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Description
The purpose of this research paper is to discuss John Carter's Cantata, the musical development of this composition, and provide a brief history of this African American musician and composer. Presently, there exists very little research regarding Carter's life and compositions. From a musician's perspective, this paper discusses the challenges of singing and performing the Cantata for future performers and provides a reference for their preparation. This project also examines John Carter's musical style and analyzes the structure of the Cantata. African-American folk songs were an inspiration to Carter's compositions, especially this particular work. As an African-American, his life and background played a role in his inspiration of composition. With borrowed music, he reveals a basic truth about this period of American history; how the lives of slaves influenced in the development of this particular genre. Additionally, John Carter's style of composition is examined, including the application of jazz and modal scales in his Cantata. Performance practice is examined for both the singer and pianist in a way that best represents the composer's original and unique intent. From vocal safety to breath control, a singer may find several challenges when performing this eclectic piece. This paper provides a guide for singers. A brief overview of the pianist's role in the Cantata is also included. Characteristic words of the African-American vernacular found in Carter's Cantata are briefly discussed and identified (i.e. "them" vs. "dem"). It is essential that any performer, both beginning and advanced, should have a proper understanding of the concepts that Carter had so carefully crafted. This paper endeavors to provide a deeper sense of understanding to what Carter had intended for both the performer and the listener.
ContributorsNa, Bora (Author) / Britton, David (Thesis advisor) / Bush, Jeffrey (Committee member) / Campbell, Andrew (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
Collaborative piano skills are not only important for pianists. Many of the skills that collaborative pianists use regularly are the same skills used by music educators, music therapists, and vocal and instrumental professionals. If these skills were included in the class piano curriculum of music majors for whom piano is not their primary instrument, students might be better prepared for essential tasks they will accomplish in their future careers. This study seeks to discover the extent to which collaborative piano skills such as sight-reading, collaboration with a singer or instrumentalist, and score reduction are incorporated into the class piano courses offered in Arizona. A survey was sent in 2021 to all community college and university instructors of class piano in Arizona, asking them about the role, frequency, and assessment methods of collaborative piano skills in their courses. Public information was also gathered from institutional websites regarding course curriculum. To collect more detailed information regarding the pedagogical practices of Arizona class piano educators, I interviewed four professors who develop and implement class piano curricula in Arizona.
The results of this study suggest that Arizona class piano educators desire to incorporate more collaborative piano skills in their courses. The goal of this research is to bring awareness to the discrepancy in class piano curriculum standards with regards to collaborative piano skills across Arizona and spur pedagogical dialogue among educators regarding ways to improve programs. These enhancements will ultimately serve to give each student the best possible preparation for a career in music.
ContributorsSherrill, Amanda May (Author) / Campbell, Andrew (Thesis advisor) / DeMaris, Amanda (Committee member) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2022
Description
The work of collaborative pianists can vary widely, requiring a large spectrum of musical and foreign language skills. In addition, many non-musical skills are required of collaborative pianists in order to adapt to various types of work, the roles they assume, and the needs of the people they encounter professionally. Collaborative pianists usually develop good habits for survival on the job, but rarely receive preliminary training in capacities such as facilitation, maintaining objectivity in collaboration, asking good questions, and giving feedback effectively. The emerging field of teaching artistry offers a wealth of information for the development of these non-musical skills in collaborative pianists. The skills necessary for teaching artistry and collaborative piano frequently overlap, which is instructive for collaborative pianists as they prepare for their various musical and leadership roles. This paper explores shared practices between these disciplines, how they can enhance the activities of a collaborative pianist, and also help them develop skills as arts advocates. Advocating techniques for new music and audience engagement are addressed, as well as programming, content development and building teams around projects. The idea of the collaborative pianist becoming a teaching artist is also explored, as the diverse activities and experiences of a collaborative pianist can serve as valuable resources. All of these approaches to non-musical skills focus on building strong processes, leading to creative activities that are process-driven rather than product-driven. This study seeks to enrich activities of collaborative pianists through the application of teaching artist capacities and pave pathways for new, more effective professional collaborations.
ContributorsWitt, Juliana (Author) / Campbell, Andrew (Thesis advisor) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2020