Music Pedagogy Commons^™

A Comparative Analysis Of Roman Palester's Concertino Pour Saxophone Alto Et Orchestre A Cordes, Brian Donald Kauth

Dissertations

The music of Roman Palester (1907-1989) is little known outside his native Poland. Before World War II, he experienced a great deal of musical success, with many of his compositions being performed at prestigious music festivals throughout Europe. Palester completed his one solo work for the saxophone, the Concertino pour Saxophone Alto et Orchestre a Cordes, in 1938, but its scheduled premiere in 1939 never took place due to political tensions on the eve of World War II.

In 1978, Palester revised the work for saxophonist David Pituch, who premiered and recorded this version. A comparison of the original and …

The Olympic Singer: Integrating Pilates Training Into The Voice Studio, Veera Khare Asher

UNLV Theses, Dissertations, Professional Papers, and Capstones

The objectives of the document are to define potential synergies and benefits in the application of Pilates method physical training to versatile and high-level voice performance, and to develop an integrated vocal pedagogy-Pilates method to improve voice performance.

2008-2009 Master Class - Joseph Robinson (Oboe), Joseph Robinson, John Weisberg, Nick Thompson, Noah Redstone, Charles Swan, Veroslav Taskov

Master Classes

No abstract provided.

2008-2009 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Seul-A Lee, Joe Adkins, Adam Diderrich, Maryna Yermolenko, Vadim Kim, Joe Goering, Jayanat Wisaijorn

Master Classes

No abstract provided.

2008-2009 Master Class - Charles Vernon (Trombone), Charles Vernon

Master Classes

No abstract provided.

2008-2009 Master Class & Mini-Recital - Steven Campbell (Tuba), Steven Campbell

Master Classes

No abstract provided.

2008-2009 Master Class - Peter Wiley (Cello), Peter Wiley, Ilie Curteanu, Chien-I Yang, Adriana Lombardi, Dongfang Zhang, Aziz Sapaev, Yunyue Liu, Oksana Rusina, Tao Lin

Master Classes

No abstract provided.

2008-2009 Master Class - Arnold Steinhardt (Chamber Music), Arnold Steinhardt, Valeriya Polunina, Valentin Mansurov, Aziz Sapaev, Edgar Leite, Joe Adkins, David Pedraza, Adriana Lombardi, Ciprian Stancioi, Maryna Yermolenko, Vasile Sult, Ioana Luca, Oksana Rusina, Adam Diderrich, Gareth Johnson, Rebecca Diderrich, Jonah Kim

Master Classes

No abstract provided.

2008-2009 Master Class - Basil Vendryes (Viola), Basil Vendryes

Master Classes

No abstract provided.

2008-2009 Master Class - Victor Santiago Asunción (Piano), Victor Santiago Asunción, Dejan Daskalov, Chien-I Yang, Adriana Lombardi, Dongfang Zhang, Marina Stojanovska

Master Classes

No abstract provided.

2008-2009 Master Class - Jeffrey Biegel (Piano), Jeffrey Biegel, Krume Andreevski, Natasa Stojanovska, Jayanat Wisaijorn

Master Classes

No abstract provided.

2008-2009 Master Class - Sergiu Schwartz (Violin), Sergiu Schwartz, Xinou Wei, Seul-A Lee, Vadim Kim, Adam Diderrich

Master Classes

No abstract provided.

2008-2009 Master Class - Ellen Rose (Viola), Ellen Rose

Master Classes

No abstract provided.

2008-2009 Master Class - Philip Smith (Trumpet), Philip Smith

Master Classes

No abstract provided.

2008-2009 Master Class - Robert Langevin (Flute), Robert Langevin

Master Classes

No abstract provided.

2008-2009 Master Class - Carolyn Banham (Oboe), Carolyn Banham, Nick Thompson, Veroslav Taskov, John Weisberg

Master Classes

No abstract provided.

2008-2009 Master Class - James Markey (Trombone), James Markey, Gentry Barolet, Yun Yu, Alex Nisbet, Steven Gellersen, Branko Ilievski, Rachel Britton, Dongfang Zhang, Leonides Perez, Yang Shen

Master Classes

No abstract provided.

2008-2009 Master Class - Robert Mcdonald (Piano), Robert Mcdonald, Molin Wang, Natasa Stojanovska, Jayanat Wisaijorn, Jose Menor, Marcoantonio Real-D'Arbelles, Dongfang Zhang, Valentin Mansurov, Aziz Sapaev, Valeria Polunina, Orlando Guerrero, Mariya Koeva

Master Classes

Robert McDonald Performance (February 14, 2009) - Program

Microtonality As An Expressive Device: An 
Approach
 For 
The 
Contemporary 
Saxophonist, Seán Mac Erlaine

Dissertations

This dissertation provides a critical examination of the use of microtonality as an expressive tool for the improvising saxophonist and offers a new method for quarter-tone production drawing on cultural references from European art music, Arabic Maqam and Contemporary Jazz. The thesis is underpinned by an historical, musicological analysis of tuning systems and theory necessary for the performer of microtonal music. The dissertation is presented in three chapters. In Chapter One, a discussion of tuning theory and a history of temperament systems contextualises the current uses of equal temperament and extensions of it including the quarter-tone tempered system. Chapter Two …

Notes From The Editor, Bruce Gleason

Research & Issues in Music Education

This issue of RIME is dedicated simply to this arena of artistic teaching and learning.

Cultural Translation In Two Directions: The Suzuki Method In Japan And Germany, Margaret Mehl

Research & Issues in Music Education

Cultural Translation in Two Directions: The Suzuki Method in Japan and Germany The Suzuki Method represents a significant contribution by a Japanese, Suzuki Shin'ichi (1898-1998), to the teaching of musical instruments worldwide. Western observers often represent the method as "Japanese," although it could be called "Western" with equal justification. Suzuki left no detailed description of his method. Consequently, it is open to multiple interpretations. Its application, whether in Japan or elsewhere, represents an act of translation with its adaptation to local conditions involving creative processes rather than mere deviations from a supposedly fixed original.

To illustrate the importance of historical …

A Principled Approach To Teaching Music Composition To Children, Michele Kaschub, Janice P. Smith

Research & Issues in Music Education

Building on an apposition of the theories of neurobiologist Antonio Damasio and music theorist Heinrich Schenker, we posit a new model for developing composition instruction based upon the organic connections between humans and music. Parallels are drawn between Damasio’s theory of consciousness in which meaning arises from the relationships between body, emotion, and feeling; and Schenker’s theory of musical structure in which opportunities for meaning making are revealed between the ursatz (background), mittelgrund (middleground), and vordergrund (foreground) layers of a musical work. The resulting principles-based approach to instruction reprioritizes the roles of elements and compositional techniques to foster greater expressivity …

Strategies For Music Learning, George Palton

Music Faculty Research

Article provides strategies on how to take a new and fresh piece of literature from being completely unknown to performance ready.

Leaders Of The Pack: Responsibilities And Experiences Of Collegiate Drum Majors, Wesley D. Brewer

Research & Issues in Music Education

This study explored the responsibilities and experiences of three collegiate drum majors as student leaders of a marching band at a major university. Marching band continues to be a prevalent and highly visible aspect of music education in the United States. The preparation and utilization of student leaders in music remains common, but little research examining the actual experiences of student leaders in music has been conducted. As we continue to recruit student leaders for these positions, it may be of use to understand, from the student leader perspective, the challenges and perceived responsibilities associated with these positions. The participants …

Assessing Individual Performance In The College Band, Mark U. Reimer

Research & Issues in Music Education

Semester assessment of college wind band members is an issue that conductors would probably agree falls within their academic freedom. Institutions may award as little as no credit or even a percentage of a credit for ensemble participation, although the time and effort required of the students and their conductor is undoubtedly equivalent to, or exceeds, that of a three-credit course. If an academic administrator, seeing a large percentage of A’s in an ensemble, were to question the assessment process of the conductor and/or the rigor of the course, could that conductor produce tangible evidence, such as grades or numeric …

Directors' Attitudes Regarding Parental Involvement In The Middle School Choral Setting, Jeff Rapp

Research & Issues in Music Education

Educational research strongly suggests that parental involvement is beneficial for academic achievement and scholarly studies have pointed to parents’ seminal role in the education of young children as well as the need for continued nurture. Researchers indicate that parental involvement, however, tends to diminish over time and in many cases nearly disappears altogether during the middle-school years. This decline in parent-child connection, as Rutherford and Billig (1995) suggest, occurs at a most inopportune time in that the early teen years are crucial in making personal, relational, and educational decisions that have both immediate and lasting impact. In their study of …

Engaging Music And Media: Technology As A Universal Language, Glen Carruthers

Research & Issues in Music Education

The ambiguity in the first half of the paper’s title – “Engaging music and media” – is intentional. Music is engaging in the sense that it implicates our hearts and minds. Music can also be engaged by and with media. And, of course, engagement is core to effective learning.

The role of music education is always in flux. Aesthetic aims sometimes take primacy, while at other times music is taught as a means to some other end. As in ancient times, today music is taught largely for its ancillary benefits so that, in a curious twist, ancillary aims have become …

A Constructivist Application For Online Learning In Music, Dan A. Keast

Research & Issues in Music Education

The purpose of this article is to extend the published knowledge and practices of distance learning in music to include constructivism. Dan Keast describes his techniques for the implementation of constructivism to an online two-course series of Music History. The courses’ structure, activities, assessments, and other key functionality components are shown as an example of current practices. Keast discusses the process for developing the two courses, in conjunction with copy editors, course design specialists, and technology reviewers. The courses highlight the need for additional improvements such as new software and legal clarification for the use of sound recordings. Keast’s suggestion …

Volume 23, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.

2008-2009 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Xinou Wei, Edgar Leite, Vasile Sult, Emily Deppa, Seul-A Lee, Ann Fink

Master Classes

No abstract provided.