Music Pedagogy Commons^™

2016-2017 Master Class And Mini-Recital - Michael Lewin (Piano), Michael Lewin, Yu Lu, Chance Israel

Master Classes

No abstract provided.

2016-2017 Master Class And Mini-Recital - Michael Lewin (Piano), Michael Lewin

Master Classes

No abstract provided.

About This Issue, Michael E. Ruhling

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.

Does College Prepare The Worship Pastor, James Cooper

Masters Theses

This study shows the relevance that musical skills, theological knowledge and ministerial experience provide in the encompassed ministry of a worship pastor and focuses on how colleges and universities prepare these ministers for a life called to service of the King. The literature reviewed showed an overwhelming response to the worship pastor being qualified in three areas: Musical Ability - there are certain aspects of this ministry that require the worship leader to be able to handle various musical situations. While these ministers need not be piano prodigies, it does require them to be able to lead musicians effectively and …

2016-2017 Master Class And Mini-Recital - Gilad Karni (Viola), Gilad Karni, Jovani Williams, Kaitlin Springer, Kayla Williams, Greg Perrin

Master Classes

No abstract provided.

2016-2017 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Sheng Yuan Kuan, Feruza Dadabaeva, Mario Zelaya, Katherine Baloff, Georgiy Kohkhlov, Sergio Carleo, David Brill, Sing Hong Lee

Master Classes

No abstract provided.

Solo Performance: An Extension Of Vocal Pedagogy, Monica J. Harte

Dissertations, Theses, and Capstone Projects

In this study, I examine the significance of the solo performance opportunity in vocal pedagogy at the tertiary level. In order to discover tangible correlations between solo performing and applied lessons, I designed and implemented a case study that focused on fourteen subjects rehearsing, performing, and recording roles in the children’s opera, Mambo. The findings stem from my theoretical analysis of substantive data collected through forty-one interviews and three months of observations. The data collected disclosed that whether the participants advanced within a particular performance practice (such as presentation), or developed a specific vocal technique (such as coloratura), Mambo …

2016-2017 Master Class - Andrés Cárdenes And Ilya Kaler (Violin), Andres Cardenes, Ilya Kaler, Yasa Poletaeva, Darren Matias, Junheng Chen, Yue Yang, Sheng Yuan Kuan, Shanshan Wei

Master Classes

No abstract provided.

2017-2018 Beethoven Lecture With Yael Weiss, Yael Weiss

Master Classes

• January 14, 2017 - Beethoven Recital with Yael Weiss
• January 15, 2017 at 10:00 AM - Beethoven Master Class with Yael Weiss
• January 15, 2017 at 1:00 PM - Beethoven Lecture with Yael Weiss

2016-2017 Master Class - Yael Weiss (Piano), Yael Weiss, Soojung Kwon, Axel Rojas, Jiaxian Li, Bailey Michelle Collins, Sheng Yuan Kuan, Sergei Skobin

Master Classes

• January 14, 2017 - Beethoven Recital with Yael Weiss
• January 15, 2017 at 10:00 AM - Beethoven Master Class with Yael Weiss
• January 15, 2017 at 1:00 PM - Beethoven Lecture with Yael Weiss

2016-2017 Master Class - Daniel Shapiro (Piano), Daniel Shapiro, Hikari Nakamura, Ying Peng Wang, Xiaoxiao Wang, Tinca Belinski, Axel Rojas, Alfonso Hernandez

Master Classes

No abstract provided.

Interpreting Classical Music According To Schleiermacher And Gadamer, Isabella Torres

Georgia Undergraduate Research Conference

Anyone who plays an instrument can tell you that reading classical music can often feel as complicated as struggling through a dense philosophical reading. Trying to play a classical piece with the correct attitude, tempo, and dynamics can be difficult let alone paying attention to crescendos, trills, and other notations in the piece. It is especially frustrating when you think you have performed a piece as it should be played only to have someone point out that the performance was not good enough since you did not play it with the right “attitude” or lacked the correct “touch”. In their …

The Comparison Of Novice And Master Instrumental Music Educators’ Use Of Figurative Language And Their Attitudes Concerning It As A Tool For Effective Teaching, Matthew H. Spieker

Research & Issues in Music Education

The purpose of this study was to compare the use of figurative language between master and novice instrumental music teachers and to investigate their attitudes toward figurative language as a teaching tool. Figurative language is defined as any creative verbal instruction intended to teach a concept. Sixteen (N = 16) secondary school, instrumental directors were selected as participants. These were divided into two groups of novice and master teachers. Novice teachers were student teachers or first-year teachers, and master teachers had a minimum of eight years of experience, were selected as master teachers by professors at state universities and …

Notes From The Editor, Bruce Gleason

Research & Issues in Music Education

Welcome to the 2016-2017 issue of Research and Issues in Music Education (RIME). In this issue, Wendy Matthews of Wayne State University and Karen Koner of California State University, Stanislaus report on professional attributes and job satisfaction of music educators; Jonathan Bolduc and Melanie Évrard of Université Laval examine music teaching practices at the early childhood level; Elizabeth Bucura of Eastman School of Music and JulieAnn Weissberg of the Kyrene School District in Tempe, Arizona investigate elementary students’ creating processes and perspectives through composition; Matthew Spieker of Ball State University investigates instrumental music educators’ use of figurative language; and Phillip …

A Survey Of Elementary And Secondary Music Educators’ Professional Background, Teaching Responsibilities And Job Satisfaction In The United States, Wendy K. Matthews, Karen Koner

Research & Issues in Music Education

The focus of this exploratory study was to examine the current trends of K – 12 music educators in the United States regarding their (a) professional background, (b) classroom teaching responsibilities, and (c) job satisfaction. Participants included seven thousand four hundred and sixty-three (N = 7,463) currently employed music teachers who were members of the National Association for Music Education (NAfME) during the 2015 – 2016 academic year. To assess the variables, participants responded to a researcher created 49-item Music Educator Survey for K – 12 Teachers. Results indicate that overall, K – 12 music educators were predominately Caucasian …

Music Education From Birth To Five: An Examination Of Early Childhood Educators’ Music Teaching Practices, Jonathan Bolduc, Melanie Evrard

Research & Issues in Music Education

Children from birth to five are generally enthusiastic about music. However, because many early-childhood educators (ECEs) feel that they have insufficient knowledge to foster musical development, music education practices are not equivalent across ECEs. This study aimed to identify and determine the frequency of music activities used by ECEs. In all, 108 French Canadian ECEs (N = 108 women) from mixed areas (urban and rural) participated in the study. All participants completed an online questionnaire addressing their music education practices. The data analysis considered three profiles: 1) ECEs with little musical knowledge, 2) ECEs with good musical knowledge, and …

Predictive Ability From Eportfolios Of Student Achievement Associated With Professional Teaching Standards: An Exploratory Case Study, Phillip Payne, Frederick Burrack

Research & Issues in Music Education

This exploratory case study, focused on a music teacher preparation program, examined the coursework ePortfolios of pre-service music teachers to determine if any parts of the ePortfolio process predicted teaching effectiveness in the classroom during the student teaching semester. Sixty-five undergraduate pre-service music teachers made up the sample of the study. Data collected for each student consisted of coursework ePortfolios, summative student teaching assessments from both elementary and secondary placements, and selected licensure-related requirements as mandated by the state board of education. Multiple regression analyses revealed significant relationships between ePortfolio performance and student teaching assessments. Specifically, student teacher reflections (as …

Children’S Musical Empowerment In Two Composition Task Designs, Elizabeth Bucura, Julieanne Weissberg

Research & Issues in Music Education

The purpose of this study was to investigate elementary students’ creating processes and perspectives through composition. Two fourth-grade classes took part in this action research, which consisted of creating four compositions—two with acoustic instruments and two with computer software. For each of the two sound sources, the first composition was written with specified constraints and the second with freedom. Research questions included: 1) how do students respond to composition tasks with differing levels of freedom and constraint; and 2) how does composing in different group sizes impact composition? Data included field notes, recordings, student interviews, and response forms. Major themes …

Philosophy Of Music Education, Mary Elizabeth Barba

Honors Theses and Capstones

A philosophy of music education refers to the value of music, the value of teaching music, and how to practically utilize those values in the music classroom. This thesis explores the philosophies of Emile Jacques-Dalcroze, Carl Orff, Zoltan Kodaly, Bennett Reimer, and David Elliott, and suggests practical applications or their philosophies in the orchestral classroom, especially in the context of ear training and improvisation. From these philosophies, the author develops their own personal philosophy of music education, most broadly defined by the claim that music is key to experiencing and understanding feelingful experiences.

Volume 31, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.

Anders Åstrand: A Paragon Of The Modern Musical Aesthetic, Matthew Geiger

Theses and Dissertations--Music

Swedish musician Anders Åstrand sustains a career as a performing soloist and chamber musician, composer for small and large chamber ensembles, and improviser in a vast variety of styles. His career represents the future within the musical world as it shifts from the orchestras and concert halls to a society more interested social media outlets such as YouTube and Facebook Live. His compositions integrate elements of improvisation in concept and execution.

The primary aim of this study examines the life and career of Anders Åstrand and the correlation of those influences with his compositional aesthetic. The secondary objective connects the …

Harvest Festival By Yann-Jong Hwang: A Piano Duet Inspired By Taiwanese Folk Tunes, Wei-Sian Chen

Theses and Dissertations--Music

The purpose of this study is to provide an introduction and analysis of Harvest Festival, a work for piano four hands by Taiwanese composer Yann-Jong Hwang. This work incorporates elements of traditional Taiwanese music that is largely unfamiliar to performers and listeners beyond the border of Taiwan.

With the exception of Professor Hwang’s own journal article on this piece, this project is the only study of Harvest Festival available in the United States or Taiwan. This research will be meaningful to both performers and piano teachers as an encouragement to include Yann-Jong Hwang’s work within their concert repertory.

This …

Duende: Four Preludes For Symphonic Wind Ensemble By Luis Serrano Alarcón: Conductor’S Guide, Spanish Historical Background And Influence, Kenneth Javier Iyescas

Theses and Dissertations--Music

Luis Serrano Alarcón is one of the most important and relevant composers of our time. He is sought after as a composer, lecturer, and conductor throughout the world. His works have been performed in over 30 countries worldwide by some of the leading musical ensembles in the United States, Europe, and Asia, as well as being highly decorated by winning many prestigious composition contests including the International Band Competition Contest of Corciano, Italy.

Born in Valencia, Spain, Alarcón is relatively self-taught in composition, which is a testament to his natural-born gift for composition. His compositional output ranges from the traditional …

Redefining The Performance Degree Curriculum For The Crossover Saxophonist, Ian M. Cruz

Theses and Dissertations--Music

Many collegiate saxophone performance degree programs are overwhelmingly classical, adopting from other performance programs in the Western music tradition. However, there is a growing number of saxophone compositions that are “crossover” in nature. Crossover is a term used to describe the fusion of popular music styles in a classical setting. There is also evidence that collegiate music education as a whole is moving towards a more diverse curriculum, which emphasizes ethnomusicology. Due to this trend in composition and education, it is becoming increasingly important that saxophonists have the training of both classical and jazz disciplines.

The problem is that while …

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 …

Experience In Action: Incorporating Somatic Education Into The General Music Classroom, Amy N. Melton

Theses and Dissertations

This thesis seeks to introduce principles of somatic education to children grades kindergarten through grade five in order to prevent future music-related injury and to promote free, wholebody movement. To do so, the principals of somatic education, specifically those of the Alexander Technique and Body Mapping, were combined with the current general music pedagogies by altering pre-existing lesson plans. Alterations include a variety of methods of integration, including, but not limited to: teaching about and exploring the different parts of the body, understanding the relationships between seemingly unrelated body parts, and engaging in student-led constructive rest in the semi-supine position. …

Teaching Tuba Students To Be Complete Musicians, Brandon E. Cummings

Williams Honors College, Honors Research Projects

The goal of music educators is to develop complete musicians who successfully learn and perform all musical concepts. One of the limitations of the band classroom is that performers are required to play a part that is specifically written with the needs of the ensemble in mind, and not the needs of the developing musician. These limitations can be seen in the bass instruments of a band which typically play the harmony or bass-line. While the bass-line and harmony are integral portions of the music, they do not often progress as far as other instrumental parts with respect to the …

Multi-Cultural Piano Duet Repertoire Collection, Casey Rickles

Summer Community of Scholars Posters (RCEU and HCR Combined Programs)

No abstract provided.

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 …