Music Pedagogy Commons^™

The Singing Conductor: Interviews On The Benefits And Limitations Of Choral Conductors And Teachers Continuing To Sing, Anne Carissa Gassmann

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

It is our duty as musicians, conductors, and teachers to continue developing our teaching and musicianship. One of the ways growth can occur is by singing regularly in ensembles outside of teaching. As one balances career and personal life, continuing to sing is a choice each must make. It is through this document that one may see the relevance of pursuing opportunities to sing, as it may inform and elevate one’s teaching and conducting. Eleven interviews were conducted with elementary, high school, and collegiate teachers and conductors, only half of them still singing in an ensemble. This document is intended …

Perceived Extrinsic Factors Affecting Music Performance Anxiety In Undergraduate Musicians, Gianna E. Carrasco

Selected Honors Theses

The researcher explored existing literature on music performance anxiety (MPA) that addressed the physiological effects of MPA, its causes, and various methods of mitigating its effects. The influence of self-efficacy and cognitive factors, such as the concepts of focus-of-attention and flow, were researched as they relate to MPA. The music culture and pedagogical approach utilized in institutions providing music education may affect the levels of MPA experienced by music students. Thus, the role of the music educator in reducing MPA in students was also explored. Furthermore, there may be a need for pedagogy within music education curricula that addresses MPA …

The Effectiveness Of Video Modeling With Video Feedback On A Given Piece For Mid-To-Late Elementary Piano Students, Huiyun Liang

Theses and Dissertations

The primary purpose of the study was to investigate the effectiveness of video modeling with video feedback for developing mid-to-late elementary piano students’ motor skills in learning the piece “Polka” by Dmitri Kabalevsky. The secondary purpose was to evaluate the benefits of this method for other aspects of performance and performance retention. Five (N=5) piano students, 8 to 9 years old, at mid-to-late elementary level were selected to participate in this study. The results of the study summarized the performance progress of four participants who demonstrated similar levels of technical and reading skills and completed the test requirements.

The full-scale …

Warning: Music Therapy Comes With Risks, James Hiller, Susan Gardstrom

Department of Music Faculty Publications

Bob Marley sings, “One good thing about music—when it hits you, you feel no pain.” Although this may be the case for some people and in some circumstances, we dispute this statement as a global truth. After all, couldn’t any phenomenon commanding enough to alleviate human pain (ostensibly instantaneously) also harbor the potential to catalyze undesirable, even injurious, effects? And couldn’t this influence then logically extend to music employed within the context of a therapeutic process? As music therapist and Concordia University Associate Professor Dr. Laurel Young writes, “the ‘miraculous’ effects of music as featured in popular media along with …

Epic Beginnings: A Symphonic Work And Aaron Copland (The American Stravinsky) Versus Igor Stravinsky, Terrell O. Jones

LSU Doctoral Dissertations

ABSTRACT

The first part of my dissertation is the original music written for this dissertation, which consists of tonal music that describes my life’s journey. I wanted to write something dark, melodic, and very energetic that described my struggles and shows the road I have taken. It exhibits everything that I have learned from my time here at the university. One of the many things that makes my passion so strong is the desire to express myself through music written for ensembles and used in films. The piece is entitled “Epic Beginnings.” Originally, it was named “The Last Dance,” a …

Going For Broke: A Talk To Music Teachers, Juliet Hess, Brent C. Talbot

Sunderman Conservatory of Music Faculty Publications

In 1963—a racially-charged time in the United States—James Baldwin delivered “A Talk to Teachers,” urging educators to engage youth in difficult conversations about current events. We concur with Giroux (2011, 2019) that political forces influence our educational spaces and that classrooms should not be viewed as apolitical, but instead seen as sites for engagement, where educators and artists alike can “go for broke.” Drawing upon A Tribe Called Quest’s 2017 Grammy performance of “We the People…” as an example of the role of the arts in troubled times, we consider ways to work alongside youth in schools to respond, consider, …

Editor’S Essay, Michael E. Ruhling

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.

2018-2019 Master Class - Nelson Delle-Vigne (Piano), Nelson Delle-Vigne, Robiyakhon Akromova, Ying Peng Wang, Shalva Vashakashvili

Master Classes

No abstract provided.

2018-2019 Master Class - Alan Weinstein (Chamber Music), Alan Weinstein, David Brill, Sonya Nanos, Jiawei Yuan, Shiyu Liu, Ricardo Lemus, Tom Wong

Master Classes

No abstract provided.

2018-2019 Master Class - Fine Arts Quartet (Chamber Music), Fine Arts Quartet, Ralph Evans, Efim Boico, Gil Sharon, Niklas Schmidt, Shiyu Liu, Yuhao Zhou, Chang Hyun Paek, Sonya Nanos, Karolina Kukolova, Ricardo Lemus, Hyemin Lee, Devin Lamarr, Dunia Andreu, Daniel Guevara, Meiyu Wu

Master Classes

No abstract provided.

Serving The Needs Of International Students: A Qualitative Study, Mandi Goodsett, Michael Baumgartner

Michael Schwartz Library Publications

This study attempts to discover the barriers that international music students encounter when using the library and conducting research at North American academic institutions. To these ends we implemented multiple semi-structured interviews. Most studies that have been conducted about international students and information literacy employ a survey, but other qualitative means of study reveal important insights into the needs of this population. In-depth qualitative research that explores the experiences of international music students has the potential to cultivate better understanding of this phenomenon so that music librarians and faculty can more effectively serve this distinct population.

2018-2019 Master Class - Emerson Quartet (Chamber Music), Emerson Quartet, Lawrence Dutton, Paul Watkins, Shiyu Liu, Yuhao Zhou, Chang Hyun Paek, Sonya Nanos, James Abrahamson, Zulfiya Bashirova, Natalia Hidalgo, Kayla Williams, Georgiy Khokhlov, Olga Konovalova, Sing Hong Lee, Michael Puryear, Yue Yang, Gerson Medina, Mirna Monclova, Axel Rojas, Zong Jun Li, Clarissa Vieira, Kimia Rafieian

Master Classes

No abstract provided.

2018-2019 Master Class - Emerson Quartet (Chamber Music), Emerson Quartet, Eugene Drucker, Philip Setzer, Karolina Kukolova, Ricardo Lemus, Hyemin Lee, Devin Lamarr, Daniel Guevara, Dunia Andreu, Meiyu Wu, John Antisz, Melanie Riordan, Michael Puryear, Kristine Mezines, Shanshan Wei, Kayla Bryan, William Ford-Smith, Niki Khabbazvahed, David Brill, Sonya Nanos, Jiawei Yuan, Askar Salimdjanov, Feruza Dadabaeva

Master Classes

No abstract provided.

Ukrainian Folklore Influences In The Music Of Myroslav Skoryk: Historical Background And Performance Guide To Selected Violin Works, Iuliia Alyeksyeyeva

LSU Doctoral Dissertations

Myroslav Skoryk is one of the most influential Ukrainian composers of the twentieth and twenty-first centuries. His works draw extensively on the folk traditions of Ukraine to evoke various aspects of the country’s cultural legacy.

The violin holds a special place in the cultural, societal, and historical heritage of Ukraine. Skoryk’s works for violin draw on both Ukrainian folk traditions as well as classical performance traditions. The intricacies of Skoryk’s folk-inspired classical pieces of music are rooted in the oral traditions of Ukrainian folk music.

This document provides background information on certain Ukrainian folk music traditions and their connection to …

Scipp: An Expanded Community Of Practice - Community Publishing, Juan Delgado, Kelly (Kl) Straight Dortch, Daiana Rodriguez, Alex Avila, William Beshears, Juliana Cruz, Gina Hanson, Frank Houlihan, Lacey Kendall, Larry Light, Cati Porter, Molly Tor, Timothy "Isaac" Pieper, Bianka Sanchez, Sara Trowbridge, Daniel Aguilar, Bernardo Benigno, Arely Bernal, Alejandra Bueno, Emily Campos, Jason Cannon, Griselda Caudillo Gallo, Joshua Clemente, Sarah Coblentz, Diana D'Arcangelo, Georgia Darwin, Mary Grace Deasis, Kaylan Els, Keith Fernandez, Maria Flores, Khiyara Frontela, Anthony Galvan, Monica Galvez, Martin Garcia, Jessica Godin, Freda Guzman, Madison Hall, Diana Huitron Munoz, Jennifer Ledesma, Maria Lias Chacon, Rebekah Linares, Prisma Loya, Elijah Magana, Alberto Mancillas, Lorinda Maya, Jennifer Pimentel, Nancy Ramirez, Angelica Rodriguez, Alexis Ruvalcaba, Sandra Sandoval De Rosas, Emily Stoddard, Andrea Tinajero, Lesly Velez Montenegro, Saulo Velez Montenegro, Matthew Vigil, Sergio Zamora, Marylou Alvarez, Roxanna Cervantes, Tenaya Fuentes, Wendy Moreno, David Valenzuela, Philip Colunga, Augustine "Auggie" Fuentes, Nadia Fuentes, Olive Fuentes, Sophia Fuentes, Miraya Martinez, Diego Mercado, Iker Valenzuela, Roma Valenzuela

Q2S Enhancing Pedagogy

SCIPP redefines and expands the existing notions about what makes for a vibrant and robust community of practice by partnering CSUSB students and professors with K-12 students, parents, and educators, along with committed community partners. SCIPP encourages curiosity in ways that leads to critical thinking, exploration, "risk taking", confidence building, open-mindedness, and other personal traits that equip them with the softskills to be active, critical, and creative contributors to our communities. SCIPP pedagogy embraces our students' collective wisdom and focuses on relational building where multi-directional communication is promoted and students are viewed as equal stakeholders in their own educations. SCIPP …

An Analysis Of Violin And Viola Instructors’ Opinions Of Using The Third Position As The Home Position For Beginning-Level Violin/Viola Education, Eylem Arıca

Research & Issues in Music Education

Despite the existence of educators who use the third position as the home position for beginner violin training and get positive results, repertoires of violin pedagogues and current music school curricula show an overwhelming preference for the first position. I determined that studies on this preference and research related to the use of the third position technique as an alternative in beginner violin/viola education were scant and narrow in scope, and sent a questionnaire to violin/viola teachers to garner their views. Ninety-four participants who wrote comments in Part 4 of the questionnaire made up the study’s sample. The study aimed …

Instructional Decision-Making Among Expert Choral And Instrumental Directors: How Musical Setting Influences Pedagogy, Wendy K. Matthews, Daniel C. Johnson

Research & Issues in Music Education

In large music ensembles, directors make countless instructional decisions on a daily basis that indicate their learning priorities and guide student learning. In particular, expert music directors (i.e., those having earned a master’s degree and/or National Board Certification) have advanced problem-solving strategies and effective means of fostering student learning in their ensembles. To explore the influence of musical setting on directors’ instructional decision-making, the authors examined expert choral and instrumental directors’ perspectives on instructional decision-making. Forty experienced music teachers employed as either a choral or instrumental ensemble music teachers wrote open-ended responses to three scenarios, each representing different instructional challenges. …

Establishing Reliability And Validity Of A Tool For Large Ensemble Teacher Use Of Space And Interactions, Nicholas E. Roseth

Research & Issues in Music Education

The primary purpose of this study was to design a reliable and valid continuous-time coding tool for measuring teacher use of space and teacher interactions based on prior research (Hesler, 1972; Martin, 2002). The tool captured teachers’ use of space as they moved through 14 identified areas of the large instrumental ensemble classroom and engaged in 10 types of verbal and musical interactions with students. Evidence for content validity is presented, and the tool was found to have high inter-rater reliability. The secondary purpose of the study was to explore the effect of a brief expository lesson on preservice instrumental …

Exploring The Effect Of Professional Development On Practice In World Music Education: A Mixed Methods Study, Jennifer Mellizo

Research & Issues in Music Education

The purpose of this explanatory sequential mixed methods study was to explore K–12 music educators’ changes in practice one year after completing a three-week professional development experience in world music education. Results from the quantitative phase of research indicated all participants (n = 10) perceived distinct changes in practice after taking this course. Findings from the qualitative phase of research indicated participants (n = 3) understood their changes in practice as a combination of critical reflection and pedagogical confidence. These music educators articulated strong personal rationales for including diverse perspectives in the curriculum and discussed the ways in …

Disparate Trajectories In Pre-Tertiary Music Education In Ghana: Implication For Holistic Education, Moses Nii-Dortey, Adwoa Arhine

Research & Issues in Music Education

This paper investigates an obvious paradox in the pre-tertiary music/aesthetic education of Ghana, which defies the pedagogical principles of continuity and progression. This paradox involves the simultaneous disappearance and growth of music/aesthetic education at the foundational basic schools and high schools respectively. Growth at the high schools is evinced by rising number of schools, students and teachers offering and teaching the subject, as well as registering for and writing the West African Examinations Council’s West Africa Secondary School Certificate Examinations since 1990. The initial assumption, based on the logic of educational continuity and progression, is that private tuition and basic …

Vocal Accuracy In Preschool Children: Are The Curwen Hand Signs Really Useful?, Stéphanie Boisvert

Research & Issues in Music Education

The effects of learning to sing with and without Curwen hand signs on singing accuracy in kindergarten-age children were compared. Participants comprised an experimental group (Curwen signs) and a control group (without signs), each containing 33 children aged 5 to 6 years. All participants took 30 music lessons centered on learning songs. The experimental group learned songs using Curwen signs and the control group learned the same songs without signs. Before and after instruction, all participants were tested on singing accuracy and melodic perception. Short-term memory was assessed to ensure between-group equivalence. Complementary data were gathered from a parent-completed questionnaire …

Armchair Philology For The Post-Truth Age, James Brooks Kuykendall

Music

In music history classes, interactions with musical notation often take place via printed anthologies including material from many sources with varying editorial principles. Questioning how the music on the page got there likely does not cross students minds. They are presented with a polished text, with all the complications removed, that underscores the fixedness of the work concept. This article outlines an exercise that invites students to think like philologists, exploring a familiar and simple piece with a complicated textual situation: the hymntune generally known as ANTIOCH (usually associated with the text Joy to the World) appears widely in hymnbooks …

A Compendium Of Voice-Leading Patterns From The Seventeenth And Eighteenth Centuries To Play, Sing, And Transpose At The Keyboard, Derek Remeš

Journal of Music Theory Pedagogy

An original Compendium of baroque and classical voice-leading patterns offers a wealth of historically informed teaching materials for today's pedagogues. Drawing from recent scholarly trends in the German-language music-theoretical community, the historical approach offered here is at odds with many aspects of current Anglo-American music theory pedagogy. Chief among these is the absence of any reference to Roman numerals, chordal roots, or chordal inversion in the Compendium. Instead, a thoroughbass-centered approach is favored, in which the scale degree of the bassline is the primary analytical annotation. This encourages contrapuntal, rather than harmonic, considerations to come to the fore. The voice-leading …

Notes From The Editor 2019, Bruce Gleason

Research & Issues in Music Education

No abstract provided.

A Survey Of Music Teachers’ Working Conditions, David N. Sanderson, Timothy D. Buzza, Christopher S. Jannings, Kangwon Kim, Bryan D. Maurer, Jonathan Soderberg-Chase

Research & Issues in Music Education

For this study the researchers examined music teacher responses to survey items pertaining to their working conditions. Participants reported their satisfaction about factors related to music program funding, facilities, workload, professional development, and school culture. Responses were analyzed to detect possible differences in responses due to demographic factors of teachers, schools, and teaching assignments. Initial findings indicated that teachers were generally satisfied with their all aspects of their working conditions with the exception of professional development. A MANOVA was conducted to determine if there were any significant differences in responses based on participant demographics. While our study found no disparities …

Master's Recital In Jazz Pedagogy: A Performance-Demonstration Of Rhythm Section Instruments, Trumpet, Electric Wind Instrument, Synthesizer, Compositions, And Arrangements By Demetrio Lyle, Demetrio Lyle

Dissertations and Theses @ UNI

My education at the University of Northern Iowa in the Master of Music, Jazz Pedagogy track has included two full academic years of continuous study as well as one year of independent study. During my two years in residence, I had the pleasure of experiencing an in-depth curriculum of classes, ensembles, and applied lessons, as well as opportunities to lead large and small ensembles. All of these components were designed to make me into a more effective jazz musician in the disciplines of performance, composition, arranging, and pedagogy.

The latter of these disciplines acts as the synthesis of the recital …

A Performance Guide To Arthur Bliss's Sonata For Viola And Piano, Andrew Braddock

Theses and Dissertations--Music

Arthur Bliss’s Sonata for Viola and Piano stands as a significant achievement in early twentieth-century chamber music for viola and is the result of a fruitful collaboration between composer and virtuoso performer. Multiple scholars recognize the sonata as one of Bliss’s finest works. Despite these accolades, the work has failed to attract sustained scholarly investigation. This document provides performers with the necessary tools for a thorough and contextualized presentation of the work. The main body of this study details the technical aspects of performing the sonata: viola technique, expressive challenges, and ensemble concerns. Preceding this, I cover the relevant biographical …

Volume 33, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.

Scale-Degrees Six And Seven In Minor, Stephen Gosden

Journal of Music Theory Pedagogy

No abstract provided.

Teaching With Chopsticks And A Rhythm Clock, Paula Telesco

Journal of Music Theory Pedagogy

When teaching rhythm, it can be difficult to convey the concept that beats are not just attack points but have a full duration, which can be divided into many parts; it can also be difficult for students to understand how those divisions and subdivisions do or do not coincide. I have created a number of rhythm clocks (attached) that include color-coded Ta ka di mi syllables (red) and 1 ee and uh counting syllables (blue) to show the division and subdivision of the beat into 2, 3, 4, and 6 parts, and to show simple and compound divisions and subdivisions …