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The study compares the pretest and posttest results of three groups of second-grade students studying a phonics rule to determine the effect of using music as an instructional aid. For two groups in the study, the teachers used melodies to instruct students, while the third group was held to direct instruction with no music to use for assistance. The study groups were three second-grade classes at Ishikawa Elementary School, where I was serving as a student teacher. Parental consent was received for each of the students participating in the study. The duration of the study was one week. The first test group was given a familiar melody with new lyrics to reflect the content of the phonics rule "I before E except after C." The second test group was given a melody composed specifically to accompany the phonics rule and to reflect the appropriate phonics content. On the first day of the study, students were given a pretest; these scores were recorded and then compared to the posttest scores from the end of the week. The data that were collected compared groups as a whole through composite scores from pretest to posttest to determine most effective methodology. The groups that were instructed using music demonstrated greater growth and had higher posttest scores.
ContributorsFrazee, Madison Marie (Author) / Schildkret, David (Thesis director) / Stauffer, Sandy (Committee member) / Barrett, The Honors College (Contributor) / Division of Teacher Preparation (Contributor)
Created2014-12
Description
This thesis explores my experience in teaching a high school music class through composition. I detail pedagogical approaches that helped to shape my lesson planning including constructivism, informal learning, and project based learning. The music education theory is put into action in a real high school setting and I explain what happened: what worked, what didn't, and what can we learn from this?
ContributorsWhelihan, Brian Peter (Author) / Tobias, Evan (Thesis director) / Schildkret, David (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-05
Description
There are many different methods of learning the guitar and teaching it to oneself. I explored classical methods as well as learned by tablature. I compared it to how I have learned the piano and other things in past such as languages and sports. This paper narrates the process but also give advise for someone teaching themself any subject matter. Here are the main points: (1) Choose something you are passionate about (2) Use what you already know, and apply strategies that have worked before (3) Try learning the subject in different ways (4) Build a strong foundation of fundamentals (5) Take advantage of various resources (6) Do not be afraid to make mistakes (7) Perseverance will pay off. I found that I preferred the tablature method but learned a lot from both. I plan on continuing to improve at both methods and want to expand my learning to songwriting.
ContributorsCoelet, Collin Patrick (Author) / Schildkret, David (Thesis director) / Halick, Mary (Committee member) / Barrett, The Honors College (Contributor) / Department of Chemistry and Biochemistry (Contributor)
Created2014-05
Description
A manuscript of a symphony kept on the bookshelves of a library is like a great painting hidden away in a museum where no one can see it. Music needs to be performed to be appreciated and embedded into a culture. The work of a composer must be made accurately easily accessible to musicians and the public for the work to be widely disseminated. This critical edition marks an effort in this direction to shed light on a major work of Mexican composer José Francisco Vásquez Cano (1896-1961).José F. Vásquez was one of the most prolific Mexican composers and accomplished conductors in the first half of the 20th century, yet there is little widespread knowledge about his life and works. This critical edition of the first movement of Symphony No. 2 (1929) will create a path to further performances and recordings, so that future generations in Mexico and abroad can acquire a wider appreciation of this composer’s role in the wider Mexican cultural heritage.
This edition aims to show with transparency every critical decision made based on the score’s manuscript and presently available set of instrumental parts. Due to the continued efforts of José J. Vásquez (the composer’s son) to promote the recovery and performance of his father’s music, I have had access to a black and white scan of the full score’s manuscript, and high-definition color scans of 29 parts for each instrument, allowing me to accurately pinpoint possible errata in the manuscript. The critical commentary along with the digitized score aim to offer future conductors and performers access and insight into this important work by an invaluable composer.
ContributorsHernández Bolaños, Francisco José (Author) / Meyer, Jeffery (Thesis advisor) / Caslor, Jason (Committee member) / Schildkret, David (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022