuosic Playing In The Works Of Dvořák And Pärt, Mineo P. Yasutake Mr.

Music: Student Scholarship & Creative Works

No abstract provided.

A Study Of The Improvisational Style Of Theodore "Fats" Navarro, 1949–1950, Russell C. Zimmer

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

This study analyzes improvisatory techniques of Theodore “Fats” Navarro (1923-1950). Live improvised solos of the trumpeter from 1949-1950 were examined to better understand the improvisational style through the analysis of transcribed solos. Chapter one gives a brief overview of Navarro’s brief professional career and why he was chosen as the subject of this study. Chapter two sets out the methodology for this study and reviews related literature to the study of Fats Navarro. Chapter three provides a brief background of each performance from which the transcriptions were selected. Chapter four identifies those aspects of his improvisation that occur often harmonically, …

2015-2016 Master Class And Mini-Recital - Nestor Torres (Flute), Nestor Torres, Sheng Yuan Kuan, Anastasia Tonina, Alla Sorokoleova, Yvonne Lee, Karolina Kukolova, Alberto Zilbertstein, Axel Rojas, August Berger, Juanmanuel Lopez

Master Classes

No abstract provided.

2015-2016 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Sheng Yuan Kuan, Carina Inoue, Natalia Hidalgo, Yvonne Lee, Karolina Kukolova, Herongjia Han, Leonardo Pineda

Master Classes

No abstract provided.

2015-2016 Master Class - Nadine Asin (Flute), Nadin Asin, Alla Sorokoleova, Anastasia Tonina, Jared Harrison, Scott Kemsley

Master Classes

No abstract provided.

2015-2016 Master Class And Mini-Recital - Benjamin Warsaw (Piano), Benjamin Warsaw, Chen Liang, Sohyun Park, Erin David

Master Classes

No abstract provided.

2015-2016 Master Class - Penderecki String Quartet, Penderecki String Quartet, Jeremy Bell, Katie Schlaikjer, Jerzy Kapłanek, Christine Vlajk, Yalyen Savignon, Roberto Henriquez, Clarissa Viera, Evan Musgrave, Hikari Nakamura, Tinca Belinski, Axel Rojas, Alfonso Hernandez, Camille Ripple

Master Classes

The Penderecki String Quartet Performance (February 27, 2016) - Program

2015-2016 Master Class - Penderecki String Quartet, Penderecki String Quartet, Jeremy Bell, Katie Schlaikjer, Jerzy Kapłanek, Christine Vlajk, Katherine Baloff, Natalia Hidalgo, Hao Chang, Elizabeth Lee, Yvonne Lee, Sheng Yuan Kuan

Master Classes

The Penderecki String Quartet Performance (February 27, 2016) - Program

2015-2016 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Julia Jakkel, Sheng Yuan Kuan, Xiaonan Huang, Erin David, Sohyun Park, Tinca Belinski, Marija Trajkovska

Master Classes

No abstract provided.

The Gĩkũyũ Mũtũrĩrũ: Preserving A Piece Of Kenya's Agrarian Past Through Flute Music, Jennifer Larue

Masters Theses

The Agĩkũyũ people of Kenya are one of the largest people groups in Kenya. However, systematic repression of Gĩkũyũ culture led to many traditional elements being forgotten, put aside, if not lost completely. The mũtũrĩrũ, a bark flute used when herding and in certain ritual dances, was one such element. The mũtũrĩrũ was initially a temporary instrument, which evolved into more permanent bamboo versions. These may have between two and six finger holes. Another version, called a "spider web mũtũrĩrũ" has no finger holes but has a paper membrane over one end to create a buzzing timbre effect. Research was …

2015-2016 Master Class - Margarita Shevchenko (Piano), Margarita Shevchenko, Chen Liang, Hikari Nakamura, Axel Rojas, Carina Inoue, Yu Lu

Master Classes

No abstract provided.

2015-2016 Master Class - Agustin Anievas (Piano), Agustin Anievas, Alfonso Hernandez, Matthew Calderon, Jiaxian Li, Olga Kim, Chance Israel

Master Classes

No abstract provided.

Music For Brass Quintet With Orchestral Accompaniment: Commissioned Works, The Annapolis Brass Quintet, And A Survey Of Literature For Brass Quintet And Orchestra, Stacy L. Simpson

Theses and Dissertations--Music

Today’s leading brass chamber ensemble is the brass quintet, whose inception was relatively late compared to the string quartet or woodwind quintet. The first modern brass quintet formed in the 1950s, while the first string quartet can be traced to the 17th century. Compositions for woodwind quintet were written as early as 1811 during the Classical Period.

The New York Brass Quintet, American Brass Quintet, and Annapolis Brass Quintet commissioned a large portion of the currently existing brass quintet literature. The literature grew exponentially as the brass quintet became popular in the 1960s. Also during this time, a new genre …