Music Pedagogy Commons^™

Notes From The Editor, Bruce Gleason

Research & Issues in Music Education

I’m having difficulty believing that I’m writing notes for the tenth anniversary issue of Research and Issues in Music Education.  What began as an experiment a dozen plus years ago seems to have caught on, and I’m grateful for our editorial board, web managers, contributors and to our readership—all of whom have made this possible. It’s been quite a decade and I’m looking forward to seeing where the next one takes us.

A Sonata-Theory Analysis Of Mozart's Piano Sonata In B-Flat, K. 333, I. Allegro, David Castro

Journal of Music Theory Pedagogy

No abstract provided.

Investigating Young Children's Music-Making Behavior: A Developmental Theory, Paul G. Morehouse

CGU Theses & Dissertations

We have many developmental theories contributing to our understanding of children as they meander steadfastly toward maturation. Yet, none have reported on how young children interpret the qualitative meaning and importance of their own music-making experiences. Music created by average, not prodigious, young children is perceived by adults as “play” music rather than “real” music. But do young children take the same view as adults? When Piaget speaks of the young child’s qualitatively unique view and experience of the world (Ginsberg & Opper, 1988), can we assume that his statement encompasses young children’s predispositions related to music-making?

Music is understood …

Undergraduate Music Therapy Students’ Experiences As Clients In Short-Term Group Music Therapy, Nancy A. Jackson, Susan Gardstrom

Department of Music Faculty Publications

This report highlights a collaborative, phenomenological study undertaken by two faculty researchers from different undergraduate music therapy training programs in the Midwest. A total of nine junior and senior music therapy students from both programs (five from one, four from the other) were involved in short-term group music therapy, participating in three two-hour sessions during the course of an academic semester. Sessions were facilitated by the researchers, both of whom were board-certified music therapists.

To ensure ethical treatment, each researcher led sessions with the students from the other university, with whom they had no dual relationships. Student participants were involved …

Music Therapy Within The Context Of Psychotherapeutic Models, Mary Scovel, Susan Gardstrom

Department of Music Faculty Publications

Music therapy clinical practice occurs at various levels. Wheeler (1983) has classified the treatment of adults with mental disorders into three types: music therapy as an activity therapy; insight music therapy with re-educative goals; and insight music therapy with reconstructive goals.

Activity-based therapy is aimed at helping the client reach observable, measurable goals through various forms of music experiences. In contrast, the two remaining levels focus on facilitation of change through personal insight gained via musical experiences and verbalization about those experiences. Insight-based music therapy processes are ordinarily more intense and prolonged, in that deep emotions are evoked, and in …

The Effect Of Pre-­Meal, Vocal Re-Creative Music Therapy On Nutritional Intake Of Residents With Alzheimer’S Disease And Related Dementias: A Pilot Study, Larisa Mchugh, Susan Gardstrom, James Hiller, Megan Brewer, Wiebke S. Diestelkamp

Department of Music Faculty Publications

Singing has long been credited with a wide variety of physical, mental, and social health benefits (Hunter, 1999). Recent scientific inquiry points to the efficacy of singing toward enhanced cardiovascular and pulmonary performance (Bonilha, Onofre, Vieira, Prado, & Martinex, 2009), verbal communication (Wan, Ruber, Hohmann, & Schlaug, 2010), and immune functioning and attendant affective states (Kreutz, Bongard, Rohrmann, Hodapp, & Grebe, 2004; Kuhn, 2002; Unwin, Kenny, & Davis, 2002).

Among older adults, singing has been linked with improved mood, better quality of life, greater happiness, stress reduction, and emotional well-being (Clift et al., 2010).

In our own work, we have …

Volume 26, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.

Faure's "Nocturne," Op. 43, No. 2, Jena Root

Journal of Music Theory Pedagogy

This analysis assignment includes a blank score for the piece, and includes an English translation of the French text, an annotated score, with suggested analysis answers, a study guide that contains questions that may be given as a homework assignment and/or used for class discussion of the work, and answers to the study guide and points for further class discussion.

Expression In Technical Exercises For The Cello: An Artistic Approach To Teaching And Learning The Caprices Of Piatti And Etudes Of Popper, Leah Hagel

Theses and Dissertations--Music

The Caprices of Piatti and Etudes of Popper are considered by most cellists to be fundamental components of the cello literature designed to provide a solid technical basis for the student. This document will provide an alternative approach to teaching and learning these works by focusing on the qualities of expression that can be developed during the process of integrating these studies into one's repertoire. After providing contextual information for the both composers and the works, I will examine how this concept of "artistry through technique" has been adopted by other art forms, used in training students on different instruments, …

A Survey Of Beginning Band Programs In New York State, Emily E. Stuart

Open Access Theses & Dissertations

The purpose of this study is to describe and define beginning band instructional practices in the state of New York. In order to investigate the practices of music educators' beginning band programs, a survey of band directors of first year students was constructed. Band directors of three hundred different school districts from across the state were emailed with an invitation to participate in an online survey. Questions were asked on topics such as summer music instruction, pullout instruction, the schedule of beginning band rehearsals, grade level of beginners, month of first public performance with beginners, and method books used.

A …

2011-2012 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Wynton Grant, Tao Lin, Aziza Musaeva, Dan Yi, Olesya Rusina, Stephen Seto, Delcho Tenev, Maria Lyapkova, Marina Lenau, Zhou Jiang

Master Classes

No abstract provided.

The Role Of Metrical Structure In Tonal Knowledge Acquisition, Matthew Rosenthal

UNLV Theses, Dissertations, Professional Papers, and Capstones

Experienced listeners possess a working knowledge of pitch structure in Western music, such as scale, key, harmony, and tonality, which develops gradually throughout childhood. It is commonly assumed that tonal representations are acquired through exposure to the statistics of music, but few studies have investigated potential learning mechanisms directly. In Western tonal music, tonally stable pitches not only have a higher overall frequency of occurrence, but they may occur more frequently at strong than weak metrical positions, providing two potential avenues for tonal learning. Two experiments employed an artificial grammar learning paradigm to examine tonal learning mechanisms. During a familiarization …

2011-2012 Master Class - Paul Posnak (Collaborative Piano), Paul Posnak, Zhou Jiang, Yiqing Song, Dan Yi, Teng Kuan Wang, Kelley Barnett, Agnieszka Sornek, Evgenia Zharzhavskaya, Doniyor Zuparov

Master Classes

No abstract provided.

2011-2012 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Svetlana Kosakovskaya, Tao Lin, Kelsey Lin, Silvia Suarez, Olesya Rusina, Stephen Seto, Zhen Yang Yu, Misaki Saito

Master Classes

No abstract provided.

2011-2012 Master Class - David Krauss (Trumpet), David Krauss

Master Classes

No abstract provided.

2011-2012 Master Class - Members Of The "President's Own" United States Marine Band (Chamber Music), The President's Own United States Marine Band, Brian C. Turnmire, Amy V. Mccabe, Douglas F. Quinzi, Preston H. Hardage, Thomas D. Holtz

Master Classes

No abstract provided.

2011-2012 Master Class - Cyrus Forough (Violin), Cyrus Forough, Aziza Musaeva, Stephen Seto, Takuya Yamamoto, Tao Lin, Svetlana Kosakovskaya, Evgenia Zharzhavskaya, Marina Lenau

Master Classes

Cyrus Forough in Recital (October 13, 2011) - Program

Designing An Effective Music Teacher Evaluation System (Part Two), Amy Clements-Cortés

Music Faculty Publications

Danielson & McGreal (2000) state that an effective teacher evaluation system must contain three elements: a) a coherent definition of the domain of teaching - "What," h) techniques for assessing all aspects of teaching-"How," and c) trained evaluators who can make consistent judgments about performance - "Who." In part one (which appeared in the previous issue of this journal) I examined some of the issues associated with these three areas. In part two below I designed a potential music teacher evaluation system that contains these elements for the school system in Ontario, Canada. On the whole, the proposed system is …

Designing An Effective Music Teacher Evaluation System (Part One), Amy Clements-Cortés

Music Faculty Publications

Danielson & McGreal (2000) state that an effective teacher evaluation system must contain three elements: ai) a coherent definition of the domain of teaching - "What," b2¡ techniques for assessing all aspects of teaching -"How," and c3) trained evaliiators who can make consistent judgments about performance - "Who." In part one I have examined some of the issues associated with these three areas and in part two which will appear in the next journal 1 designed present a potential music teacher evaluation system that contains these elements for the school system in Ontario, Canada. On the whole, the proposed system …

Introducing The Learning Portfolio Into Music Theory Core Pedagogy, Anna Ferenc

Music Faculty Publications

Undergraduate music programs at North American institutions of higher learning typically require music majors to complete successfully a core grouping of theory courses in order to fulfill degree requirements. These courses are considered foundational not only for further study of music theory, but for all areas of music specialization because they provide students with basic analytical and musicianship skills necessary to understand musical organization in the western tradition. Although specific curricular content may vary from one institution to another, the theory core usually includes the study of diatonic and chromatic harmony, form and analysis, aural skills and possibly instruction in …

The Life And Selected Piano Works Of David Burge, Mary Chung

Dissertations

Although David Burge is recognized as one of the most important American pianists dedicated to contemporary music in the twentieth century, little is known about his contributions as a pedagogue, lecturer, writer, novelist, and, especially, as a composer. This biographical study focuses on three of his piano compositions: Second Sonata, Eclipse II, and Go-Hyang. Each work represents one of three distinct compositional periods: the first reflects the influence of Prokofiev and features characteristics of the neoclassicism; the second marks a turn to experimentalism, atonality, and serialism; and the final indicates the return to a more traditional style that makes use …

Healthy Performance Practice For Male Barbershop Singers, Jacob K. Bartlett

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

Barbershop singing is a hobby enjoyed by hundreds of thousands of men and women across the world. We attend conventions, shows, competitions, and educational outreach programs each year at our own expense to preserve a style we truly love.

Most singers of the style are amateur musicians. This constitutes somewhat of a challenge when we consider the need for healthy singing in light of certain assumptions about the vocal technique required of the barbershop style. Most do their best to make a healthy sound but end up doing more harm than good to their own voices after a lengthy rehearsal. …

2010-2011 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Vasile Sult, Evgenia Zharzhavskaya, Zhen Yang Yu, Svetlana Kosakovskaya, Miranda Scoma, Daniel Furtado, Tao Lin

Master Classes

No abstract provided.

2010-2011 Master Class - Gregory Miller And Hector Rodriguez (French Horn), Gregory Miller, Hector Rodriguez

Master Classes

No abstract provided.

2010-2011 Master Class - Hyun-Soo Lee (Piano), Hyun-Soo Lee, Anastasiya Timofeeva, Darren Matias, Kelley Barnett, Yiqing Song, Suvida Neramit-Aram

Master Classes

No abstract provided.

2010-2011 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Tao Lin, Vasile Sult, Zhen Yang Yu, Adam Diderrich, Evgenia Zharzhavskaya, Kelsey Lin

Master Classes

No abstract provided.

2010-2011 Master Class - Gary Graffman (Piano), Gary Graffman, Natasa Stojanovska, Darren Matias, Seba Ali, Chien-I Yang, Anastasiya Timofeeva, Jayanat Wisaijorn, Valeriya Polunina, Marina Lyaplova

Master Classes

Celebrating Music for the Left-Hand Alone: Gary Graffman (January 15, 2011) - Program

2010-2011 Master Class - Marc Reese And Ken Amis (Brass), Marc Reese, Kenneth Amis, Peter Pirotte, Jeffrey Karlson, Raul Rodriguez, Alex Nisbet, Julio Cruz

Master Classes

No abstract provided.

2010-2011 Master Class - Jonathan Plowright (Piano), Claire Chiu, Anastasiya Timofeeva, Darren Matias, Maryna Yermolenko, Zhou Jiang, Stephen Seto

Master Classes

No abstract provided.

Notes From The Editor, Bruce Gleason

Research & Issues in Music Education

As the editorial board presents the ninth issue of Research and Issues in Music Education, I’m reminded that teaching and learning have been going on for a very long time, and that there are all kinds of ways to undertake these tasks with new ways of teaching being constantly developed—but that the musical functions with which Merriam challenged us remain as true now as they did when he published them in 1964. An examination of the variety of this issue’s topics indicates that student, teacher, composer, conductor, professor and audience member all have much at stake as we continue …