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- All Subjects: pedagogy
- Creators: Gardner, Joshua T
For the study, audio, nasalance, and intraoral pressure data were collected and analyzed. Audio was analyzed using spectrograms and root mean square measurements of sound pressure for intensity (IRMS). Analysis of the nasalance data confirmed the description of the physiological mechanisms used to generate the humming while playing technique, with nasalance values for this technique far exceeding those for both singing while playing and regular playing. Intraoral pressure data showed significant spikes in pressure during the transitions from the regular air stream to air stored in the oral cavity when humming while playing. Audio analysis showed that the dynamic range of each technique is similar to that of regular playing, and that each technique produces very different and distinct aural effects.
This information was then used to help create a method to assist performers in learning how to produce both singing and humming while playing and a resource to help educate composers about the possibilities and limitations of each technique.
While many professional arts training programs prepare students to excel at the practice and performance of the arts, evidence suggests that many professional arts training programs may be failing to prepare students to be professional artists. A total of 11.1% of all recent college graduates with undergraduate arts degrees are unemployed (Carnevale, Cheah, & Strohl, 2012, p. 7).
Fifty-two percent of arts undergraduate alumni reported being dissatisfied with their institution’s ability to advise them about further career or education opportunities (SNAAP, 2012, p. 14). Eighty-one percent of all arts undergraduate alumni reported having a primary job outside of the arts for reasons of job security (SNAAP, 2012, p. 19). Many arts higher education administrators address the situation by advising arts students to attend business and entrepreneurship courses. However, these courses are often taught or presented outside of an arts training context. Arts entrepreneurship education can serve as contextual business/career/technology education for arts students; however, barriers make it difficult for administrators to create adequate curricular room for arts entrepreneurship education.
Furthermore, the teaching and learning of contextual business/career/technology education in professional arts training programs may often be thought of as helpful but not essential, as evidenced by the National Office of Arts Accreditation (NOAA) classification of these types of courses as general education units. This essay supports the need for arts entrepreneurship education, and discusses key barriers to recognizing arts entrepreneurship education as essential to professional arts training.