Matching Items (4)
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- All Subjects: Music
- Creators: Schmidt, Margaret
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
- Resource Type: Text
- Status: Published
Description
E-Strings Academy (www.estringsacademy.wordpress.com) is a resource website intended for the beginning violinist, violist, cellist, and bassist. The mission of the website is to extend musical learning opportunities to students outside of the physical string classroom and to engage first-year string students in musical activities at home that supplement the instruction they receive in a school setting. The current website features five different areas for students to explore: lesson videos, tunes, listening activities, games, and resources. In each area, students have the opportunity to learn and reinforce musical concepts and skill sets that they will need in order to be successful in music, both in their first year of playing and beyond. I created E-Strings Academy with the intention that I use it with my own string students in my future teaching career. It is a flexible website that I will continue to revise, adapt, and enhance to best serve the needs of my students and enrich their musical learning outside of the classroom.
ContributorsCook, Christa Marie (Author) / Schmidt, Margaret (Thesis director) / Tobias, Evan (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2015-05
Description
Jamaican folk music is categorized into three large genres, which may be broken down into smaller more specific subgenres. Work and Social Music (which includes Work Songs, Mento Music, and Social Music), Recreational Music, and Ritual and Ceremonial Music. Rastafarianism, although it is a manifestation of ritual music, is given its own section due to the large amount of information available on the subject. Included here are historical analysis of the genres, as well as musical examples. Eight folk songs are included, and four drum patterns. This paper is intended as a resource for music educators, and therefore each song includes a Quick Reference Page, which lists solfege, rhythmic motives, genre of song, and if applicable drum rhythms which may be used to accompany the song. In addition, each song includes specific information regarding appropriate performance practice and suggestions for use in the classroom.
ContributorsVillarreal, Alicia Raquel (Author) / Stauffer, Sandra (Thesis director) / Schmidt, Margaret (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2015-05
Description
The meanings and values that people assign to music and the material culture that music creation offers make excellent data sources for uncovering new and transformative aspects of culture. Gospel music is a subculture that emphasizes a unique performance style, and is based upon culturally specific religious, social, musical, and historical contexts. Students in the ensemble who musically developed through a Western classical-based connective strand may experience some adjustment from what they know and develop new skills to navigate across cultural difference. The purpose of this study was to document how participants in a specific university gospel choir setting navigated across cultural differences for gospel choir study and performance. Participants were recruited and interviewed a total of three times about their experience in the ensemble. Questions that guided the study focused on three areas: religious difference, social difference, and musical difference. An in-case analysis of each participant showed that overall, experiences in the choir were positive. Participants from a variety of diverse backgrounds approached new cultural learning differences such as physical movement, aural music learning, religious text, and performance context with an open mind and an individualized way of navigating through difference. In order for participants to reach a point where they felt that they had cultural competency in a new musical area, in this case, the establishment of a strong community was especially essential because of the assumptions attached to this ensemble and because of many of the participants' initial limited understanding of cultural markers for learning music that draw on improvisatory and aural means. This study implies that there are connections between each cultural difference that are related. For the educator intending to introduce new cultural competencies in their classrooms, considering the dynamics in which cultural differences might interact with each other is essential.
ContributorsCrane, Janelle Elizabeth (Author) / Thompson, Jason (Thesis director) / Schmidt, Margaret (Committee member) / School of Music (Contributor) / School of Sustainability (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Three high-school and college-level band directors were interviewed about how their ensemble students (both individually and collectively) are affected during times of tragedy and how they responded to the situation. Tragedies discussed included student deaths, school-wide incidents, national emergencies, and other instances of shared grief. Questions that guided the research were: (1) In what musical or non-musical ways do band directors aid their students in the grieving process? (2) How do band directors handle their own personal emotions, both in front of their students and privately? and (3) What resources and previous experiences have prepared band directors to handle a grief situation, and what additional methods may have prepared them more effectively? Interviews were qualitatively analyzed for common themes and compared with literature related to responding to student grief. Four main themes emerged from the study: (1) contextual factors affect stakeholders' responses, (2) band directors make many decisions when handling student grief, (3) band directors recall responses of the wider community, and (4) band directors experience personal impact. Implications for the field included suggestions for band directors to consider non-musical student needs in their orientations to teaching, for the band director community to communicate about student grief situations, and for social workers and administrators to ensure that classroom teachers receive training and information on how to help students with grief. Recommendations for further research included replicating the study with other demographic areas, examining the students' experiences themselves, conducting a survey-based study about the topic, and exploring the role mentors have in shaping band directors' philosophies on this topic.
ContributorsPeters, Alaina Rose (Author) / Schmidt, Margaret (Thesis director) / Hoffer, Julie (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05