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- Genre: Art--Study and teaching (Elementary)
- Genre: Music--Latin America.
- Creators: Arizona State University
Description
This quantitative, quasi-experimental study examined the effectiveness of three types of online guided-practice activities designed to increase learning of visual art concepts, the color concepts of hue, tint, shade, value, and neutral colors in particular, among fifth grade students in a large school district in the southwestern United States. The study's results indicated that, when students were given a limited amount of time to engage in practice activities, there was no statistically significant difference among the three types of guided practice and the control group. What was effective, however, was the instructional component of this study's instruments.
ContributorsDelahunt, Michael (Author) / Erickson, Mary (Thesis advisor) / Atkinson, Robert (Committee member) / Young, Bernard (Committee member) / Arizona State University (Publisher)
Created2014
Description
This DMA project (in piano performance) consists of a concerto composed for trumpet and piano duo with orchestra and an analytical document that accompanies it. The text portion of this paper discusses the different compositional aspects of Rapsodia Camaleónica, including instrumentation, form, influences and the performers' perspective. The work is scored for a medium-sized orchestra: 2 flutes (flute 2 double piccolo), 2 oboes, 2 clarinets, 2 bassoons, horn, trombone, bass trombone, 4 percussionists (timpani, snare drum, crash cymbals, suspended cymbal, castanets, güiro or carrasca, shekere, whip, xylophone, triangle, pandeiro, tam-tam, wood blocks, 2 congas, glockenspiel, 3 tom-toms, bass drum) and strings. It is written in one multi-sectional movement with a duration of approximately twenty-three minutes. The full score is attached as an appendix. The influences in Rapsodia Camaleónica range from the western classical tradition to world music to urban dance music, all of which fuse together in a work that blends this eclectic mix into a unified whole. This composition is intended as an addition to the piano concerto repertoire from Latin America, which includes compositions by Carlos Chávez, Manuel María Ponce (both Mexican), Alberto Ginastera (Argentinian), Camargo Guarnieri and Heitor Villa-Lobos (both Brazilian). It is the composer's desire to add a Colombian piece of universal appeal to this list.
ContributorsArias-Esguerra, Mauricio (Author) / Meir, Baruch I (Thesis advisor) / DeMars, James (Committee member) / Hamilton, Robert (Committee member) / Pagano, Caio (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012