Matching Items (4)
Filtering by
- All Subjects: Curriculum
- Creators: Campbell, Andrew
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
Classical pianists have struggled to reconcile personal artistic growth with the economic and cultural realities of a career as a musician. This paper explores the existing structure of North American undergraduate piano education and its development alongside sociological and cultural changes in the twentieth century. Through document study and interviews, I look at three different models of undergraduate piano curricula. Chapters One and Two explore the issues and history surrounding the traditional piano curriculum. Chapters Three and Four draw on interviews to study two different North American undergraduate curricula: a piano curriculum within a liberal arts environment of an American Conservatory-College, and a piano curriculum within a Canadian University Faculty of Music. Chapter Five concludes with a summary of these findings and potential recommendations for implementation. In this study, I suggest that changes to piano curricula were made because of a differing approach, one in which music is seen as an entrepreneurial vocation. These changes point to a discrepancy between what is being provided in the curriculum, and the actual skills that are needed in order to thrive in today's economy. Awareness of the constant flux of the current professional climate is necessary in order for pianists to channel their skills into the world. I theorize that changes in curricula were made in order to provide a better bridge for students to meet realistic demands in their career and increase their ability to impact the community.
ContributorsChoi, Rosabel (Author) / Kim, Kwang-Wu (Thesis advisor) / Campbell, Andrew (Committee member) / Hamilton, Robert (Committee member) / Levy, Benjamin (Committee member) / Pagano, Caio (Committee member) / Arizona State University (Publisher)
Created2013
Description
The purpose of this document is to create a template for a master’s degree in Collaborative Piano using data collected from an online survey and from publicly available information on institutional websites. The history and development of the graduate collaborative piano degree in the United States is examined to provide the background to this research. In addition to the degree template, other aspects useful for the creation of such a degree are discussed, including proposed required and optional courses, financial considerations, community outreach opportunities, and balancing off-campus professional engagements with on-campus academic duties. A list of all institutions currently offering collaborative piano degrees at the graduate level is included in the appendix.
The degree template conforms to the requirements of the National Association of Schools of Music (NASM) in order to allow the greatest number of institutions the ability to embrace the curriculum. Designed to be flexible within the overall requirements of the degree, the proposed curriculum favors a balanced approach between instrumental and vocal collaboration, with a combination of traditional courses, project-based courses, and customizable elective courses designed to develop important competencies in collaborative piano. Both solo and collaborative applied lessons would be required, with three coached collaborative recitals and one uncoached collaborative recital required to fulfill the degree requirements. The project-oriented Collaborative Piano Seminar course has the flexibility to allow team teaching or community partnerships and requires an off-campus class performance once per academic year.
The goal of this template is to provide a pedagogically solid foundation for a master’s degree in collaborative piano, with the flexibility to add a variety of elective courses best suited to the needs and talents of the students, faculty, and institution. The synthesis of classical and popular styles within the curriculum is designed to give the collaborative pianist diverse musical competencies in order to succeed and thrive as a professional musician in the 21st century, whether the student continues with self-education after the master’s degree, pursues further study at the doctoral level, or enters the professional world.
The degree template conforms to the requirements of the National Association of Schools of Music (NASM) in order to allow the greatest number of institutions the ability to embrace the curriculum. Designed to be flexible within the overall requirements of the degree, the proposed curriculum favors a balanced approach between instrumental and vocal collaboration, with a combination of traditional courses, project-based courses, and customizable elective courses designed to develop important competencies in collaborative piano. Both solo and collaborative applied lessons would be required, with three coached collaborative recitals and one uncoached collaborative recital required to fulfill the degree requirements. The project-oriented Collaborative Piano Seminar course has the flexibility to allow team teaching or community partnerships and requires an off-campus class performance once per academic year.
The goal of this template is to provide a pedagogically solid foundation for a master’s degree in collaborative piano, with the flexibility to add a variety of elective courses best suited to the needs and talents of the students, faculty, and institution. The synthesis of classical and popular styles within the curriculum is designed to give the collaborative pianist diverse musical competencies in order to succeed and thrive as a professional musician in the 21st century, whether the student continues with self-education after the master’s degree, pursues further study at the doctoral level, or enters the professional world.
ContributorsFincher, Aimee Elisabeth (Author) / Campbell, Andrew (Thesis advisor) / Rockmaker, Jody (Committee member) / Ryan, Russell (Committee member) / Schildkret, David (Committee member) / Yeo, Douglas (Committee member) / Arizona State University (Publisher)
Created2020