Relevant bibliographies by topics / Music performance pedagogy

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Music performance pedagogy'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 December 2024

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Journal articles on the topic "Music performance pedagogy"

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Hastings, David M. "“With grace under pressure”: How critique as signature pedagogy fosters effective music performance." Arts and Humanities in Higher Education 16, no. 3 (July 14, 2016): 252–65. http://dx.doi.org/10.1177/1474022216652772.

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Inspired by seminal writings on Critique as Signature Pedagogy in the Arts and performance as Signature Pedagogy in Music, this article unifies these two concepts into a study of how critique as signature pedagogy in music-performance promotes student learning. This essay seeks to first define the notion of different mindsets as musicians perform and as they practice for performances, and then explores the role of critique in guiding students toward these music-performance ways of thinking and habits of mind. The essay defines four different ways of applying critique (teacher-coach critique, self critique, audience critique, and peer critique) as a key teaching practice or signature pedagogy in the music-performance discipline. Finally, the essay ends with a description of a learning experience that effectively illustrates this pedagogy in a studio class setting.
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Alves, Anderson César, and Marcos Nogueira. "Embodiment Consciousness in Music Performance Pedagogy." Empirical Musicology Review 19, no. 1 (October 7, 2024): 10–24. http://dx.doi.org/10.18061/emr.v19i1.9571.

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The acquisition of expertise in music performance and its pedagogy, depends on, beyond specific musical skills, employing resources from other fields of knowledge and considering sensory, motor, and affective capacities at each step of the music learning process. We studied the teaching practices of three expert clarinet teachers to investigate their didactic procedures, evaluating how those practices could be related to their students’ high levels of performance. The method gathered data from a “protocol joint analysis” and semi-structured interviews with teachers and their students. Data analysis revealed a particular set of pedagogical skills observed in the didactic procedures of these expert teachers. These teaching strategies were common to all three case studies and revealed themselves as a last didactic resource to overcome complex problems at the highest level of proficiency in musical interpretation. We call that pedagogical expertise field Embodiment Consciousness in Music Performance. This field of competence describes the systematic didactic use of metaphor to access performers’ sensorimotor and affective memories, whose semantic contents can thereby be accessed to support performance actions.
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Hidayatullah, Riyan. "Perspectives on Music Pedagogy in Informal, Performance-Based Learning." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 6, no. 1 (July 3, 2023): 57–67. http://dx.doi.org/10.26740/vt.v6n1.p57-67.

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Music learning practices in formal settings, for example, in the classroom, generally apply structured and systematic curriculum-based learning strategies. The entire learning process has generally been organized and implemented with guidance and supervision by the teacher. In Indonesia, music learning in formal schools still applies the standardization of Western music theory. In fact, music learning practices that offer local pedagogical values provide a very diverse portrait. In higher education, music learning that applies local pedagogy has been going on for some time. The Music Education Study Program (PSPM) of Lampung University is one of the tertiary educational institutions that has implemented music learning practices based on local pedagogy. Learning practices that are also performance-based are carried out with "informal" stages and processes. This notion means that local pedagogy is based on informal music practices in Lampung society. Informal music learning practices have not been recognized as the curriculum of formal institutions. This article looks at the concept of Lampung local pedagogy applied in music performance-based learning practices in formal areas. The central theoretical perspective in this research uses Green's (2008) thoughts on informal learning in the classroom. Data were collected through observation and in-depth interviews with lecturers and students of levels 2 and 3. As a result, the concept of local music pedagogy that takes place in music performance-based learning at PSPM University of Lampung (1) provides opportunities for students to learn while creating; (2) provides space for collaboration and social participation; and (3) strengthens peer learning in groups.
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Heisel, Erin. "Interdisciplinary and Relational Approaches to Embodiment Conscious Music Performance Pedagogy." Empirical Musicology Review 19, no. 1 (October 7, 2024): 34–37. http://dx.doi.org/10.18061/emr.v19i1.9576.

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In this commentary on the fascinating study completed by Anderson César Alves and Marcos Nogueira, I discuss two avenues for considering the complexities of embodiment conscious music performance pedagogy. In the first, I contend that music, including but not limited to, music performance pedagogy, is inherently interdisciplinary. In the second, I offer that music performance pedagogy, in particular “studio” or one-on-one pedagogy, is necessarily relational. It is my hope to add value to Alves and Nogueira’s work, while also broadening the lens through which we observe the competencies of both teacher and student within the private lesson context. I close with suggestions for future studies, continuing the important conversation around exceptional teaching and learning for musicians.
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Hauge, Torunn Bakken. "RHYTHMIC MUSIC PEDAGOGY: A SCANDINAVIAN APPROACH TO MUSIC EDUCATION." Journal of Pedagogy and Psychology "Signum Temporis" 5, no. 1 (June 1, 2012): 4–22. http://dx.doi.org/10.2478/v10195-011-0049-y.

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ABSTRACT Rhythmic music pedagogy is a relatively new Scandinavian approach to classroom music education that offers a variety of methods and strategies for teaching and learning music, especially within the performance of improvised and rhythmic music. This article is based on two earlier projects published in Norwegian, in which the concept of rytmisk musikkpedagogikk (or “rhythmic music pedagogy”) as well as its applications and implications were thoroughly described. This research confirms that rhythmic music pedagogy may be an effective strategy for learning music in general, but most especially for learning skills associated with ensemble musicianship and playing by ear. In a multicultural and fluid society in which there are tendencies toward passivity and fragmentation, it may be more important than ever to maintain the idea of music as a collaborative creative process that extends across borders; in this context, rhythmic music pedagogy can play a central role in children’s social development. As a social medium, ensemble playing requires the participant to decentralize socially, since the perspectives of the other participants are necessary for a successful performance. The activity’s general potential for re-structuring social settings and moving boundaries in a positive way should not be underestimated.
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Freer. "The Performance-Pedagogy Paradox in Choral Music Teaching." Philosophy of Music Education Review 19, no. 2 (2011): 164. http://dx.doi.org/10.2979/philmusieducrevi.19.2.164.

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Citron, Marcia J. "Feminist Waves and Classical Music: Pedagogy, Performance, Research." Women and Music: A Journal of Gender and Culture 8, no. 1 (2004): 47–60. http://dx.doi.org/10.1353/wam.2004.0004.

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Magid, Brandon A. "Beyond Bel Canto: Applications of Contemporary Commercial Music (CCM) Voice Pedagogy in the Secondary Choral Classroom." Music Educators Journal 110, no. 2 (December 2023): 54–58. http://dx.doi.org/10.1177/00274321231212773.

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Bel canto singing style is a foundational cornerstone for vocal technique in choral ensemble classes. Yet there are reasons to question whether bel canto pedagogy alone can help students navigate the many different genres they sing as part of a diverse and balanced curriculum. This article examines the specific performance demands associated with arranged spirituals, global musics, and popular styles and some ways students might benefit from further study of Contemporary Commercial Music (CCM) voice pedagogy when singing such genres in choir. Strategies for enabling students to healthily engage with CCM genres are also recommended.
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Pyrcz, Gregory E., Tessa Claire MacLean, and Mark E. Hopkins. "Demanding Epistemic Democracy and Indirect Civics Pedagogy: The Performance-Oriented Music Ensemble." Philosophical Inquiry in Education 24, no. 3 (July 20, 2020): 237–51. http://dx.doi.org/10.7202/1070609ar.

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The participation of young adults in performance-oriented music ensembles can be seen to enhance democratic capacities and virtues. Much, however, turns on the particular conception of democracy at work. Although contemporary currents in music education tend towards models of liberal and participatory democracy to govern music ensembles, this essay contends that demanding epistemic democracy allows performance-oriented music ensembles the achievement of democratic virtues without sacrificing excellence as a central regulatory ideal. The inclusion of both men and women is shown to be particularly significant in this light. Central to its democratic epistemic ambition, the role of the conductor is considered in the last section of this article.
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Navon, Joshua. "Pedagogies of Performance." Journal of Musicology 37, no. 1 (January 1, 2020): 63–93. http://dx.doi.org/10.1525/jm.2020.37.1.63.

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The development of modern styles of elite music education played a crucial role in entrenching Werktreue as the dominant practice within classical music performance. Focusing on Germany’s first conservatory, the Leipzig conservatory, which was founded in 1843, this article analyzes how Werktreue, understood as a set of tacit competencies and sensibilities that must be learned by musicians, was produced at a single historical site. Archival documents of the institution, as well as the correspondence and writings of teachers and students like Felix Mendelssohn, William Rockstro, and Ethel Smyth, show that the central objective of musical pedagogy was the faithful interpretation of musical works. Isolated as a discrete subject of training, performing musical works also functioned as the principal mode of student assessment through semesterly examinations. To transmit the necessary skills for this paradigm of performance, pupils’ bodily capacities (Technik) and ability to understand and interpret canonic compositions (Vortrag) became essential targets of conservatory pedagogy. Ubiquitous visibility among students, and the intense competition that this visibility engendered, went hand in hand with institutionalizing styles of musical expertise that continue to this day. In exploring these developments, this article asks how the productive power of modern conservatory training contributed not only to Werktreue’s rise over a wide geography, but also to the remarkable stability with which it has pervaded performance practice across multiple generations.
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Dissertations / Theses on the topic "Music performance pedagogy"

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Wood, Brandon Keith. "RECREATIONAL MUSIC-MAKING IN MUSIC PEDAGOGY: A MANIFESTO FOR CHANGE." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/4.

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The arts are an essential part of any student’s well rounded education. The future of music in education will depend on its ability to deliver relevant, effective, and measurable outcomes. However, the expectations and performance nature of traditional curricula often foster a sense of musical elitism and ostracizes students that are solely interested in music as a recreational outlet. Incorporating recreational music-making into education can provide opportunities for students to experience self-expression, creativity, social connection, and enjoyment. These values will not only enhance their education, but also lead to acquired skills for use in all areas of their lives. Activities such as drum circles, for example, break down the musical elitism that has been reenforced through barriers of economy (purchasing instruments), technique (learning a required skill set), and language (learning to read music). This document will establish a case for recreational music-making in education through examination of the role of music education, the concept of recreational musicmaking, and the numerous health and wellness benefits associated with recreational music-making. Included will be a discussion of elementary, secondary, and higher education music curricula. Additionally, the importance of using percussion instruments will be established along with explanations of basic techniques. Finally, a discourse about the language barrier in music is included. The intended results of this document include creating an educated audience for music professionals, a larger presence of music-making in society, music advocacy and support, improved creativity and self-expression for professional and amateur musicians, strengthened community connections, and an overall improvement in health and well-being for music participants.
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Charry, Qvarforth Antonio. "Prestationsångest i fokus : Studenters och elevers relation till Music Performance Anxiety." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2939.

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Ämnet prestationsångest attackeras från många vinklar och är något som de allra flesta kan känna igen sig i. I denna studie fördjupar jag mig i förhållandet mellan prestationsångest och individens upplevelse av hur det är att musicera med andra. Studien inriktar sig mot musikstudenters relation till prestationsångest i undervisning och ensemblespel, med syftet att belysa begreppet Music Performance Anxiety (MPA). Genom fokusgruppsintervju och deltagarobservation har jag tagit fram underlag samt kartlagt hur deras upplevelse av MPA ter sig i musikämnet och i ensemblesammanhang. Hur skiljer sig upplevelsen av detta i ensemblesammanhang från individuella sammanhang och hur skiljer sig känslan av MPA i undervisning i jämförelse med andra musikutövande sammanhang? Genom kvalitativ data och analys av deltagarnas egna erfarenheter och upplevelser har studien lett fram till en djupare inblick i hur dessa individer upplever prestationsångest i musiksammanhang, samt hur den sociala aspekten av att musicera får en betydande roll när ämnet ska belysas. Generellt uppnådde samtliga deltagare kriterierna för en mer eller mindre utvecklad form av MPA och den generella uppfattningen var att de inte fått några verktyg eller arbetat med ämnet prestationsångest kontinuerligt i sina pågående eller föregående studier. Min uppfattning är därför att vidare forskning kring detta ämne behövs för att konkretisera, och på ett ett bättre sätt, kartlägga känslor och sociala strukturer som hämmar studenters musikaliska utveckling såväl som det konstnärliga uttrycket.
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Cherry, Amy Kristine. "Extended Techniques in Trumpet Performance and Pedagogy." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242326372.

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Youngs, Marisa B. "THE LANGUAGE OF MUSIC: LINGUISTICS IN TRUMPET PEDAGOGY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/115.

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For decades, many brass teachers have relied heavily upon speech as a means of conveying pedagogical concepts. Additionally, a significant number of teachers in the brass community continue to use speech sounds to teach specific kinesthetic responses (i.e. using specific vowels for tone production, particular consonants for articulation, and variations of vowels for different pitch registers). These teaching concepts have been perpetuated over time, though many intricate aspects of human anatomy were yet to be understood at the inception of these methods, including the physiological processes used during speech. As technology has evolved, researchers in the field of linguistics have made significant discoveries regarding the production and perception of speech. As a result of these innovations, researchers now understand more about individual languages than ever before. This document aims to critique popular beliefs regarding speech directives often utilized in trumpet pedagogy, such as guiding a student by saying “tah,” “too,” “tee,” etc. to produce a desired sound concept. A significant portion of this document also outlines an ultrasound experiment conducted by the author in the Phonetics Laboratory at the University of Kentucky, in which exercises were designed to determine if speech vowels are in fact used during trumpet playing. During this study, subjects wore a lightweight headset with an ultrasound probe placed under the chin. The ultrasound probe allowed the researcher a midsaggital (side) view of the subject’s oral cavity, displaying vowel placements and articulatory phenomena. While using the ultrasound imaging technology, subjects played a short selection of musical exercises on B-flat trumpet and then read aloud a pre-selected list of English words, designed to display multiple combinations of vowel and consonant pairings. Both the trumpet exercises and reading of the word list were audio recorded and simultaneously paired with the corresponding ultrasound video data. After playing the selected exercises, subjects completed a brief written questionnaire of personal language history to ascertain possible influences upon dialect. The ultrasound videos were then analyzed with the audio recordings to map each individual’s tongue placements during speech as compared to the placements utilized during trumpet playing. The author concluded that a majority of participants did not use the specific placements of speech vowels while playing the trumpet, although some participant data displayed a slightly stronger correlation than others. While many conclusions could be drawn from this research study, the corresponding data is intended for a purely observational understanding of the influence of linguistics upon trumpet performance and pedagogy. This document is presented in two parts: Part I contains introductory research material, as well as the process, analysis, and conclusions from the experiment outlined above. Part II contains recital programs and corresponding program notes in fulfillment of the degree of Doctor of Musical Arts in Trumpet Performance, as well as a personal vita.
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Lewis, Lucy Karelyn. "A model for developing a holistic collegiate curriculum for string performance and pedagogy." Thesis, The University of Iowa, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3638399.

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This thesis is directed toward teachers who work primarily with music degree students on the collegiate level. Pedagogy is simply too often "hit or miss" in a student's degree curriculum, and yet the reality is that most musicians will have to teach at some point in their careers, whether they realize it as students or not.

This thesis provides a model for how to holistically integrate pedagogy into all aspects of the performance curriculum, so that string performance students are provided with the necessary tools to be both excellent performers and teachers, regardless of whether they ever take a pedagogy class. This is accomplished through: the examination of survey results regarding how schools are incorporating the National Association for Schools of Music requirements and recommendations for the integration of pedagogy into course curricula; an overview of survey results reporting how string performers and educators feel about the quality of the education they received in regards to preparedness for artist string teaching; and a discussion of how to create a holistic curriculum for performance and pedagogy that encompasses the three main areas of most string performance curriculums (the private studio, chamber music, and orchestra).

The overarching goal of this thesis is to build on the rich tradition of string playing and teaching that already exists, by introducing a curriculum that will holistically educate the student as both performer and pedagogue. At the heart of this approach is the need for fostering a "see one, do one, teach one" mentality in students.

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Hoppe, Daniel. "THE SEARCH FOR CONSISTENT INTONATION: AN EXPLORATION AND GUIDE FOR VIOLONCELLISTS." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/98.

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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 the sub-skills of playing consistently in tune. This approach makes the learning and teaching of intonation manageable and approachable to cellists at all levels. What we do before the note, How we play the note, What we do after the note, and Putting it all together are the four broad categories of sub-skills identified. Within each of these sections, relevant exercises are presented and their efficacy explained. Examples are drawn from a wide range of sources including music education, my own educational experiences, music psychology, the Alexander Technique, cello pedagogy, professional cello teachers’ responses to a questionnaire, physiology, and neuroscience. By integrating published research in these areas, this paper provides a more comprehensive understanding of intonation. Instead of a wealth of techniques each claiming to resolve the challenge of playing in tune, the introduction of sub-skills allows for a methodological approach to intonation pedagogy.
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Detwiler, Gwendolyn Coleman. "Solo Singing Technique & Choral Singing Technique in Undergraduate Vocal Performance Majors: A Pedagogical Discussion." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1226948715.

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Smith, Andrew McLane. "The purposes of Tubists Universal Brotherhood Association| Development, literature, performance, and pedagogy 1973-2012." Thesis, The University of North Carolina at Greensboro, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3568918.

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The purpose of this project was to document the purposes of Tubists Universal Brotherhood Association, currently known as the International Tuba Euphonium Association, from 1973-2012, and to analyze the effectiveness of the organization in fulfilling the purposes found in its original mission statement. A short history of the organization, along with definitions of the parameters of the project is included. The primary print publication of the organization, the Journal, was examined for evidence of the organization's fulfillment of its mission statement. The original mission statement of the organization was very specific to the written goals of the organization, allowing the writers of articles for the Journal to have clearly defined areas of focus. The articles found within the Journal were examined and categorized into one or more of the purposes found in the mission statement.

The results of this research demonstrate that TUBA/ITEA was successful in fulfilling the purposes found in the organization's original mission statement. The articles also reflect that the quantity and quality of articles generally grew over the decades. Further, it is recognized that the organization was able to bring about a more scholarly approach to fulfilling its mission statement. These two outcomes indicate that the members of the tuba and euphonium community will benefit from a documented history of the Journal of the organization.

Two areas for further study were identified. First, there were many compositions that were freely distributed with the Journal, known as the "Gem Series." An opportunity exists for scholarly review and analysis of these compositions. Second, an all-inclusive history of the organization would be beneficial, which would include a full listing of personnel involved in leadership positions throughout the organization's history.

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Cruz, Ian M. "Redefining the Performance Degree Curriculum for the Crossover Saxophonist." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/84.

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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 many colleges have saxophone majors, there is a strong divide between classical and jazz education. This leaves students in a Bachelor of Music in Saxophone Performance degree track without the ability to accurately perform crossover music or have the opportunity to perform jazz and other genres of music. The purpose of this study is to develop a crossover degree in saxophone performance by highlighting aspects of crossover saxophone repertoire and reviewing current university degree catalogs. The research in this study is meant to diagnose omissions in performance degree programs as far as crossover development and to create a new degree track for saxophonists in an effort to promote diverse performance ability.
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McRae, Chris. "Hearing Miles Davis: A Pedagogy of Autobiographical Performance and Jazz." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/358.

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This dissertation argues for a relational ethic of listening that emphasizes the pedagogical role of the listener as a student in dialogically hearing, producing, and responding to the other. This ethic of listening works to hear possibilities amongst differences, and to ethically account for and learn from the cultural, historical, and embodied differences of the other as they are produced relationally amongst macro-structures and micro-practices. In order to develop this ethic of listening, I pay specific attention to my solo autobiographical performance, Miles away from "The Cool," in which I present my autobiographical and musical reading of the autobiography of trumpet player Miles Davis, Miles. This performance and my research regarding the music, life story, and cultural significance of Davis functions as an example for my development of a listening centered approach to pedagogy. Listening to jazz and the music of Davis provides an approach to hearing possibilities as they are enabled and constrained by larger macro-structures and specific micro-practices. I argue this approach to listening can be extended to research regarding autobiography and geographic location. Listening to autobiography and location can enable a critical and ethical understanding of the ways history, context, and power play on bodies in jazz, autobiography, location and autobiographical performance. After explaining this relational ethic of listening in terms of autobiography and jazz, I make the case for listening as a performative act in which as listeners we are always students to the other. Performative listening is a critical communicative act that works to ethically and pedagogically hear and learn from the other. Performative listening emerges from a relational ethic of listening, and it is a productive pleasure that works to hear possibilities in and amongst differences.
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Books on the topic "Music performance pedagogy"

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Kohut, Daniel L. Musical performance: Learning theory and pedagogy. Englewood Cliffs, N.J: Prentice-Hall, 1985.

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Harrison, Scott D., ed. Research and Research Education in Music Performance and Pedagogy. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-7435-3.

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Kuprina, Elena. Co-creation in music and music education. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1019193.

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The monograph is devoted to the problem of musical co-creation, represents the artistic and dynamic system. The author considers the musical co-creation from the perspective of interdisciplinary approach, as the phase of the creative process, featuring self-contained characteristics, manifested in the "I" and "I'm Different" through specific regularities and principles. In music co-creation differentiated into spheres, types and forms, where the role of the ratio of the subjects and the performance of co-creative artistic projects are analyzed from the position of system dynamics. In music education operates a pedagogy of co-creation, manifesting the specifics through professional, psychological, reflective, and educational facets. Presented to the organizational form of the pedagogy of co-creation, from the perspective of information approach given the findings of a study of the influence of pop on the sensory system of the student of a musician-performer (the performer). Can be used in courses of the disciplines of the history of music, music psychology and music pedagogy, pedagogy of co-creation. Addressed to students of music schools, teachers, musicians of all disciplines, musicologists and cultural studies, researchers, creative processes, and a wide circle of curious readers.
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Shenderovich, Evgeniĭ. V kont︠s︡ertmeĭsterskom klasse: Razmyshlenii︠a︡ pedagoga. Moskva: Muzyka, 1996.

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Treganza, Jeffrey. Professional training of singers and teachers of singing: A comparative study of selected vocal performance and pedagogy programs in the United States of America and the Federal Republic of Germany. Frankfurt, M: Peter Lang, 2007.

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Gakkelʹ, L. Ispolniteli︠u︡, pedagogu, slushateli︠u︡: Statʹi, ret︠s︡enzii. Leningrad: Vses. izd-vo "Sov. kompozitor", Leningradskoe otd-nie, 1988.

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T︠S︡uker, A., K. Zhabinskiĭ, and N. A. Meshcheri︠a︡kova. 30 let konservatorskoĭ nauki: Tezisy dokladov nauchno-prakticheskoĭ konferent︠s︡ii pedagogov i vypusknikov RGK 1967-1997 gg. Rostov-na-Donu: Terra, 2000.

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Kohut, Daniel L. Musical Performance: Learning Theory and Pedagogy. Stipes Publishing, LLC, 1992.

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Swinkin, Jeffrey. Teaching Performance: A Philosophy of Piano Pedagogy. Springer International Publishing AG, 2016.

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Swinkin, Jeffrey. Teaching Performance: A Philosophy of Piano Pedagogy. Springer, 2015.

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Book chapters on the topic "Music performance pedagogy"

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Eidsaa, Randi Margrethe, and Mariam Kharatyan. "10. Rethinking Music Performance Education through the Lens of Today’s Society." In Teaching Music Performance in Higher Education, 251–70. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.13.

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This chapter aims to provide insights into the perspectives that arose from the data collection and analysis carried out by the Norwegian team of the Erasmus+ project REACT - Rethinking Music Performance in European Higher Education Music Institutions. The data was collected through a series of small-scale studies, including REACT - network activity at the University of Agder and the Academy of Music in Oslo, and an analysis of reports following the participation of a group of fourteen music performance students in a creative ensemble project at the University of Agder. We also refer to a small curriculum study conducted at the University of Agder. The study addressed some of the educational demands that emerged from extensive international research on music performance curricula and pedagogy in Higher Music Education during the early, mid, and late 2010s. The chapter highlights novel approaches to music performance, including community-based perspectives, creative ensemble collaborations, and improvisation in students' music education. These approaches aim to address the challenges that students face when pursuing professional careers in music today. The discussion sheds light on the ways in which music education curricula can be strengthened to support students entering their professional music careers and to broaden their musical thinking, thus preparing them to become contributors in society. The chapter references the small-scale research project Music for Microsculptures, an interdisciplinary student concert that reflects the results of data analysis and aspects often commented on in research on music performance curricula in Higher Education.
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Schippers, Huib. "Practitioners at the Centre: Concepts, Strategies, Processes and Products in Contemporary Music Research." In Research and Research Education in Music Performance and Pedagogy, 1–7. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7435-3_1.

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Burnard, Pam. "Addressing the Politics of Practice-Based Research and Its Potential Contribution to Higher Music Education." In Research and Research Education in Music Performance and Pedagogy, 133–50. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7435-3_10.

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Leong, Samuel. "Creative Arts Research Assessment and Research Training in Hong Kong." In Research and Research Education in Music Performance and Pedagogy, 151–67. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7435-3_11.

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O’Neill, Susan A. "Complicated Conversation: Creating Opportunities for Transformative Practice in Higher Education Music Performance Research and Pedagogy." In Research and Research Education in Music Performance and Pedagogy, 169–79. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7435-3_12.

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Emmerson, Stephen. "“No Two are the Same”: A Narrative Account of Supervising Two Students Through a Doctor of Musical Arts Program." In Research and Research Education in Music Performance and Pedagogy, 181–96. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7435-3_13.

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Harrison, Scott. "Weaving Together Disparate Threads: Future Perspectives for Research and Research Education." In Research and Research Education in Music Performance and Pedagogy, 197–202. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7435-3_14.

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Harrison, Scott, and Paul Draper. "Evolving an Artistic Research Culture in Music: An Analysis of an Australian Study in an International Context." In Research and Research Education in Music Performance and Pedagogy, 9–25. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7435-3_2.

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Coessens, Kathleen, Darla Crispin, and Luk Vaes. "(Re-)Searching Artists in Artistic Research: Creating Fertile Ground for Experimentation at the Orpheus Institute, Ghent." In Research and Research Education in Music Performance and Pedagogy, 27–43. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7435-3_3.

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Cox, Jeremy. "Encouraging and Training Conservatoire Students at Undergraduate and Taught-Postgraduate Level Towards Fluency in the Thought-Processes and Methods of Artistic Research." In Research and Research Education in Music Performance and Pedagogy, 45–64. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7435-3_4.

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Conference papers on the topic "Music performance pedagogy"

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VACARCIUC, Mariana. "Strategies for optimizing quality of music educational process by validating specific aspects of art-pedagogy." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v2.24-25-03-2023.p382-385.

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In this article, a current problem related to the quality of the educational process is addressed, which can be optimized by capitalizing ART-pedagogy – modern direction of pedagogical science, which studies the legitimacy, mechanisms, principles, rules of including the means of art in the educational context. ART-pedagogy has the potential to facilitate the formation-development process of fine arts and poetic artistic predispositions/ skills through music, offering conditions for perceiving the world from a new and original perspective. Thus, music education lessons should be carried out in an integrated way with other subjects, such as visual arts and the Romanian language and literature. By implementing ART-pedagogy in the musical educational process, teachers will be able to create optimal conditions at lessons for forming and developing the students’ deep perception of the universe, the need to acquire spiritual values, to develop their skills to understand the finest aspects of art as a whole and, finally, to form-develop their harmonious personality. To achieve these objectives, some of the methods specific to music education, both attested and original, are suggested and proposed in this article. Thanks to the increased potential of ART-pedagogy from the perspective of forming and developing the general artistic culture of students, personal development, increasing school performance, facilitating the act of communication between the teaching staff and the student through art, its utilization in the educational process leads to optimizing its quality.
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Miyazaki, Shintaro. "Musik für Maschinen?! – Wo sich die Wissenschaft der Medien, des Computers und der Musik treffen und wie sie zusammenarbeiten könnten." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.105.

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Musicology and computer science do not only come together in areas such as the use, analysis and performance of digitized data, but also meet in unexpected places such as in context of critical media studies and inquiries about the material and aesthetic conditions of digitality. Such „exploratory interactions“ with computers and their aesthetics might resonate well with musicology. This mini-contribution firstly presents a historical situation in which for a short period in the 20th century the machinic music of digitality became audible. It then formulates, just as briefly and sketchily, the socio-critical potential of music-oriented approaches, especially rhythm analysis, still to be tested, when it comes to grasp and understand digitality in as many facets as possible (socio-technological, aesthetic, historical and epistemic). Thereby, a fourth partner might be of importance: pedagogy.
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Pandiova, Iveta. "THE DEVELOPMENT OF VOCAL PERFORMANCE AND VOCAL PEDAGOGY IN THE CONTEXT OF NON-ARTIFICIAL MUSIC OF THE 20TH�21ST CENTURIES IN SLOVAKIA." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s22.008.

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Budnik, Elżbieta. "Роздуми про напрямки розвитку сучасної мистецької педагогіки в контексті музики Клода Дебюссі." In ALTITUDO MUNDI SPIRITUALIS. Духовність у сучасному світі: просвітницько-культурогічний підхід, 22–30. Publishing House "Krok", 2024. http://dx.doi.org/10.37835/ams-2024-17-18-04-1.03.

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The article raises the issue of spirituality in the education of professional instrumental musicians. The life and creative path of the composer Claude Debussy is characterized. It is noted that the composer's piano works are an innovative source of performance repertoire with unique harmony and original poetry. The capacity of the first volume of Preludes, created in 1910, is described. The wide range of artistic tasks set by Debussy for the performer fosters exploration of personal experiences, leading his audiences into the world of an extraordinary association game. This text is a presentation of subjective reflection on the subject of contact with art, understood as a spiritual practice, detached from religion, based on direct contact with sound matter. It also emphasises the need to include these aspects in mainstream education of young pianists in the 21st century. Attention is paid to the deep understanding and detailed analysis of the prelude "The Sunken Cathedral" ("La cathédrale engloutie") by Claude Debussy. It is noteworthy that the work by Claude Debussy belongs to the classics of the piano repertoire and involves the unleashing of the imagination in an individual interpretation. Keywords: spirituality, Claude Debussy, musician, analysis of the work, piano music, synaesthesia, imagination, pedagogy, performance.
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