Dissertations / Theses: '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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Bascom, Brandon Roger. "The legacy of József Gát on piano performance and pedagogy." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3564.

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Raschen, Gudrun. "Chamber Music with Double Bass: A New Approach to Function and Pedagogy." Thesis, connect to online resource. Access restricted to the University of North Texas campus, until Jan. 1, 2015, 2009. http://digital.library.unt.edu/ark:/67531/metadc12189.

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Boqvist, Conrad. "MPA i improvisation : En kvalitativ studie om Music Performance Anxiety kopplat till improvisation och improvisationsundervisning inom ensemblespel i jazz och populärmusik." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3887.

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Ämnet för studien var improvisation och improvisationsundervisning i relation till begreppet Music Performance Anxiety (MPA) samt tänkbara kopplingar däremellan. MPA beskrivs enklast som ångestkänslor i samband med musikutövande. Syftet med studien var att utforska Music Performance Anxiety utifrån en jazzmusikers perspektiv. Är det möjligt att känna prestationsångest i en kontext där det egentligen inte går att ”spela fel”? Jämförelser med konstmusiken blir därför relevant. Ett vidare syfte var att finna verktyg för att kunna uppmärksamma och hjälpa elever med MPA inom ensembleundervisning med fokus på improvisation. Vilka metoder och material använder pedagogerna? I studien valdes en kvalitativ metod, baserat på forskningsintervjuer med tre olika musiker och pedagoger inom improvisation. Det kompletterades genom att utforska befintlig litteratur inom improvisation och MPA. Studiens resultat påvisar att samtliga informanter hade stora erfarenheter och personliga upplevelser av både improvisation och MPA samt kopplingar däremellan och att MPA är ett förekommande fenomen inte bara inom konstmusik utan även bland jazzmusiker. Resultaten påvisar även att MPA framställs som något mindre vanligt bland jazzmusiker än hos klassiska musiker. Det finns inom jazzkulturen en reservation mot att visa tecken på svagheter som nervositet och prestationsångest. Förhoppningvis kan studien bidra till att lyfta ämnet MPA inom jazz och populärmusik, då det tidigare inte varit så beforskat inom dessa genrer. En vidare aspiration är att uppmärksamma musikpedagoger på hur de kan hjälpa elever som upplever svårigheter i improvisationsundervisning.
The subject of the study was improvisation and improvisational teaching in relation to the concept of Music Performance Anxiety (MPA) and possible connections between them. MPA is most easily described as feelings of anxiety in connection with playing music. The purpose of the study was to explore Music Performance Anxiety from a jazz musician's perspective. Is it possible to feel performance anxiety in a context where it is not really possible to "play wrong"? Comparisons with classical music therefore become relevant. A further purpose was to find tools to be able to draw attention to and help students with MPA in ensemble teaching with a focus on improvisation. What methods and materials do the educators use? In the study, a qualitative method was chosen, based on research interviews with three different musicians and educators in improvisation. It was supplemented by exploring existing literature in improvisation and MPA. The results of the study show that all informants had great experiences and personal experiences of both improvisation and MPA as well as connections between them and that MPA is a common phenomenon not only in art music but also among jazz musicians. The results also show that MPA is presented as somewhat less common among jazz musicians than among classical musicians. There is a reservation in jazz culture against showing signs of weaknesses such as nervousness and performance anxiety. Hopefully, the study can help to raise the topic of MPA in jazz and popular music, as it has not previously been so researched in these genres. A further aspiration is to draw the attention of music educators to how they can help students who experience difficulties in improvisational teaching.

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Rann, Thomas. "Defining an Israeli school of cello pedagogy and performance through an analysis of the teaching of Professor Uzi Wiesel." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/8954.

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This research enquiry seeks to define a contemporary Israeli school of cello pedagogy and performance that has evolved out of numerous influences, and particularly the teaching of Wiesel. In analysis of the elements that define this school, a survey of the components that comprise Israeli cello playing is achieved. This adds to the body of knowledge, as this branch of cello pedagogy has not previously been investigated to this extent. The researcher used the Grounded Theory method to analyse and collate interviews from important cellists connected to the Israeli school. A questionnaire format was employed, which addressed the scope of issues concerning cello playing which help to define a school. These responses were analysed in juxtaposition with more detailed responses and source material from Wiesel. Important works on cello technique and literature that connect to Israel’s pedagogical development are also discussed in support of the argument for a distinct school. While opinions on cellistic matters varied between participants, most cellists displayed significant application of Wiesel’s methods. These results aided this researcher’s thesis that a distinct school of Israeli cello pedagogy and performance can be defined, and is in thriving existence.

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Miller, Kimberly E. "Carl Baermann: His Influence on the Clarinet in the Nineteenth Century as Pedagogue, Composer, and Instrument Technician." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282049217.

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McBride-Harris, Jenna Lynn. "Interdisciplinary Transfer and Cultivation: How Vocal, Writing, and Visual Arts Can Inform Horn Practice and Performance." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492701963548168.

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Murine, Eric R. "A Progressive Guide to Commercial Trumpet Playing." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/13.

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The commercial genre of trumpet playing has been overlooked by educators for years. The goal of this project is to author a book, A Progressive Guide to Commercial Trumpet Playing, to address this issue. Commercial music can be defined as music for the mass consumer audience with the intent to produce monetary profits. This approach will take a student stylistically from blues through the popular music of the 21st century. The ultimate goal of this book is to fill the pedagogical void in trumpet performance study material, providing a more complete foundation for the trumpet performer. Each chapter will deal with a specific commercial genre and will include a brief history, musical examples, etudes, and a duet. This information will show students how to approach a given style through musical listening and performance and will provide a structure for effectively learning each commercial genre. This resource will also provide classical trumpet professors the tools for teaching genres of music with which they may be uncomfortable.

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Vilanova, Vinadé Clara. "How Do We Learn a Piece by Heart? : Strategies, experience and reflections." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4131.

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The present work consists of a research of the process of memorizing a music score and performing it with its main goal being to understand which is the better and the most efficient process of learning and memorizing it. The piece that has been chosen for this project is Sonata n.1 op.120 in F minor for clarinet and piano by Johannes Brahms.The project is based on two methods and some strategies made by psychologists and musicians that suggest to do a theoretical analysis of the piece and afterwards, define some points (cues) that will help the musician to remember. The work consists in to apply these strategies in the practice sessions, in lessons with teachers and in concerts and observe if they have been successful. This paper concludes with the results of the practical part and with a discussion about them and about the experience to play the piece.

Sounding part of the project:

Johannes Brahms - Sonata n.1 op. 120 in F minor for Clarinet and Piano

Clarinet: Clara Vilanova

Piano: Erik Lanninger

The concert took place on May 3rd, 2021 in Nathan Milstein Hall in the Royal College of Music in Stockholm

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Hiew, Alexandra T. "Towards a Pedagogical Reference Work for Violinists Informed by Current Music Psychology ResearchTowards a Pedagogical Reference Work for Violinists Informed by Current Music Psychology Research." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1380619860.

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Harrison, William Brady II. "FINDING THE “TECH” IN TECHNIQUE: A PEDAGOGICAL APPROACH TO ELECTROACOUSTIC CONCERT PERCUSSION PERFORMANCE PRACTICE." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/139.

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Premise and Objectives In our increasingly technology driven society, the impact of technology touches nearly every aspect of our lives in some form or another. This has been acutely felt within the world of percussion, with electroacoustic works representing perhaps the most rapidly expanding area of concert percussion over the last twenty years. Electroacoustic music couples electronic technology with traditional acoustic instruments and/or performance practices. Broadly, this paper outlines a systematic approach to teaching electroacoustic performance practice, based on elements found in a cross-section of percussion literature. In using such an approach, not only does each student become more capable of dealing with this growing body of literature, but also the process of educating these students becomes more efficient for the teacher. As a result, delivery becomes more effectively standardized, and resources can be shared more efficiently among multiple students who may be studying different types of electroacoustic repertoire. Method To organize this exploration, three main genres of electroacoustic repertoire for percussion are compared: prerecorded soundscape, live processing, and electronic pieces. This comparison illuminates the tools and techniques that are relevant to each type of repertoire and reflects not only the narrower focus of electroacoustic percussion, but also the broader goals of applied percussion instruction in the context of a “total” percussion program. Each classification is explored by addressing its critical elements using prime examples from the relevant standard repertoire. For the first classification of works, tape pieces, the project includes discussion on signal flow, balancing electronic and acoustic sound sources, an introduction to digital audio workstations (DAWs), and monitoring techniques. Two primary examples of the repertoire are used to contribute to this discussion; Javier Alvarez’s Temazcal for maracas and tape, and Brian Blume’s Strands of Time. Live processing works present increased challenges with concepts, including sound reinforcement, recording production, how to edit and creatively manipulate sound both in post-production and live, and detailed concepts of signal flow, often including MIDI protocol. To explore the concepts specifically relevant to live processed works, Nigel Westlake’s classic work, Fabian Theory, for amplified marimba and three toms, is offered. Electronic works give students further opportunity to explore MIDI mapping, patch and parameter changes using both hardware and software, and sometimes sound design. In this context, there is a brief exploration of Steve Reich’s Violin Phase. Finally, an exploration of Hans Werner Henze’s, Prison Song demonstrates how all of this technology and technique can come together in combination works. The work requires live sound reinforcement, pre-recorded soundscapes, separate monitoring, live processing, and live MIDI controllers. The paper closes with a brief summary of extra pedagogical considerations, including resource management, pedagogical philosophy, and further implications. Conclusion By examining the logical steps of pedagogically developing through the different broad categories of electroacoustic music, with an emphasis on its reflection of broader liberal values and critical applied analysis, it is believed that this research could yield a model for a more thoughtful approach for applied percussion teachers.

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Jaegers, Sarah Elizabeth Korneisel. "Turkish Classical Clarinet Repertoire: Performance, Accessibility, and Integration into the Canon, with a Performance Guide to Works by Edward J. Hines and Ahmet Adnan Saygun." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555635997664089.

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Reimer, David Roy. "Violin performance training at collegiate schools of music and its relevance to the performing professions: a critique and recommendation." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054687230.

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Hill, Colin J. "The 10,000-Hour Threshold: Interviews with Successful Percussionists." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/31.

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Musicians are universally reliant on practice to improve and perfect their craft and there is substantial evidence that suggests mastery can only be achieved after 10,000 hours of practice early in life. This dissertation explores the validity of this theory as it pertains to master percussionists and examines their discoveries and recommendations as to how those 10,000 hours should best be spent. Research sources include selected published literature and personal interviews with thirty-six percussionists, conducted between 2010- 2013. The research is summarized in the following six sections: the 10,000-hour threshold; planning a practice session; warming up; learning new music; problem spots; and performance preparation. The primary goal of this dissertation is to detail the specific practice methods currently implemented by many of today’s most successful percussionists. This research should reveal the various ways success can be achieved in the practice room and help aspiring and accomplished professionals alike explore and integrate new practice methods and philosophies into their own careers and the careers of their students.

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Chai, Joshua John. "POSTMINIMALIST CHORAL MUSIC: A PEDAGOGICAL PERSPECTIVE." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/135.

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After the strict processes of mid-twentieth-century minimalism, a new musical style has emerged which retains extensive use of repetition, but is generally more aurally accessible, based in non-functional triadic harmony, and flexible in its compositional structure. Frequent use of non-minimalist resources, musical resources from multiple styles in a single composition, and quotation from previous historical periods define this flexibility. American choral music has many popular compositions that exhibit characteristics of this new musical style, in part because of its accessibility relative to earlier minimalist styles, and in part because it adapts easily to the choral setting. At the same time, teaching this music to choirs requires resources that are not in standard-practice choral pedagogy textbooks or peer-reviewed choral journals. This monograph utilizes newer research in musical analysis and several recent writings attempting to generalize the postminimalist style to develop a definition of choral postminimalism. Then, this monograph also suggests analytical approaches and resources for choral warm-ups, score preparation, and other pedagogical tools for three pieces: Arvo Pärt’s The Beatitudes, Nico Muhly’s Bright Mass with Canons, and Tarik O’Regan’s The Ecstasies Above.

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Braddock, Andrew. "A Performance Guide to Arthur Bliss's Sonata for Viola and Piano." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/152.

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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 details from Bliss’s life, examine the roots of his chamber music writing for viola by analyzing two early works, and investigate the collaboration between Lionel Tertis and Bliss in creating this work.

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Resnianski, Igor. "RODION SHCHEDRIN'S TWENTY-FOUR PRELUDES AND FUGUES: HISTORIC, ANALYTIC, PERFORMANCE, AND PEDAGOGIC PERSPECTIVES." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/68013.

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Music Performance
D.M.A.
The Twenty-Four Preludes and Fugues of Rodion Shchedrin is the magnum opus of perhaps the most respected living Russian composer, whose music is virtually unknown in the United States. Inspired by J. S. Bach and following in the footsteps of Dmitri Shostakovich, Shchedrin produced this impressive and original cycle for solo piano. It was written during the span of about six years, from 1964 to 1970. Since then, most of the preludes and fugues have become popular among students and pedagogues in Russian colleges and conservatories. The purpose of this monograph is to introduce this commendable work in the United States and to provide comprehensive structural analysis with performance suggestions and pedagogic overview. For each Prelude and Fugue, this monograph provides clear structural tables, which summarize form, compositional techniques, and rhythmic, textural, and polyphonic organization. In addition it provides performance and pedagogic evaluation of the entire cycle, with short discussions of each prelude and fugue. This monograph begins with a biographic overview of the composer, including a discussion of general aspects of his style, with information about Shchedrin's formal music education in Soviet Russia and influences that helped form his musical language. It also provides an historical context for Shchedrin's cycle, citing precedents for his work. With the growing popularity of Rodion Shchedrin's music outside of Russia, this monograph will be a valuable resource for musicians who are interested in teaching, performing, or studying selected Preludes and Fugues from his cycle.
Temple University--Theses

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Occhipinti, Charles William. "KHAEN PERFORMANCE: AN AMERICAN PERSPECTIVE ON TRADITIONAL PEDAGOGICAL PRACTICES." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1605727511721386.

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Kim, Seong-Sil. "A pedagogical approach and performance guide to Musical toys by Sofia Gubaidulina." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1659.

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Sofia Gubaidulina is considered one of the most important Russian composers of our time. A Moscow Conservatory student who studied with Dmitri Shostakovich’s pupil Nicolai Peiko, Gubaidulina went on to compose many pieces for orchestra, chorus, chamber instruments, and solo instruments. Her piano works include Toccata-Troncata (1971) and Invention (1974), as well as the more famous Chaconne (1962), Sonata (1965), and the concerto Introitus (1978). This essay will focus on a lesser-known piano work, Musical Toys (1969), consisting of fourteen pieces for children. Her intention in composing this collection of pieces was to present pictorial miniatures that she herself would have liked to play as a child. While these pieces create a unique sound quality with various imaginations that would be very appealing to children, my assessment of this work is that it would be quite difficult for children because of the pedal technique, frequent meter changes, accidentals, repeated notes, and irregular rhythmic subdivisions. My purpose is to examine how to help make this collection more accessible to young pianists. There are three chapters in this essay. Chapter I is an introduction to Gubaidulina and to Musical Toys. Chapter II consists of a brief biography of Gubaidulina. Finally, in Chapter III, I discuss the technical challenges, and propose a pedagogical approach to, as well as the performance practice of, Musical Toys.

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Hiney, Aoife. "Pedagogy through performance: a Kodály-based musical literacy programme for communitarian choirs." Doctoral thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/23379.

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Doutoramento em Música
The primary objective of this research was to develop a musical literacy programme – with correlated repertoire written specifically for the programme –that was implemented during choral rehearsals, creating a bridge between pedagogy and performance. Data from the Música no Meio project’s survey of choral conductors in Portugal shows that although 80% of the surveyed choirs use scores, only 15% of the singers have developed the musical literacy skills required to autonomously read the score. Previous research (Hiney, 2012) has also shown that in the absence of musical literacy, rote-learning (imitating the conductor until the music is memorised) is the most common technique used to transmit repertoire. This thesis addressed two main problems associated with a lack of musical literacy skills; firstly the impact of rote-learning on repertoire selection, rehearsal efficiency and hence standards of performance and secondly the implications for artistic creativity, as the singers confined to the oral as opposed to the literate area (Williams, 1981) may be considered artisans, making art without any involvement in creative or artistic processes (Reimer, 1970). The musical literacy programme, based on Kodály’s Concept of Music Education, was developed with the members of the communitarian choir, Voz Nua in Aveiro, Portugal. Six composers participated in this project, writing pieces with progressive levels of difficulty that corresponded to each of the three phases of the literacy programme. Qualitative data produced through interviews and focus groups with the singers of Voz Nua and the composers was analysed in order to gain an understanding of their experience of participating in the musical literacy programme. This data showed that the development of musical literacy skills increased the efficiency with which the choir learns new repertoire, allowing more time for interpretation and impacting positively on the choir’s quality of performance.
O objectivo principal deste trabalho foi o desenvolvimento de um programa de literacia musical, recorrendo a repertório expressamente escrito para este programa, que foi implementado no contexto de ensaios corais, construindo uma ligação entre a pedagogia e a performance. Em anteriores pesquisas, nomeadamente no projecto ‘Música no Meio’, foi realizado um inquérito nacional com maestros de coros em Portugal que demonstrou que, apesar de cerca de 80% dos coros usarem partituras, apenas 15% dos cantores conseguem ler essas mesmas partituras de um modo autónomo. Num dos estudos presentes neste projeto (Hiney, 2015) foi possível ainda perceber que, na ausência de literacia musical, a aprendizagem por memorização (rote-learning) é a técnica mais frequentemente utilizada na transmissão do repertório. Esta tese concentra-se em dois dos problemas ligados à escassez de literacia musical, sendo o primeiro o impacto da aprendizagem por memorização na seleção de repertório, na eficiência do ensaio, e portanto, no nível de performance de um coro, e o segundo nas implicações para a criatividade artística, uma vez que os cantores que pertencem à zona da oralidade ao invés da zona da literacia (Williams, 1981) poderiam ser considerados artesãos, ao ‘fazer’ arte sem participar nos processos criativos ou artísticos (Reimer, 1970). Foi assim concebido um programa de literacia musical, baseado em Kodály, que foi realizado com os cantores do coro comunitário Voz Nua em Aveiro, Portugal. Participaram ainda neste projecto seis compositores que escreveram obras com graus de dificuldade e objectivos específicos para cada uma das três fases do programa. Os dados qualitativos produzidos através de entrevistas e focus groups com os cantores de Voz Nua e com os compositores, foram analisados tendo em vista uma melhor compreensão das experiências vividas pelos participantes no decorrer programa. Estes dados permitiram perceber que, após a desenvolvimento do programa de literacia musical, se verificou um aumento da eficiência nos ensaios e na aprendizagem de novo repertório, libertando mais tempo de ensaios para a componente interpretativa, com impacto positivo na qualidade da performance do coro.

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Li, Rui. "OVERCOMING INITIAL HURDLES: STRATEGIES FOR DEVELOPING A UNIVERSITY FREE IMPROVISATION ENSEMBLE." UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/52.

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New free improvisers may come across six major problems as they learn to improvise: imbalance between technique and music, incorrect perception of limitation, imbalance between rationality and emotion, lack of enthusiasm, inability to view criticism as a source of creativity, and misunderstanding of mistakes and risks. In this thesis, I propose a set of effective pedagogical tools as possible solutions for students and groups interested in exploring the beauty of free improvisation.

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Dower, David. "Self-accompaniment and improvisation in solo jazz piano: Practice-led investigations of assimilation, ostinatos and ‘hand splitting’." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1673.

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This practice-led project investigates the crafting of approaches to solo jazz piano performance. Through a study and application of assimilation techniques derived from a range of different music styles, a series of self-accompaniments were devised. In addition, the process of developing improvisational facility over these accompaniment patterns was documented. Although performing solo requires a different approach to ensemble work, jazz pianists are commonly only trained in ensemble practices, rendering the solo setting a potentially overwhelming challenge. In order to move away from ensemble-based methods, the project sought to develop pianistic techniques and exercises that provide an independent approach in solo performance. Techniques such as ‘splitting’ the pianist’s hands to achieve multiple voices, voice-leading, ostinato, and rhythmic focus were explored as methods to develop independent solo performance. The project follows two trajectories. The first was to develop self-accompaniment patterns for solo jazz piano, an area explored by assimilating techniques outside of the jazz idiom into a solo jazz piano context. These techniques were developed within compositions and arrangements. The second was an examination of the practice processes engaged when performing these techniques, including the development of rhythmic coordination to facilitate improvisation over the composed accompaniment patterns. The outcome is an exploration of different approaches to developing confidence and aptitude in solo jazz piano performance. As well as the creation of accompaniment patterns for solo jazz piano performance, outcomes of this project include a greater descriptive understanding of the process of assimilating performance techniques onto the piano, and developing an improvisational approach over ostinato accompaniment figures. The scores, as well as recorded performances featuring improvisations over the composed accompaniments, are included with the exegesis.

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Wang, Yanjie. "How to Apply the Schenkerian Method to the Performance and Teaching of Chopin's and Mozart's Piano Music." Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24199.

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This thesis focuses on the relationship between piano performance and Schenkerian analysis. Schenkerian analysis was designed initially as a practical guide for performers. In the different levels of a Schenkerian graph, we can see “musical forces” which lead the performer to deeply understand music itself. Using Schenkerian notation to highlight certain notes helps us to recognize lines behind the surface of the music that give certain passages coherence. This study concentrates on Chopin’s mastery of counterpoint and voice leading which leads me into the relationship of analysis and performance, typically by using the Schenkerian method. My examples will include a variety of pieces by both Chopin and Mozart, to show in what ways the Schenkerian analysis both highlights similarities and makes distinctions between composers and genres.

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Jakubowski, Kelly Joan. ""Informed spontaneity" a theoretical approach to the enhancement of creativity in performance /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243788323.

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Daughters, James Robert. "MARCH PERFORMANCE PRACTICES OF HENRY FILLMORE WITH STYLE GUIDES AND HISTORICAL EDITIONS OF SELECTED WORKS." UKnowledge, 2017. https://uknowledge.uky.edu/music_etds/101.

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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 score. This research is focused on preparing and presenting historically accurate performances of the marches and smears of Henry Fillmore with appropriate march style. More specifically, the author wishes to provide an approach to the interpretation of Fillmore’s music that directly portrays the historical performance practices of Fillmore’s performances of his own works and interpretative methodology. Those who wish to consider this historically accurate approach may apply this document’s analysis of primary source recordings of Fillmore conducting his music in addition to new included performance editions of specified marches and smears.

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Fu, Hui-Ju Camille. "A status and vision investigation of US university piano pedagogy programs." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3671/.

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The two major research questions were: “What is the current status of 20 prominent piano pedagogy programs?” and “what is the vision of an ideal future piano pedagogy program from the perspective of 20 piano pedagogy leaders?” Subjects were the leaders of the top 20 US university piano pedagogy programs. A survey study with interview questions was used as the instrument for the study. The results showed that faculty, curriculum, and teacher training were three top factors that contributed to the quality of the programs. Most interviewed subjects held a doctoral degree in music. The curricular content and degree options were diverse across the selected programs. The content of teacher training included private and group teaching. The perceived best qualifications of a piano pedagogy instructor were to have a balanced education. Most programs had small or little to no budget, however, the preparatory program was perceived to be an enhancement to teacher training program finances. The greatest challenges were faculty acquisition and financial limitations. Gaining more money was the most common improvement priority for programs. To envision an ideal future piano pedagogy program, most leaders stated that an ideal program should contain encourage: (1) collaborating with other divisions' faculty members for developing a diverse curriculum, (2) providing multiple types of teacher training, (3) offering knowledge that is highly pertinent to students' future careers, (4) continually adjusting topics in the curriculum, and (5) utilizing all the possible resources to establish up-to-date facilities. The chief obstacle was a lack of money. However, finding a major donor, and developing a preparatory program to generate money may help to overcome the obstacles. Having administrators with positive attitudes toward pedagogy could help programs to gain more resources. Encouraging students to participate in workshops and conferences could enrich the training. Several recommendations may help emerging pedagogy programs, such as : (1) raising faculty's visibility in public, (2) developing a diverse curriculum and collaborating with other faculty from different divisions, (3) establishing a preparatory program, (4) offering diverse degree options, (5) developing a general pedagogy degree, and (6) educating administrators on the importance of piano pedagogy.

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Koza, Jesse Adam. "A Beginning Guide to Acting While Singing." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1242313542.

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Warfield, Tara Diane. "A voice teacher prepares: using art song as a teaching tool for the role of Sophie in Der Rosenkavalier." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1103.

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Research shows young singers are entering the professional world without the necessary skills to succeed. Students graduate from their respective colleges, yet lack experience in working with an orchestra, knowledge of dramatic or character analysis, or the stamina to maintain a vigorous rehearsal schedule. Incorporating character analysis skills along with language and dramatic training into the weekly private lesson will ensure the removal of the gaps in the curriculum. Through complete role study, young singers will have the ability to practice and refine their skills once they are vocally mature enough to perform an operatic role. The role of Sophie in Der Rosenkavalier by Richard Strauss is a challenging role requiring musical and dramatic skill. Students can examine and perform Strauss Lieder identifying similarities in the compositional style, dramatic elements, and musical requirements to prepare for the singing of the role of Sophie. This paper uses practical examples of various Strauss Lieder to demonstrate the pedagogical similarities between the role of Sophie and Strauss' song compositions.

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DeSilva, Bryan Edward. "A SURVEY OF THE CURRENT STATE OF CONTEMPORARY COMMERCIAL MUSIC (CCM) VOCAL PEDAGOGY TRAINING AT THE GRADUATE LEVEL." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/380835.

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Music Performance
D.M.A.
In 2008, the American Academy of Teachers of Singing released a paper in support of further research and training in the teaching of non-classical music or Contemporary Commercial Music (CCM). CCM can be defined as encompassing (but not limited to) the following genres: musical theatre, pop, rock, gospel, R&B, soul, hip-hop, rap, country, folk, and experimental music. Despite the increase in number of musical theatre and CCM degree programs at American universities, and the that national voice pedagogy organizations have begun to include musical theatre competitions and masterclasses, such academic training for future voice teachers has not met the demand. A 2003 survey by LoVetri and Weekly to evaluate the levels of training and experience of voice teachers in CCM styles of singing showed that while 71 schools offered Bachelor’s degrees in Musical Theatre, there were no schools offering CCM voice pedagogy training. In a 2009 follow-up, Weekly and LoVetri found that only 19% of those surveyed had any training to teach Musical Theatre. Additionally, many teachers indicated they were only classically trained and had no idea how to sing in any other style. For this study a three-part survey containing 27 questions was used to survey voice teachers who had been enrolled in or completed graduate-level (MM or DMA) voice programs since the publication of Weekly and LoVetri’s most recent survey. The purpose of the survey was to discover the pedagogical training of recent graduate voice students in CCM. The data is collected from a population in which n=66. While this study did show an increase in pedagogical training in CCM at the graduate university level (26%) as well as an increase in the number of CCM teachers with both graduate-level training and performance experience, this increase was small, and the majority of those who reported having received training did so through private instruction or independent study.
Temple University--Theses

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Behmer, Cynthia Lynn. "Pedagogical Insights to Successful English Horn Performance: A Guide for College-Level Oboists." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/202700.

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The English horn has persevered as a popular solo instrument by the many composers who have written for it since its inception as a member of the oboe family at the Court of Louis XIV in the seventeenth century. While modern English horn popularity and performance practice continues to flourish through new literature, master classes, and recordings, a review of the existing literature reveals that there is a need for an informative guide for advanced, college-level oboists who wish to begin doubling on the English horn. The present study is intended to serve as a comprehensive resource for the novice English hornist who seeks pedagogical advice on the development of specialized performance techniques, along with a discussion on the significant differences between the oboe and English horn, specialized English horn reed makingtools and supplies, and procedures for making and finishing long-scrape English horn reeds. Additionally, this study includes a brief history of the English horn and a discography of selected English horn recordings. Finally, a discussion of selected etudes from A.M.R. Barret's Forty Progressive Melodies and W. Ferling's 48 Famous Studies and correlating symphonic English horn excerpts concludes the study.

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Sousa, Sérgio Luiz de. "A prática mental como estratégia pedagógica na preparação para a performance musical /." São Paulo, 2020. http://hdl.handle.net/11449/192947.

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Orientador: Sonia Ray
Resumo: Esta tese investiga o papel da prática mental no processo de preparação para a performance musical. Adota como referencial teórico o conceito de pedagogia da performance musical de Ray (2015), que propõe uma abordagem interdisciplinar entre a educação e a atuação prática do músico. O objetivo geral desta pesquisa é propor a prática mental como estratégia pedagógica na preparação para a performance musical. A metodologia inclui revisão da literatura disponível, pesquisa de campo (questionário aplicado a estudantes e professores de performance musical de cursos graduação e pós-graduação no Brasil) e discussão dos resultados. O trabalho está estruturado em quatro capítulos: 1. Revisão de literatura, 2. Metodologia e pesquisa de campo, 3. Discussão dos resultados, 4. Estratégias pedagógicas para aplicação da prática mental. As conclusões apontam para a confirmação da tese de que a prática mental pode ser uma importante ferramenta pedagógica no processo de preparação para a performance musical.
Abstract: This dissertation investigates the role of mental practice in the process of preparation for musical performance. It has as theoretical reference the concept of music performance pedagogy by Ray (2015), who proposes an interdisciplinary approach between the field of education and the practical acting of the musician. The main objective of this research is to propose mental practice as a pedagogical strategy in preparation for music performance. The methodology includes review of available literature, field research (questionnaire applied to students and teachers of music performance of undergraduate and graduate courses in Brazil) and discussion of the results. The dissertation is divided in four chapters: 1. Literature review, 2. Methodology and field research, 3. Discussion of results, 4. Pedagogical strategies for using mental practice. The conclusions point to the confirmation of the thesis that mental practice can be an important pedagogical tool in the process of preparation for musical performance.
Doutor

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Roll, Christianne Knauer. "Female musical theater belting in the 21st century| A study of the pedagogy of the vocal practice and performance." Thesis, Teachers College, Columbia University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3621794.

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The female musical theater belt voice has been heard onstage for almost one hundred years, yet the demands for this type of singing continue to evolve. While the style dominates Broadway, an understanding of successful teaching of the female belt voice seems to be lacking. Therefore, this study was undertaken to appropriately address the needs of female musical theater singers, and to establish effective strategies for teaching the female belt voice.

Individual case studies of four nationally recognized master teachers of female belting were created from observations in the studio, interviews with the teachers, and interviews with their students. Thirty-two hours of private voice lessons were observed with 18 female belt students in the studios of these master teachers in an effort to determine the extent to which they employed common techniques in the pedagogy and agreed on the characteristics of the female belt voice. Interview responses and field notes from the teachers and singers were analyzed individually and a cross-comparison of the data was analyzed for consensus or conflicting information on female musical theater belt pedagogy.

Interestingly, there was much consensus among the teachers on the physicality, sound, and strategies for female belting. Included in the findings were that the female belt voice is not a pure chest voice production, and development of the entire voice is key since working in head voice allows a female to create a lighter belt sound and to make the transition into the higher belt range. Distinct techniques for the traditional and contemporary belt voices emerged. The traditional belt, up to D5, uses more chest voice and full, open vowels. The contemporary belt, higher than D5, is produced with more head voice and closed, narrow vowels. Belting is considered speech-like and exciting, and is a joint process between teachers and students.

Based on this research, voice teachers working with musical theater students must be educated and proficient on the specific strategies and techniques of the evolving female belt voice. The female belt voice, though different from classical singing, does have its own set of techniques.

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Gunnars, Hanna, and Fanny Coldenberg. "Prestationsångest i sångundervisning : Åtta sångpedagogers arbete med mentala blockeringar hos sina elever." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3883.

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I denna studie undersöktes hur sångpedagoger ser på prestationsångest och mentala blockeringar hos sina elever. Prestationsångest hos sångare är ett relativt outforskat område, men det är en känsla som drabbar de flesta som utövar musik. Syftet med studien var att undersöka hur sångpedagoger både resonerar kring och hur de hanterar sina elevers prestationsångest och andra mentala blockeringar. Arbetet genomfördes i första hand genom en enkät som sedan låg till grund för intervjuer med åtta verksamma sångpedagoger. Studien vilar på en sociokognitiv teori. Resultatet visar att alla sångpedagoger frekvent möter elever med prestationsångest och att de alla har liknande verktyg för att hantera det. En upptäckt som gjordes var att det sällan talas om prestationsångest i musikundervisning, där många paralleller gjordes till idrottspsykologi som är ett mer utforskat ämne. Sångpedagogerna använde många verktyg som tangerade mental träning men ingen av dem ansåg sig använda någon särskild metod. Det är i nuläget ovanligt att lyfta mental träning i musikundervisning men ett konstaterande som görs är att sångpedagogen måste lära sig att hantera elevers prestationsångest för att kunna hjälpa dem vidare i utvecklingen. Resultatet visar att ett gemensamt ordförråd och gemensamma verktyg att ta till vore gynnsamt.
This study examined vocal coaches’ view on performance anxiety and mental blockages in their students. Performance anxiety is a relatively unexplored area, but it’s a feeling that affects most people who practice music. The purpose of the study was to investigate how vocal coaches both reason about and how they handle their students’ performance anxiety and other mental blockages. The work was carried out through a pilot study that formed the basis for interviews with eight practicing vocal coaches. The study is based on a social cognitive theory. Results show that all vocal coaches meet students with performance anxiety on a daily basis and that they all have similar tools to work with it. A discovery that was made was that the subject of performance anxiety was rarely talked about in music education and many parallels were made to sports psychology, which is a more explored area. The vocal coaches used many tools that are used in mental training, but they all made it clear that they did not use any particular method. It is currently unusual to highlight mental training in music education, but it’s clear that the vocal coach must learn to handle the students’ performance anxiety in order to help them further in development. The result show that a common vocabulary and common tools to use would be beneficial.

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Miles, William Edward. "Towards an improved model for senior-secondary music education: a multi-faceted perspective." Monash University. Faculty of Education, 2006. http://arrow.monash.edu.au/hdl/1959.1/6572.

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Orduz, Ana Maria. "Integrating contemporary world music into our teaching: discussion on the pedagogical value and performance practice of seven commissioned pieces by four Colombian composers." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1050.

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In this essay I discuss a collection of seven piano pieces that I commissioned by four emerging young Colombian composers. It contains two parts: the first explains the importance of involving contemporary and world music in piano education and includes a brief history of music in Colombia. The second part discusses in detail each of the piano pieces and the contemporary and folkloric references that each one uses. It also illustrates the technical challenges that each piece presents and provides suggestions on how to practice each work. The two pieces by Castaño include taped electronic sound as part of them. The two files are attached with the paper. I have always believed in the responsibility and importance that teachers have in the creation of new music and discuss the importance of educators working with composers. I also explore the importance of teaching and learning world music and contemporary music from the beginning of a piano education. The commissions are the first step towards the creation of a piano pedagogical anthology of Colombian contemporary music for the late intermediate and early advanced level for which there is very little Colombian repertoire. Colombia's rich rhythms, dances and musical traditions are not reflected in the formal music education in the country. Heightened security and the resulting economic growth have brought significant changes over the last ten years to the country providing a moment of possibility to advance an agenda in musical education as well. If the piano teachers take charge of the education of the new generation, beyond simply teaching them how to play the piano, the classical music tradition in Colombia will grow at the same time that high quality music will be provided around the world to play.

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McMahon, Paul G. "Baroque Performance Practice Pedagogy and the Twenty-First Century Practitioner: The Tenor Repertoire of George Frideric Handel." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/366932.

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This dissertation investigates the experiential processes in music training and performance techniques of solo tenor voice practitioners. It is informed by teaching methodologies in baroque performance practice within higher education and links theoretical phases of the research with functional aspects of music making. The dissertation also examines applied performance practice in music for the solo tenor voice by a pivotal composer of the baroque period, George Frideric Handel (1685–1759). Solo vocal literature of the baroque period forms a core component of studies in conservatoires and universities. However, empirical data compiled in this research indicates that emerging performers frequently experience only limited formal instruction that combines theoretical and practical aspects of baroque performance practice. Furthermore, most vocal teachers’ exclusive focus upon their students’ technical development often prevails to the detriment of interpretive considerations. Students therefore may commonly develop little capacity to balance the development of their personal vocal technique with the declamatory practices and theoretical awareness required in the professional performance of baroque music. Practitioners suggest such experiences articulate a pervasive ‘on the job’ training scenario in terms of baroque performance practice. This enquiry incorporates a multi-faceted qualitative research framework. Informed by documented literature cited within the investigation, the methodologies used include semi-structured interviews, case studies and reflexivity.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Winegardner, Brian J. "A Performer's Guide to Concertos for Trumpet and Orchestra by Lowell Liebermann and John Williams." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/520.

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The purpose of this essay is to encourage the study and performance of trumpet concertos written by notable contemporary composers. The essay focuses on two outstanding trumpet concertos composed in recent years: Lowell Liebermann’s Concerto for Trumpet and Orchestra, op. 64 and John Williams’ Concerto for Trumpet and Orchestra. The essay specifically provides the following information: 1) a concise history of the concerto for trumpet, 2) a short biography of Lowell Liebermann and John Williams, 3) the history of Liebermann’s and Williams’ concertos for trumpet, 4) musical analysis of both concertos, 5) a soloist’s practice and performance guide to both works, and 6) a short list of other contemporary trumpet concertos worthy of study. Both Liebermann’s and Williams’ trumpet concertos acknowledge established musical convention, and neither uses any experimental performance techniques. However, both works are written in their own distinctive harmonic language, and each provides its own unique modifications to traditional forms and melodic shapes. Hopefully, this essay will advance the status of Liebermann’s Trumpet Concerto and Williams’ Trumpet Concerto in the history of the trumpet concerto genre and serve as a resource for those who wish to research, study, and perform Liebermann’s Concerto, Williams’ Concerto, or other contemporary trumpet concertos.

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Hartz, Barry C. "Cultivating Individual Musicianship and Ensemble Performance Through Notation-Free Learning in Three High School Band Programs." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1435244359.

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Hagel, Leah. "EXPRESSION IN TECHNICAL EXERCISES FOR THE CELLO: AN ARTISTIC APPROACH TO TEACHING AND LEARNING THE CAPRICES OF PIATTI AND ETUDES OF POPPER." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/8.

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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, and can be applied to these particular studies.

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Rodrigues, Irailda Eneli Barros Silva. "THE ART SONG OF EDMUNDO VILLANI-CÔRTES: A PERFORMANCE GUIDE OF SELECTED WORKS." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/25.

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The purpose of this study is to present a performance guide for singers on twelve selected songs in Brazilian Portuguese for voice and piano by Brazilian composer, pianist, and arranger Edmundo Villani-Côrtes (b.1930). Since 1949, Villani-Côrtes has been active in the musical scene of Brazil. He has a unique compositional style that seamlessly combines elements of both art music and popular music. Villani-Côrtes’s body of works includes over two hundred compositions for solo instrumental music, orchestral music, choral music, and art song. He has written over sixty songs in Brazilian Portuguese, including the Ciclo Cecília Meireles (1987), winner of the 1988 Prize of the Associação Paulista de Críticos de Arte (A.P.C.A.), but most of these remain unpublished. This performance guide is the result of three years of research, study and personal communication between the author, Villani-Côrtes, and poets whose words the composer used as lyrics. It offers a comprehensive body of information relevant for both the performer and voice teacher who approach this new and untraditional repertoire. It includes a concise biography of the composer, biographical information for the poets, comments on the compositional style of Villani-Côrtes, an overview of the Brazilian Portuguese International Phonetic Alphabet (IPA)—with a chart of Brazilian Portuguese Sounds, IPA transcriptions with English word-by-word translations and poetic versions of all the lyrics, comments from the composer and the poets on each of the songs, and the technical information, pedagogical suggestions, and interpretative insights provided by the author.

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Wilkinson, Mark Leslie. "The Singing Doctor: Reconsidering the Terminal Degree in Voice Performance." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587553732265375.

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Dissertations / Theses on the topic 'Music performance pedagogy'

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