Music Pedagogy Commons^™

Introduction And Acknowledgements, Pamela Dennis

The Etude Magazine: 1883-1957

No abstract provided.

Utilizing Mental Practice To Combat Performance Anxiety In Performing Musicians, Stephanie M. Quist

Undergraduate Theses, Professional Papers, and Capstone Artifacts

Performance anxiety is a crippling problem for many performing musicians. Success in dealing with such a problem can make or break a performance; therefore, it becomes necessary for musicians to learn ways to cope with debilitating nerves. As a performing pianist myself, I am interested in investigating ways current performance anxiety research can be best applied to ease musicians’ stage fright. As there is a gap between current academic research on this subject and pedagogical practice, many teachers lack good advice to give students suffering stage fright. My thesis paper incorporates my personal experiences in mental practice with current academic …

An Exploration Of The French And American Schools Of Classical Saxophone, Sarah E. Miracle

Williams Honors College, Honors Research Projects

This project is an exploration of the relatively short history of the classical saxophone genre. It will focus mainly on the styles created by Marcel Mule, the second professor of saxophone at the Paris Conservatory, and Larry Teal, the first full-time professor of saxophone in America. Mule and Teal’s contrasting ideas of playing and teaching created distinct French and American schools of classical saxophone playing. This project explores the similarities and differences between these two schools of thought, and places them each in historical and cultural contexts. In addition, it traces the subsequent lineage of prominent saxophone performers and pedagogues, …

Understanding And Implementing Extended Saxophone Techniques, Tyler R. Bokman

Williams Honors College, Honors Research Projects

Contemporary classical music often pushes the boundaries of how instruments should be played and what kinds of sounds they should produce. A great deal of contemporary music requires the player to utilize playing techniques that may seem very strange and difficult to those who are unfamiliar with them. These unusual practices, known as extended techniques, can include playing in extreme ranges, manipulating pitches in particular ways, and applying abnormal articulations. While once seen as a sort of novelty, these extended techniques are becoming increasingly essential to the contemporary musician. This is especially true of the saxophonist.

While nearly every other …

Self-Accompaniment And Improvisation In Solo Jazz Piano: Practice-Led Investigations Of Assimilation, Ostinatos And ‘Hand Splitting’, David Dower

Theses: Doctorates and Masters

This practice-led project investigates the crafting of approaches to solo jazz piano performance. Through a study and application of assimilation techniques derived from a range of different music styles, a series of self-accompaniments were devised. In addition, the process of developing improvisational facility over these accompaniment patterns was documented.

Although performing solo requires a different approach to ensemble work, jazz pianists are commonly only trained in ensemble practices, rendering the solo setting a potentially overwhelming challenge. In order to move away from ensemble-based methods, the project sought to develop pianistic techniques and exercises that provide an independent approach in solo …

The Variety Show: Why Classical String Musicians Are Exploring A Multistyle Approach To Teaching, Kelly C. Wiedemann

Masters Theses, 2010-2019

The Variety Show: Why Classical String Musicians are

Exploring a Multistyle Approach to Music

Kelly C. Wiedemann

This case study examines the experiences of five classically trained string teachers who now include alternative styles in their teaching. The research questions are: (1) What factors inspire a classically trained string educator to begin teaching alternative styles to their students? (2) Why is it important to keep classical music in string pedagogy? (3) How have these teachers, their peers, students, and community reacted to multistylism? The interviews revealed four major points of motivation: Opportunities for developing creativity and finding a personal voice …

2014-2015 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Sheng Yuan Kuan, Cassidy Moore, Julia Jakkel, Erin David, Xiaonan Huang, Junheng Chen

Master Classes

No abstract provided.

2014-2015 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Sheng Yuan Kuan, Mozhu Yan, Yordan Tenev, Jennifer Lee, Delcho Teven, Franz Felkl

Master Classes

No abstract provided.

2014-2015 Master Class - Uriel Tsachor (Piano), Uriel Tsachor, Heqing Huang, Vladislav Kosminov, Jie Ren, Yasa Poletaeva, Darren Matias

Master Classes

No abstract provided.

2014-2015 Master Class - Rebecca Penneys (Piano), Rebecca Penneys, Aneliya Novikova, Tatiana Lokhina, Matthew Calderon, Ricardo Pozenatto, Hsin Hui Liu, Chen Liang, Olga Kim

Master Classes

No abstract provided.

2014-2015 Master Class - James Dunham (Viola), James Dunham, Sheng Yuan Kuan, Miguel Sonnak, Sean Colbert, Brenton Caldwell, Roberto Henriquez, Jesse Yukimura, Meghan Yost, Felicia Besan, Josiah Coe, Zefeng Fang, Hao Chang

Master Classes

No abstract provided.

The Application Of Contemporary Double Bass Left Hand Techniques Applied In The Orchestra Repertoire, Eric Hilgenstieler

Dissertations

The uses of contemporary left hand techniques are related to solo playing in many ways. In fact, most of these techniques were arguably developed for this kind of repertoire. Generally the original solo repertoire is idiomatic for the double bass. The same cannot be said for the orchestral repertoire, which presents many technical problems too difficult to solve using the traditional technique. Historically, the double bass passed through several transformations in its shape, structure, and tuning system. Only in the late 19th century did the instrument begin to have its own standard pedagogy and experiments with the tuning system diminished. …

2013-2014 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Sheng Yuan Kuan, Olesya Rusina, Yalyen Savignon, Wynton Grant, Alexander Nikolaev, Lilliana Marrero

Master Classes

No abstract provided.

Instruction Type: Effects On Pitch Accuracy In Female Collegiate Declared Voice Majors, Betty Damon

Doctoral Dissertations and Projects

In this quantitative study, the researcher examined differences in pitch accuracy scores of 59 female collegiate voice students (N = 59) at a large university in the mid-Atlantic United States to determine instruction type efficacy on pitch accuracy. In this double-blind, true-experimental posttest only control group design, the control group (n = 19) received traditional corrective verbal cues (TCVC) only. Treatment groups received either real-time visual feedback (RTVF) with traditional corrective verbal cues (n = 20), or performed audio feedback (PAF) with traditional corrective verbal cues (n = 20). Data were collected via a demographics survey, audio-recorded vocal response, and …

2013-2014 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Nora Lastre, Mozhu Yan, Carina Inoue, Xiaonan Huang, Junheng Chen, Jihong Park, Jennifer Lee, Ricardo Pozenatto

Master Classes

No abstract provided.

2013-2014 Master Class - Kenneth Thompkins (Trombone), Kenneth Thompkins, Jordan Robison, Mariana Cisneros, Derek Mitchell, Zongxi Li, Patricio Pinto, Josue Jimenez

Master Classes

No abstract provided.

About This Issue, Nancy November

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.

2013-2014 Master Class - Philip Fowke (Piano), Philip Fowke, Heqing Huang, Misaki Saito, Vladislav Kosminov, Jie Ren, Anastasiya Timofeeva, Anna Tsukervanik, Hsin Hui Liu, Giorgi Chkhikvadze

Master Classes

No abstract provided.

2013-2014 Master Class - Phillip Evans (Piano), Phillip Evans, Stephen Seto, John Hong, Jihong Park, Aneliya Novikova, Roberta Rust

Master Classes

No abstract provided.

About This Issue, Michael E. Ruhling

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.

Muop 356/856: Intermediate/Advanced Opera Techniques—A Peer Review Of Teaching Project Inquiry Portfolio, Jamie M. Reimer

UNL Faculty Course Portfolios

Intermediate/Advanced Opera Techniques is a two credit elective course offered each spring at the University of Nebraska-Lincoln. At its genesis, the course was primarily an opera scenes workshop, focused solely on the preparation and performance of an opera scene in a final concert. It is a cross-listed course meaning that students from the first year through advanced graduate study may enroll. Students may or may not have any experience on the music theater stage, nor have they had training in how to prepare a new role from casting to completed performance.

This course is an elective in the School of …

Folk/Traditional Music Of West Virginia Arranged For Classical Guitar Ensemble, Júlio Ribeiro Alves

Music Faculty Research

My motivation for writing this book grew from my desire to better understand the people and the music heritage of West Virginia and to share the findings of my experience, with the guitar community, in the form of guitar ensemble arrangements.

A Stylistic Analysis And Performance Guide For James Sclater's "Variations And Toccata On A Theme By Paganini", David Michael Ward

Dissertations

This document exists as a resource for understanding and performing the piano music of the American composer James Sclater. It focuses specifically on the Variations and Toccata on a Theme by Paganini (2002), his most important solo piano composition. Sclater’s extensive output includes works for orchestra, voice, opera, band, chorus, as well as compositions for soloists and chamber music.

After a brief biographical summary and some historical background for the subjects under discussion, the main portion of the study provides a stylistic analysis of Sclater’s Variations and Toccata on a Theme by Paganini, a significant and heretofore unexamined piano work …

2013-2014 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Sheng Yuan Kuan, Vijeta Sathyaraj, Anna Tsukervanik, Delcho Teven, Evgenia Zharzhavskaya, Carina Inoue, Alexander Nikolaev

Master Classes

No abstract provided.

2013-2014 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Sheng Yuan Kuan, Xiaonan Huang, Lilliana Marrero, Jennifer Lee, Kristen Seto

Master Classes

No abstract provided.

2013-2014 Master Class - Ilya Kaler (Violin), Ilya Kaler, Sheng Yuan Kuan, Mozhu Yan, Julia Jakkel, Anna Tsukervanik, Yordan Tenev

Master Classes

No abstract provided.

Performing Jonathan Newman's "Symphony No. 1: My Hands Are A City", Joseph Corey Francis

Dissertations

The purpose of this document is to provide analysis for interpretation of and rehearsal suggestions for Jonathan Newman’s Symphony No. 1: My Hands Are a City (2009). This document serves as the first significant scholarly work on the entire composition and is intended to be a resource for musicians seeking to gain information about the work. Included in the document is a biography of Jonathan Newman, as well as history concerning the commissioning of Symphony No. 1, a formal analysis of the work, and insight to conducting concerns. Information was gathered through formal interviews with Jonathan Newman, Jeff Gershman (Associate …

Developing Depth And Dimension: Instructional Tools And Practices To Facilitate And Encourage The Growth Of Young Jazz Musicians, Shauna E. Mcfaul

Lawrence University Honors Projects

Developing Depth and Dimension: A step-by-step, comprehensive introduction to the world of jazz for young musicians. This work begins with a philosophical discussion of the educational methods that are incorporated into the following games, lesson plans and writings. The project is directed toward students who have little to no experience playing jazz or improvising. It is meant to provide a foundation for continued success and development throughout their musical lives.

Sing Solo Pirate: Songs In The Key Of Arrr! A Literature Guide For The Singer And Vocal Pedagogue, Michael S. Tully

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

Pirates have always been mysterious figures. They came out of nowhere, attacked their victims, plundered their goods, and vanished. Reason tells us that pirates were no more than common criminals, but over the centuries, history has come to portray them as romantic and even heroic figures. This stereotype of piracy has long been a fascination of authors, poets, and composers, and it is evident in our cultural landscape.

This document examines an area of pirate literature that has been neglected, if ever discussed: the published pirate song for solo voice and piano accompaniment. Over the past two centuries many such …

2012-2013 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Delcho Teven, Eddie Martinez, Takuya Yamamoto, Marina Lenau, Yang Shen, Kristen Seto, Stephen Seto, Roman Yearian, Carina Inoue

Master Classes

No abstract provided.