Matching Items (3)
Filtering by
- All Subjects: Curriculum
Description
To be a versatile violinist, one needs interdependence of aural, visual and kinesthetic skills. This thesis introduces aural, visual and kinesthetic learning modalities, and explores the way each is used in the Suzuki, Paul Rolland, Orff, Kodály, and Dalcroze methods, as well as in Edwin Gordon’s Musical Learning Theory. Other methods and pedagogical approaches were consulted and influential in developing the curriculum, such as the teaching of Mimi Zweig, but were not included in this paper either because of an overlap with other methods or insufficient comparable material. This paper additionally presents a new curriculum for teaching beginning violin that incorporates aural, visual, and kinesthetic learning in a systematic and comprehensive manner. It also details a sequenced progression to learn new repertoire and develop proficiency with rhythm, solfège, reading and writing musical notation, and left- and right-hand technique.
ContributorsTang, Tee Tong (Author) / Swartz, Jonathan (Thesis advisor) / Schmidt, Margaret (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2017
Description
According to the United States Department of Labor, the predicted percentage growth of jobs in music performance for 2012-22 is less than half the predicted percentage growth in overall national employment for the same period. While university music performance core curricula prepares students to attain their goals, which can include positions in orchestral, chamber, or solo settings, only a small number of such positions are predicted in the future job market. One possible solution to help students succeed as modern-day musicians is the implementation of curricula that emphasizes innovation and entrepreneurship in music performance. This paper comprises three parts: (1) a study intended to identify core curricula requirements for the Doctor of Musical Arts (DMA) in Violin Performance in the United States; (2) a sample Career Plan; and (3) a Syllabus for an Innovative Music Performance Course.
The first section of this document contains a summary of the requirements for DMA violin performance courses, based on a large survey of university programs in the U.S., both public and private. Using Petersons’ catalogue of “Graduate Programs in the Humanities, Arts & Social Sciences,” thirty-five U.S. institutions (public and private) that offer DMA in violin performance degrees and publicize their core requirements online have been analyzed. This study reveals that distribution of hours required in music performance curricula have changed little in the last forty years. A career plan is provided as a practical tool to help students navigate their own careers in the twentieth century. This document culminates with a Syllabus for an Innovative Music Performance course designed to remedy the deficits in the current core curriculum.
The first section of this document contains a summary of the requirements for DMA violin performance courses, based on a large survey of university programs in the U.S., both public and private. Using Petersons’ catalogue of “Graduate Programs in the Humanities, Arts & Social Sciences,” thirty-five U.S. institutions (public and private) that offer DMA in violin performance degrees and publicize their core requirements online have been analyzed. This study reveals that distribution of hours required in music performance curricula have changed little in the last forty years. A career plan is provided as a practical tool to help students navigate their own careers in the twentieth century. This document culminates with a Syllabus for an Innovative Music Performance course designed to remedy the deficits in the current core curriculum.
ContributorsStrahm, Kathleen Ariel (Author) / Swartz, Jonathan (Thesis advisor) / Creviston, Christopher (Committee member) / Humphreys, Jere T (Committee member) / Norton, Kay (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2017
Description
This is a genealogical study of the taken-for-granted ‘free’ or ‘self-governed’ play practice at the free schools. The study places play practice within a historical trajectory. The study compares and analyzes the current (1960s to present) discursive formations of play practice as they emerge in various archival texts such as on free schools, and juvenile delinquency and youth crime, to the discursive formations of the 1890s to 1929s as they emerge in various archival texts such as on physical education, public bath, city problems, playground, outdoor recreation legislation, and recreation areas and juvenile delinquency. The study demonstrates how various “subjugated knowledges” appeared during these time periods around play practice. Foucauldian genealogy is crafted for the study through Foucault’s lectures, interviews, essays, and how other scholars wrote about Foucauldian genealogy and conducted genealogical work themselves. The study is to challenge what it seems to be the grand narrative of this play practice in free schools. Instead of being the form of learning that allows students to seek their truest capacity and interest, learning, and eventually growth and happiness, this practice does so at a great cost, and therefore it is a dangerous practice, opens up various power/knowledge such as play is used as a systematic and accurate technology to shape, mold, and organize the schooled children body, a means to interrupt and intervene with the children growth, as the technology of school hygiene, and as a governing tool to help the state, nation, family, and school, produce ‘good’ citizens, who will not commit to idleness, delinquency, gang-spirit, and similar others.
ContributorsAletheiani, Dinny Risri (Author) / Carlson, David L. (Thesis advisor) / Sandlin, Jennifer A. (Committee member) / Schugurensky, Daniel, 1958- (Committee member) / Koro-Ljungberg, Mirka (Committee member) / Arizona State University (Publisher)
Created2017