Matching Items (124)
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William Levi Dawson (1899-1990), director of the Tuskegee Institute Choir from 1931 to 1956, was one of the most important arrangers of Negro spirituals in the twentieth century. He is also remembered as an outstanding composer, conductor, speaker, and leader of festival choruses. His arrangements are still sung by choirs

William Levi Dawson (1899-1990), director of the Tuskegee Institute Choir from 1931 to 1956, was one of the most important arrangers of Negro spirituals in the twentieth century. He is also remembered as an outstanding composer, conductor, speaker, and leader of festival choruses. His arrangements are still sung by choirs all over the world. Save a small number of dissertations and various articles, however, very little has been written about him. In fact, almost no significant writing has been undertaken utilizing the Dawson papers held at the Manuscript, Archives, and Rare Books Library at Emory University in Atlanta, Georgia. This study utilizes that collection in examining four areas of Dawson's life: his work as a composer, his work as an arranger of Negro spirituals, his work as a choral conductor and music pedagogue, and his life as an African American man living in segregated times. Dawson is shown as a thoughtful, deliberate practitioner of his art who built his career with intention, and who, through his various activities, sought both to affirm the traditional music of his people and to transcend his era's problems with the definitions, associations, and prejudices attached to the term "race." Using a diverse selection of letters, notes, and speeches held in the archive, it is possible to develop a fuller, more nuanced portrait of Dawson. Through a thorough examination of a select few of these documents, his growth can be traced from a young composer living in Chicago, to a college choral director dealing with the realities of racial inequality in the mid-twentieth century, to a seasoned, respected elder in his field, endeavoring to pass on to others knowledge of the music he spent his life arranging and teaching.
ContributorsHuff, Vernon Edward (Author) / Schildkret, David (Thesis advisor) / Norton, Kay (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2013
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The purpose of this study was to investigate the attitudes, preferences, and practices of Arizona high school choral directors towards sight-singing skills, and student success in group sight-singing evaluations, the teaching of sight singing including preference for a specific sight-singing system, and the instructional practices employed in daily rehearsals. High

The purpose of this study was to investigate the attitudes, preferences, and practices of Arizona high school choral directors towards sight-singing skills, and student success in group sight-singing evaluations, the teaching of sight singing including preference for a specific sight-singing system, and the instructional practices employed in daily rehearsals. High school choral directors from the state of Arizona (N = 86) completed an online researcher-designed questionnaire that gathered demographic information as well as information regarding directors' attitudes towards sight-singing instruction, which exercises are used for sight-singing instruction, and directors' self-perceived ability not only to sight sing but also to teach sight singing. Independent variables such as teaching experience, level of education, the system they were trained to use as a student, the system they currently use in the classroom, their self-perceived ability to sight sing, their self-perceived ability to teach sight singing, their choir's sight-singing rating at festival, and their daily instructional practices (as measured by minutes per week of sight-singing instruction) were used to investigate potential differences in attitudinal responses. Multivariate analyses of variance were conducted to investigate potential differences in responses according to various independent variables. Significant differences were found in responses to statements of the importance of sight-singing instruction according to level of teaching experience and time spent on sight-singing instruction in the classroom. No significant differences were found for statements of directors' attitudes toward sight-singing instruction according to level of education or prior training. Results indicate that Arizona high school directors are a seasoned and highly education group of professionals who understand and believe strongly that sight-singing instruction should be a part of their choral music rehearsals. These directors use a variety of systems and resources to teach sight-singing and all dedicate time to sight-singing each week in their rehearsals. Despite the overwhelming support for teaching sight-singing in daily choral rehearsals, there is a lack of participation in choral adjudication festivals where group sight singing is assessed. Further research is suggested to investigate the lack of participation of Arizona high school choral teachers in the group sight-singing component of the state choral adjudication festivals.
ContributorsFarenga, Justine (Author) / Sullivan, Jill (Thesis advisor) / Stauffer, Sandra (Committee member) / Tobias, Evan (Committee member) / Scmidt, Margaret (Committee member) / Schildkret, David (Committee member) / Arizona State University (Publisher)
Created2013
Description
The focus of this study was the first Serbian opera, Na Uranku (At Dawn). It was written by Stanislav Binièki (1872-1942) and was first performed in 1903 at the National Theatre in Belgrade. There were two objectives of this project: (1) a live concert performance of the opera, which produced

The focus of this study was the first Serbian opera, Na Uranku (At Dawn). It was written by Stanislav Binièki (1872-1942) and was first performed in 1903 at the National Theatre in Belgrade. There were two objectives of this project: (1) a live concert performance of the opera, which produced an audio recording that can be found as an appendix; and, (2) an accompanying document containing a history and an analysis of the work. While Binièki's opera is recognized as an extraordinary artistic achievement, and a new genre of musical enrichment for Serbian music, little had been previously written either about the composer or the work. At Dawn is a romantic opera in the verismo tradition with national elements. The significance of this opera is not only in its artistic expression but also in how it helped the music of Serbia evolve. Early opera settings in Serbia in the mid-nineteenth to early twentieth century did not have the same wealth of history upon which to draw as had existed in the rich operatic oeuvre in Western Europe and Russia. Similarly, conditions for performance were not satisfactory, as were no professional orchestras or singers. Furthermore, audiences were not accustomed to this type of art form. The opera served as an educational instrument for the audience, not only training them to a different type of music but also evolving its national consciousness. Binièki's opera was a foundation on which later generations of composers built. The artistic value of this opera is emphasized. The musical language includes an assimilation of various influences from Western Europe and Russia, properly incorporated into the Serbian musical core. Audience reaction is discussed, a positive affirmation that Binièki was moving in the right direction in establishing a path for the further development of the artistic field of Serbian musical culture. A synopsis of the work as well as the requisite performing forces is also included.
ContributorsMinov, Jana (Author) / Russell, Timothy (Thesis advisor) / Levy, Benjamin (Committee member) / Schildkret, David (Committee member) / Rogers, Rodney (Committee member) / Reber, William (Committee member) / Arizona State University (Publisher)
Created2011
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The performance of Charles Ives's art songs can be challenging to even the most experienced singers, but to beginning singers, they may be even more so, due to such twentieth-century aspects as polytonality, polyrhythm, tone clusters, aleatoric elements, and quarter tones. However, Ives used previously existing material, often familiar hymn

The performance of Charles Ives's art songs can be challenging to even the most experienced singers, but to beginning singers, they may be even more so, due to such twentieth-century aspects as polytonality, polyrhythm, tone clusters, aleatoric elements, and quarter tones. However, Ives used previously existing material, often familiar hymn tunes, as the foundation for many of his art songs. If beginning students first are exposed to this borrowed material, such as a simple hymn tune, which should be well within even the most experienced singer's comfort range, they can then learn this tune first, as a more simplistic reference point, and then focus on how Ives altered the tunes, rather then having to learn what seems like an entirely new melody. In this way, Ives's art songs can become more accessible to less-experienced singers. This paper outlines a method for researching and learning the borrowed materials in Ives's songs that utilize them, and reviews materials already commonly used by voice teachers to help beginning students learn their music. By combining this method, which focuses on the borrowed materials, with standard practices teachers can then help their beginning students more easily learn and perform Ives's art songs. Four songs, from the set "Four Hymn Tune Settings" by Charles Ives are used to illustrate this method.
ContributorsRuhleder, Kathleen (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Carpenter, Ellon (Committee member) / May, Judy (Committee member) / Schildkret, David (Committee member) / Arizona State University (Publisher)
Created2012
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Abstract

 

Among Georg Philipp Telemann’s most-performed works is his setting of Psalm 117 (Psalm 116, Vulgate), Laudate Jehovam, TWV 7:25. There are three sources; Telemann’s autograph score (heavily marked and corrected by Telemann’s grandson, Georg Michael), a contemporary set of parts by a copyist, and another set of parts

Abstract

 

Among Georg Philipp Telemann’s most-performed works is his setting of Psalm 117 (Psalm 116, Vulgate), Laudate Jehovam, TWV 7:25. There are three sources; Telemann’s autograph score (heavily marked and corrected by Telemann’s grandson, Georg Michael), a contemporary set of parts by a copyist, and another set of parts by Georg Michael Telemann based on his corrections to the autograph score. There are currently at least seven editions of this work readily available, none of which fully agrees with the autograph manuscript or original parts. The editions also differ substantially from one another: for example, two of them are in a different key from the others. This clearly points to the need for a new edition.

Further, the additions and corrections by Georg Michael Telemann are interesting. These fall into several categories: changes made to correct errors or clarify ambiguities in Georg Philipp Telemann’s original, changes made to reflect performance practice that Georg Philipp might have assumed but that were no longer customary in Georg Michael’s time, adjustments to melody and rhythm that may reflect Georg Michael’s personal taste and preference, and the addition of parts for oboe and viola, along with significant changes to the second violin part that suggest that Georg Michael’s version was intended for performance by a chorus and orchestra, whereas Georg Philipp’s original could be performed as a chamber work, with one singer and instrumentalist per part, or by a larger ensemble.

A discussion of the piece, along with scores of both the original version and Georg Michael’s version, provides both scholars and performers with greater insight into this brief but significant work.
ContributorsOh, Eunmi (Author) / Schildkret, David (Thesis advisor) / Evans, Bartlett (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2019
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This work explores the blurring and eradication of boundaries – whether the boundaries are musical, social, cultural, linguistical, or political. I wanted to create a work that would explore the boundaries of my own dual identities, such as Mexican or American, or masculine or feminine, and that of my varied

This work explores the blurring and eradication of boundaries – whether the boundaries are musical, social, cultural, linguistical, or political. I wanted to create a work that would explore the boundaries of my own dual identities, such as Mexican or American, or masculine or feminine, and that of my varied interests, such as popular, jazz, and European art music. After half a year of work, Sueño-Vibrant is the dazzling, whirlwind of a result (“vibrant” is pronounced just as it is in English).

I worked with poet Marco Piña because we share many similarities in our artistic philosophies, owing to our mutual identities as bilingual Chicanxs. Considering the poems themselves, for me, “Bastardized Spanglish Translations” reveals an individual recovering from the end of a romantic relationship, whereas “Night Song” is about the self-discovery of one’s identity. By pairing these two poems, I create a polarity between the texts themselves, to highlight that the shaping of identity is both an internal and external process.

In the cantata, we travel from the mourning and mysterious “Do My Eyes Lie” to the Mexican folk-styled “Ya me voy;” the arduous and painful “Ban Me From Balancing;” the indie- and jazz-inspired “Soon I’ll Be Home;” the introspective choral work “Night Song;” and the dissonant and disoriented “This Song Keeps Skipping.” I complete the work with “Adiós, Amor,” where these seemingly disparate feelings, genres, ideas, and identities are tied together and explored to fruition through a variety of styles and genres, from the salsa, to the opera chorus. With this work, I invite audiences to consider their own identities and those of others, and to embrace the social dissonances that happen both within us and around us.
ContributorsRodriguez, Kristian Silviano (Author) / Rockmaker, Jody (Thesis advisor) / Suzuki, Kotoka (Committee member) / Wells, Christopher (Committee member) / Schildkret, David (Committee member) / Arizona State University (Publisher)
Created2019
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The study compares the pretest and posttest results of three groups of second-grade students studying a phonics rule to determine the effect of using music as an instructional aid. For two groups in the study, the teachers used melodies to instruct students, while the third group was held to direct

The study compares the pretest and posttest results of three groups of second-grade students studying a phonics rule to determine the effect of using music as an instructional aid. For two groups in the study, the teachers used melodies to instruct students, while the third group was held to direct instruction with no music to use for assistance. The study groups were three second-grade classes at Ishikawa Elementary School, where I was serving as a student teacher. Parental consent was received for each of the students participating in the study. The duration of the study was one week. The first test group was given a familiar melody with new lyrics to reflect the content of the phonics rule "I before E except after C." The second test group was given a melody composed specifically to accompany the phonics rule and to reflect the appropriate phonics content. On the first day of the study, students were given a pretest; these scores were recorded and then compared to the posttest scores from the end of the week. The data that were collected compared groups as a whole through composite scores from pretest to posttest to determine most effective methodology. The groups that were instructed using music demonstrated greater growth and had higher posttest scores.
ContributorsFrazee, Madison Marie (Author) / Schildkret, David (Thesis director) / Stauffer, Sandy (Committee member) / Barrett, The Honors College (Contributor) / Division of Teacher Preparation (Contributor)
Created2014-12
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Rainbow Connection is an integrated choir with members on and off the autism spectrum. It was founded in the spring of 2012 by Barrett students Ali Friedman, Megan Howell, and Victoria Gilman as part of an honors thesis creative project. Rainbow Connection uses the rehearsal process and other creative endeavors

Rainbow Connection is an integrated choir with members on and off the autism spectrum. It was founded in the spring of 2012 by Barrett students Ali Friedman, Megan Howell, and Victoria Gilman as part of an honors thesis creative project. Rainbow Connection uses the rehearsal process and other creative endeavors to foster natural relationship building across social gaps. A process-oriented choir, Rainbow Connection's main goals concern the connections made throughout the experience rather than the final musical product. The authors believe that individual, non-hierarchical relationships are the keys to breaking down systemized gaps between identity groups and that music is an ideal facilitator for fostering such relationships. Rainbow Connection operates under the premise that, like colors in a rainbow, choir members create something beautiful not by melding into one homogenous group, but by collaboratively showcasing their individual gifts. This paper will highlight the basic premise and structure of Rainbow Connection, outline the process of enacting the choir, and describe the authors' personal reactions and takeaways from the project.
ContributorsFriedman, Alexandra (Co-author) / Gilman, Victoria (Co-author) / Howell, Megan (Co-author) / Rio, Robin (Thesis director) / Schildkret, David (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor) / School of Mathematical and Statistical Sciences (Contributor)
Created2014-12
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This thesis explores my experience in teaching a high school music class through composition. I detail pedagogical approaches that helped to shape my lesson planning including constructivism, informal learning, and project based learning. The music education theory is put into action in a real high school setting and I explain

This thesis explores my experience in teaching a high school music class through composition. I detail pedagogical approaches that helped to shape my lesson planning including constructivism, informal learning, and project based learning. The music education theory is put into action in a real high school setting and I explain what happened: what worked, what didn't, and what can we learn from this?
ContributorsWhelihan, Brian Peter (Author) / Tobias, Evan (Thesis director) / Schildkret, David (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-05
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There are many different methods of learning the guitar and teaching it to oneself. I explored classical methods as well as learned by tablature. I compared it to how I have learned the piano and other things in past such as languages and sports. This paper narrates the process but

There are many different methods of learning the guitar and teaching it to oneself. I explored classical methods as well as learned by tablature. I compared it to how I have learned the piano and other things in past such as languages and sports. This paper narrates the process but also give advise for someone teaching themself any subject matter. Here are the main points: (1) Choose something you are passionate about (2) Use what you already know, and apply strategies that have worked before (3) Try learning the subject in different ways (4) Build a strong foundation of fundamentals (5) Take advantage of various resources (6) Do not be afraid to make mistakes (7) Perseverance will pay off. I found that I preferred the tablature method but learned a lot from both. I plan on continuing to improve at both methods and want to expand my learning to songwriting.
ContributorsCoelet, Collin Patrick (Author) / Schildkret, David (Thesis director) / Halick, Mary (Committee member) / Barrett, The Honors College (Contributor) / Department of Chemistry and Biochemistry (Contributor)
Created2014-05