Matching Items (6)
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- All Subjects: School music
- Creators: Schmidt, Margaret
- Creators: Felice, Joseph Philip
- Status: Published
Description
Johann Sebastian Bach's violin Sonata I in G minor, BWV 1001, is a significant and widely performed work that exists in numerous editions and also as transcriptions or arrangements for various other instruments, including the guitar. A pedagogical guitar performance edition of this sonata, however, has yet to be published. Therefore, the core of my project is a transcription and pedagogical edition of this work for guitar. The transcription is supported by an analysis, performance and pedagogical practice guide, and a recording. The analysis and graphing of phrase structures illuminate Bach's use of compositional devices and the architectural function of the work's harmonic gravities. They are intended to guide performers in their assessment of the surface ornamentation and suggest a reduction toward its fundamental purpose. The end result is a clarification of the piece through the organization of phrase structures and the prioritization of harmonic tensions and resolutions. The compiling process is intended to assist the performer in "seeing the forest from the trees." Based on markings from Bach's original autograph score, the transcription considers fingering ease on the guitar that is critical to render the music to a functional and practical level. The goal is to preserve the composer's indications to the highest degree possible while still adhering to the technical confines that allow for actual execution on the guitar. The performance guide provides suggestions for articulation, phrasing, ornamentation, and other interpretive decisions. Considering the limitations of the guitar, the author's suggestions are grounded in various concepts of historically informed performance, and also relate to today's early-music sensibilities. The pedagogical practice guide demonstrates procedures to break down and assimilate the musical material as applied toward the various elements of guitar technique and practice. The CD recording is intended to demonstrate the transcription and the connection to the concepts discussed. It is hoped that this pedagogical edition will provide a rational that serves to support technical decisions within the transcription and generate meaningful interpretive realizations based on principles of historically informed performance.
ContributorsFelice, Joseph Philip (Author) / Koonce, Frank (Thesis advisor) / Feisst, Sabine (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2013
Description
The purpose of this study was to compare perceptions of success and failure, attributions of success and failure, predictions of future success, and reports of out-of-class engagement in composition among middle school band students composing in open task conditions (n = 32) and closed task conditions (n = 31). Two intact band classes at the same middle school were randomly assigned to treatment groups. Both treatment groups composed music once a week for eight weeks during their regular band time. In Treatment A (n = 32), the open task group, students were told to compose music however they wished. In Treatment B (n = 31), the closed task group, students were given specific, structured composition assignments to complete each week. At the end of each session, students were asked to complete a Composing Diary in which they reported what they did each week. Their responses were coded for evidence of perceptions of success and failure as well as out-of-class engagement in composing. At the end of eight weeks, students were given three additional measures: the Music Attributions Survey to measure attributions of success and failure on 11 different subscales; the Future Success survey to measure students' predictions of future success; and the Out-of-Class Engagement Letter to measure students' engagement with composition outside of the classroom. Results indicated that students in the open task group and students in the closed task group behaved similarly. There were no significant differences between treatment groups in terms of perceptions of success or failure as composers, predictions of future success composing music, and reports of out-of-class engagement in composition. Students who felt they failed at composing made similar attributions for their failure in both treatment groups. Students who felt they succeeded also made similar attributions for their success in both treatment groups, with one exception. Successful students in the closed task group rated Peer Influence significantly higher than the successful students in the open task group. The findings of this study suggest that understanding individual student's attributions and offering a variety of composing tasks as part of music curricula may help educators meet students' needs.
ContributorsSchwartz, Emily, 1985- (Author) / Stauffer, Sandra L (Thesis advisor) / Tobias, Evan (Committee member) / Schmidt, Margaret (Committee member) / Broatch, Jennifer (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2014
Description
This study examined attitudes and perspectives of classroom guitar students toward the reading of staff notation in music. The purpose of this qualitative research was to reveal these perceptions in the student's own words, and compare them to those of orchestra and band students of comparable experience. Forty-seven students from four suburban middle and high schools on the east coast were selected through purposeful sampling techniques. Research instruments included a Musical Background Questionnaire and a thirty-five question Student Survey. Follow-up interviews were conducted with students to clarify or expound upon collected data. Guitar, orchestra, and band teachers were interviewed in order to provide their perspectives on the issues discussed. The Student Survey featured a five-point Likert-type scale, which measured how much students agreed or disagreed with various statements pertaining to their feelings about music, note-reading, or their class at school. Collected data were coded and used to calculate mean scores, standard deviations, and percentages of students in agreement or disagreement with each statement. Interviews were audio recorded and transcribed into a word processing document for analysis. The study found that while a variety of perspectives exist within a typical guitar class, some students do not find note-reading to be necessary for the types of music they desire to learn. Other findings included a perceived lack of relevance toward the classical elements of the guitar programs in the schools, a lack of educational consistency between classroom curricula and private lesson objectives, and the general description of the struggle some guitarists experience with staff notation. Implications of the collected data were discussed, along with recommendations for better engaging these students.
ContributorsWard, Stephen Michael (Author) / Koonce, Frank (Thesis advisor) / Schmidt, Margaret (Thesis advisor) / Buck, Nancy (Committee member) / Rogers, Rodney (Committee member) / McLin, Katherine (Committee member) / Arizona State University (Publisher)
Created2011
Description
Emotional competence is the capacity to handle emotional situations effectively. A teacher's emotional competence influences the choices they make both pedagogically and during student interaction. This qualitative multiple case study examines the lived experiences of four elementary general music teachers for the purposes of exploring emotional competence as related to perceptions and practices in the classroom. Research questions included: Is it possible to observe a music teacher's emotional competence in action? If it can be observed, what is the relationship between emotional competence and teaching practices, including a teacher's decisions about music, interactions with children, and his or her own emotional self-management? What is the relationship between a music teacher's self-perceived emotional competence and observed emotional competence in teaching practices? Four elementary general music teachers were observed four times within typical music teaching situations at their respective schools, and three interviews were conducted with each teacher. Teachers completed three self-report inventories drawn from the literature and revised by the researcher. An administrator and three students for each teacher were interviewed as secondary participants. Data were coded for emotional intelligence branches as outlined by Perry (2004), emotional competence skills as outlined by Saarni (1999), and "adaptive coping styles" described by Gottman (1997), and presented as individual cases. A cross-case analysis was conducted. Findings suggest that elementary general music classrooms are emotional places. Music provides students with unique emotional experiences. Effective teaching within this context has an emotional ebb and flow in which music plays a vital role. Interactions between teacher and students may result in a feedback loop in which exchanges of emotional reactions occur and where teachers may be called upon to manage their own emotional responses. When adverse situations arise, a music teacher may choose an adaptive coping style suitable for the circumstance. These choices are influenced by their knowledge, skills, and emotional competencies. Teachers' perceptions of their emotional teaching practices are not always congruent with their observed emotional teaching practices. When the knowledge and emotional abilities of music teachers are used effectively, they can have a positive influence on the emotional climate of the classroom, which may, in turn, impact learning.
ContributorsMcConkey, Michelle Stephan (Author) / Stauffer, Sandra (Thesis advisor) / Bush, Jeffrey (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2012
Description
This study investigates the lived experience of competition in high school band and the manner in which competition influences and frames band curricula. A hermeneutic phenomenological method based on the works of van Manen and Vagle was used to investigate what it was like for participants to be in competition. A theoretical framework organized around Schwab's commonplaces of education was used to interpret findings related to the curricular areas of the teacher, learner, subject matter, and milieu. I examined data through a lens incorporating principles of John Dewey's philosophy related to each of the commonplaces.
Twelve individuals participated in the study representing experiences had both as students and as music educators. Participants lived and taught in communities throughout the United States and brought differing levels of teaching and competitive experience. Data were generated through in-depth interviews and collaborative phenomenological texts. Research questions included: What is the lived experience of competing in a high school band like?; and, How does competition frame and influence high school band curricula?
Findings indicate that competition was a meaningful and influential part of participants' work as band directors and educational experiences as students. Competition was approached with tension as participants acknowledged negative concerns over the influence of competitions on their students, yet chose to engage in competitive activities. Marching band contests offered a creative outlet where directors could develop custom materials and they did so with a significant motivation to win. Competition was perceived as an influence on band directors' professional reputations, feelings of competence, and how band programs were viewed in the community. Students were motivated by competitions and reacted strongly to competitive results such as rankings, ratings, and other distinctions.
Findings also indicate that band curricula emphasizing competition share similar curricular facets: (a) teachers carefully control and manage classroom activities and curricular choices; (b) students are viewed as skilled performers who are dependent upon their teachers for learning; (c) subject matter is narrowly considered around measurable behavioral objectives and repertoire selection; and, (d) the educational environment is dominated by the teacher who may use competition to motivate students to work and practice more.
Twelve individuals participated in the study representing experiences had both as students and as music educators. Participants lived and taught in communities throughout the United States and brought differing levels of teaching and competitive experience. Data were generated through in-depth interviews and collaborative phenomenological texts. Research questions included: What is the lived experience of competing in a high school band like?; and, How does competition frame and influence high school band curricula?
Findings indicate that competition was a meaningful and influential part of participants' work as band directors and educational experiences as students. Competition was approached with tension as participants acknowledged negative concerns over the influence of competitions on their students, yet chose to engage in competitive activities. Marching band contests offered a creative outlet where directors could develop custom materials and they did so with a significant motivation to win. Competition was perceived as an influence on band directors' professional reputations, feelings of competence, and how band programs were viewed in the community. Students were motivated by competitions and reacted strongly to competitive results such as rankings, ratings, and other distinctions.
Findings also indicate that band curricula emphasizing competition share similar curricular facets: (a) teachers carefully control and manage classroom activities and curricular choices; (b) students are viewed as skilled performers who are dependent upon their teachers for learning; (c) subject matter is narrowly considered around measurable behavioral objectives and repertoire selection; and, (d) the educational environment is dominated by the teacher who may use competition to motivate students to work and practice more.
ContributorsO'Leary, Emmett James (Author) / Tobias, Evan S (Thesis advisor) / Stauffer, Sandra L (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill M (Committee member) / Landes, Heather (Committee member) / Arizona State University (Publisher)
Created2016
Description
Since the 1920's, the school musical has been an important event in American high schools and in the lives of students. This study begins with a condensed history of the American musical theatre, into focus on selected shows' value as potential high school repertoire. Review of literature included studies of high school musical theatre, production guides and related materials, and writings both against and in favor of musicals at the high school level. The school musical is usually undertaken as an extra-curricular activity led by performing arts faculty. This study focuses on the preparation, responsibilities, and attitudes of high school music educators toward musical theatre direction. Musical direction is defined as teaching the vocal music, and teaching and leading the instrumental music of the production where applicable. A researcher-designed survey was distributed to Arizona music educators in schools that included grade 12. The response rate was 71%. Questions included items designed to assess the pervasiveness of musical theatre productions, the roles and responsibilities of music educators, and their preparation for those roles. Additional Likert-type questions comprised an inventory measuring attitudes toward musical theatre productions. Results of the survey showed that musicals are produced in 80% of Arizona high schools, and music faculty are expected to lead at least the musical aspects of these productions. Although 62% report that they learned about teaching musical theatre on the job, and that they received no other preparation, 70% report a large amount of personal enjoyment and fulfillment from their work in musical theatre. The mean attitude score for positive feelings about work in musical theatre was found to be significantly higher for choral teachers than instrumental teachers. The primary implications of the study are the need for better preparation and in-service opportunities for music educators in musical theatre pedagogy.
ContributorsDavey, Debra Jo (Author) / Stauffer, Sandra (Thesis advisor) / Bush, Jeffrey (Thesis advisor) / Reber, William (Committee member) / Schmidt, Margaret (Committee member) / Sullivan, Jill (Committee member) / Arizona State University (Publisher)
Created2010