Matching Items (6)
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- All Subjects: pedagogy
- Creators: Dyer, Becky
- Creators: Micklich, Albie
- Member of: Theses and Dissertations
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
- Resource Type: Text
- Status: Published
Description
Students afflicted with music performance anxiety (MPA) can greatly benefit from guidance and mentorship from a music teacher with whom they have established trust, however there exists a knowledge gap between the development and manifestations of MPA, and how it can be overcome in order to prepare the student for success as a performer. It is my purpose with this guide to inform musicians, including students and teachers, about MPA, common coping methods, and outside resources where pedagogues, students, and even professionals can find further guidance. This document is designed to aid music students and teachers in their individual research on the topic. The first section provides necessary background information on MPA and concepts of gender, identity, and personality. A discussion of the results of an experimental protocol that surveyed double reed musicians about their experiences with performance anxiety comprises the second section. An annotated bibliography, listing other resources including self-help books, personal accounts, and scientific studies, is contained in the final section of this guide. Because of the relative absence of research done on the correlation between MPA and specific identity traits including personality, self-image, and gender, it was necessary to incorporate more generalized sources relating to the topic. The annotations offer a more comprehensive approach to understanding and overcoming MPA. This work is not meant to be all-inclusive; rather, its purpose is to act as a basic guide.
ContributorsMacKenzie, Kate, D.M.A (Author) / Micklich, Albie (Thesis advisor) / Schuring, Martin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2014
Description
The purpose of this thesis is to examine the events surrounding the creation of the oboe and its rapid spread throughout Europe during the mid to late seventeenth century. The first section describes similar instruments that existed for thousands of years before the invention of the oboe. The following sections examine reasons and methods for the oboe's invention, as well as possible causes of its migration from its starting place in France to other European countries, as well as many other places around the world. I conclude that the oboe was invented to suit the needs of composers in the court of Louis XIV, and that it was brought to other countries by French performers who left France for many reasons, including to escape from the authority of composer Jean-Baptiste Lully and in some cases to promote French culture in other countries.
ContributorsCook, Mary Katherine (Author) / Schuring, Martin (Thesis director) / Micklich, Albie (Committee member) / Barrett, The Honors College (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / School of Music (Contributor)
Created2015-05
Description
ABSTRACT
Improvisation, or extemporization, has always played an important role in all
genres of music across the globe. In Western art music alone, improvisation has been used in many settings throughout history, such as composition, public extemporization, and ornamenting existing notated music. Why is it then, that improvisation is not an important part in the education of the Western Art Music tradition?
Introducing improvisation to music education develops a more well-rounded musical ability, a firmer understanding of musical concepts, and a clearer insight to the composition of music. To examine this issue, I discuss a number of scientific explorations into the use of improvisation. First, new technology in the study of the brain gives insight into how the brain functions during improvisation. Adding to this evidence, I contextualize the use of improvisation into four scientifically developed educational scenarios based on how humans most effectively learn information and skills. To conclude, the discussion then shifts to simple exercises designed to assist musicians and teachers of any skill level in utilizing improvisation in practicing, lessons, and performance.
To prevent students of music from reaffirming a continuously narrowing viewpoint of music’s creation, cultural implications, and performance, educational systems should make an effort to teach more than just the preparation of increasingly complex scores. Improvisation is not only a solid foundation for understanding the roots of western music’s own musical traditions, but also a gateway to understanding the musical traditions of the world.
Improvisation, or extemporization, has always played an important role in all
genres of music across the globe. In Western art music alone, improvisation has been used in many settings throughout history, such as composition, public extemporization, and ornamenting existing notated music. Why is it then, that improvisation is not an important part in the education of the Western Art Music tradition?
Introducing improvisation to music education develops a more well-rounded musical ability, a firmer understanding of musical concepts, and a clearer insight to the composition of music. To examine this issue, I discuss a number of scientific explorations into the use of improvisation. First, new technology in the study of the brain gives insight into how the brain functions during improvisation. Adding to this evidence, I contextualize the use of improvisation into four scientifically developed educational scenarios based on how humans most effectively learn information and skills. To conclude, the discussion then shifts to simple exercises designed to assist musicians and teachers of any skill level in utilizing improvisation in practicing, lessons, and performance.
To prevent students of music from reaffirming a continuously narrowing viewpoint of music’s creation, cultural implications, and performance, educational systems should make an effort to teach more than just the preparation of increasingly complex scores. Improvisation is not only a solid foundation for understanding the roots of western music’s own musical traditions, but also a gateway to understanding the musical traditions of the world.
ContributorsBreadon, Thomas, Jr (Author) / Micklich, Albie (Thesis advisor) / Creviston, Christopher (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2015
Description
The purpose of this qualitative study was to design and assess a dance pedagogy curriculum intended to cultivate private sector dance educators’ somatic perception. Research questions were framed to understand the nature of knowledge encouraged by the curriculum and each educator's experience of knowledge formation and application to each participant's pedagogical context. The study was conducted in four overlapping stages: 1) Philosophical inquiry, 2) Curricular design, 3) Limited case-study, and 4) Data analysis. The stages employed mix methodologies that included: action research, autobiographical reflection, ethnographic and phenomenological approaches. The limited case-study explored two private-sector dance educators’ experiences of the curriculum. Data collected during the limited case-study conducted with the dance educators revealed thematic clusters about the nature, cultivation, expression, and experience of somatic perception. The themes suggest that the nature of somatic perception reflects an individual educators’ lived experiences that shape values, movement patterns, and phrasing. The expression of somatic perception aligns with the individual educator’s narrative and was evident in patterns and phrasing of movement and learning. The cultivation of somatic perception is an ongoing process that requires active engagement to acquire, assimilate, and integrate the knowledge of content, context, self, and student. Finally, somatic perception manifested itself in each educator’s unique expression of confidence, empathy, creativity, and spontaneity resulting in skillful enactment of knowledge within an immediate pedagogical context.
ContributorsWisniewski, Stacy (Author) / Dyer, Becky (Thesis advisor) / Schupp, Karen (Committee member) / Hannah, Christina (Committee member) / Arizona State University (Publisher)
Created2020
Description
The Bharata-Natyam student in the United States (US) is challenged by how to effectively translate their dance into contemporary lived experiences. Research reveals that this dilemma is sometimes addressed by transplanting learnt choreographies into a new theme, sometimes adding verbal text to connect learnt choreography to contemporary issues, or sometimes simply giving up the dance form. Years of training in prevalent Bharata-Natyam education methods make students proficient in re-producing choreography but leave them without the tools to create. This is due to emphasis on guarding traditions and leaving interpretation for later stages that never arrive or get interrupted, because students leave their spaces of Indian-ness for college or a job. This work considers how Bharata-Natyam teachers in the US might support students in finding agency in their dance practice, using it to explore their lived experiences outside dance class, and engaging meaningfully with it beyond the Indian diaspora. The desire for agency is not a discarding of tradition; rather, it is a desire to dance better. This work reinforces the ancient Indian tradition of inquiry to seek knowledge by implementing the principles of Bharata-Nrityam, somatics and engaged pedagogy through the use of creative tools. This took place in three stages: (i) lessons in the Bharata-Nrityam studio, (ii) making Kriti with non-Bharata-Natyam dancers, and (iii) designing a collaborative action dance project between senior Bharata-Natyam students and community partners who are survivors of sexual/domestic violence.
The results, in each case, demonstrated that the use of creative tools based in the principles above enriched the teaching-learning process through deeper investigation and greater investment for both student and teacher. Students in the early stages of learning thrived, while senior students expressed that having these tools earlier would have been valuable to their practice. These results suggest that when Bharata-Natyam education in the US is refocused through the lenses of Bharata-Nrityam, somatics and engaged pedagogy, teachers can access tools to empower their students in their practice of Bharata-Natyam not only within the context of the Indian diaspora but also beyond.
The results, in each case, demonstrated that the use of creative tools based in the principles above enriched the teaching-learning process through deeper investigation and greater investment for both student and teacher. Students in the early stages of learning thrived, while senior students expressed that having these tools earlier would have been valuable to their practice. These results suggest that when Bharata-Natyam education in the US is refocused through the lenses of Bharata-Nrityam, somatics and engaged pedagogy, teachers can access tools to empower their students in their practice of Bharata-Natyam not only within the context of the Indian diaspora but also beyond.
ContributorsMANDALA, SUMANA SEN (Author) / Jackson, Naomi (Thesis advisor) / Dyer, Becky (Committee member) / Durfee, Alesha (Committee member) / Arizona State University (Publisher)
Created2020
Description
This research study aimed to develop, implement, and evaluate the effectiveness of a dance wellness educational curriculum administered in a university-level dance classroom. Using a mixed methods design involving a pre-test/post-test performance assessment and document analysis for qualitative data, this study asked two questions: 1) How does participation in a semester-long course on Group Fitness Instruction and dancer wellness increase participants’ comprehension of exercise science and fitness instruction concepts? 2) How does participation in a semester-long course on Group Fitness Instruction and dancer wellness impact participants’ personal approaches to teaching, training, and wellness? Results showed that the post-test scores were significantly higher than pre-test scores, and qualitative data collected from participants indicated deep levels of meaning-making and application of course content to personal approaches to training and teaching. This suggests that incorporating a dance wellness curriculum in a university-level dance program builds exercise science, wellness, and instructional literacy, while encouraging students to apply gained knowledge in both personal and professional capacities.
ContributorsDrew, Lisa (Author) / Standley, Eileen (Thesis advisor) / Dyer, Becky (Committee member) / Kulinna, Pamela (Committee member) / Arizona State University (Publisher)
Created2021