Jacobs School of Music
Permanent link for this communityhttps://hdl.handle.net/2022/3160
Browse
Browsing Jacobs School of Music by Title
Now showing 1 - 20 of 897
- Results Per Page
- Sort Options
Item 21st-century brass pedagogy : modern scientific discoveries and their implications on current brass pedagogy(Indiana University, 2017-06-24) Sulliman, Jason M.Since the beginning of brass instruments, much of the information utilized to develop a pedagogical framework for teaching and playing these instruments was developed through personal experience, trial and error, and anecdotal teaching through a largely apprenticeship system. Pedagogical ideas were developed from the vantage point of current information viewed through the lens of conventional thought of the time. Several emerging fields of scientific research have contributed to new information that contradicts what was previously viewed as pedagogically stable ideology. This paper summarizes a history of conventional thought towards human learning and movement, provides a brief description of new and emerging fields of scientific inquiry that have been created/enhanced by technological advancements in measurement equipment, and offers several examples of new ways to apply current scientific beliefs towards conventional brass pedagogy in the form of exercises that c an replace traditional pedagogical exercises based on outdated information.Item 5 Views Re/Dux(2016-10-15) Rowe, Will, 1992-Item A bassoonist's guide to interactive electroacoustic music(Indiana University, 2023-12-14) Bradshaw, Benjamin (Benjamin Keith)Item A catalog of mélodies composed by Pauline Viardot(Indiana University, 2021-05-02) Ballman, SarahItem A catalogue of English solo repertoire for the harpsichord: the fifteenth through the eighteenth centuries(Indiana University, 2020-03-20) Chuaqui Baldwin, Alice, 1987-Item A collegiate brass techniques curriculum: an integrated approach(2012-12-07) French, Todd M., 1974-Item A COMPARATIVE ANALYSIS OF SELECTED BEGINNER PIANO ASSESSMENTS IN THE UNITED STATES(Indiana University, 2024-12-18) Chen, CarrieItem A comparative analysis of the six duets for violin and viola by Michael Haydn and Wolfgang Amadeus Mozart(Indiana University, 2021-05-12) Na, EunaItem A comparative study of the twenty-four preludes of Alexander Scriabin and Sergei Rachmaninoff(2015-03-04) Roh, Yoon-WhaItem A comparison of barbershop and classical singing : selected crossover vocal techniques for the curious performer(Indiana University, 2021-05-12) Lentz, Daniel (Daniel Thomas)The barbershop style of singing offers many tools to enhance the knowledge and skills of the classically trained singer. And the barbershop singer can learn from the training a classical singer would receive at a music school or in private lessons. By studying both forms of singing, a performer can expand his or her arsenal of ways to express and communicate an idea. The African American historical roots of barbershop singing and European historical traditions of classical opera singing can commingle to help modern day classical performers gain beneficial skills, especially concerning improvisation. A newcomer to barbershop singing may discover that singing techniques already learned in classical singing can be utilized in barbershop singing as well. The techniques of overtone reinforcement and vowel matching used in barbershop singing can aid the classical singer’s understanding of intonation, resonance, and beauty of sound. Through experimentation with the voice parts in barbershop, a classically trained singer can discover and narrow the determination of his or her own voice type, thus empowering him or her to choose repertoire better suited to his or her voice. Many performance practices from the classical bel canto school of singing are transferable to barbershop, and vice versa. A classical singer can learn performance-enhancing techniques from barbershop coaches and judges in competitions. By investigating historical roots and current practices of both classical and barbershop singing, a singer can gain enlightening concepts for the improvement of his or her performance craft.Item A comparison of teacher preparation, resources, and students' continued college music study between urban and non-urban high school band programs in Tennessee(Indiana University, 2019-07-18) Edmonds, Charlie S.The purpose of this study was to investigate the extent of high school band directors’ preservice preparation for teaching in urban schools, as well as determine what disparities exist between band program resources in urban schools and non-urban schools. Participants (N = 27) were high school band directors in West, Middle, and East Tennessee who completed a researcher-designed questionnaire. The researcher collected information on the inclusion of topics on teaching minority students and low SES students, directors’ perspectives on teaching minority students and creating culturally relevant instruction, and band program resources that promote student success. To measure student success, data were correlated with the number of music majors that had come from the high school band programs in the past three years. Results showed that the majority of band directors (93%) never or very rarely had topics included on teaching minority students in their undergraduate coursework, and 59% very rarely had topics included on teaching students from low socio-economic backgrounds. Most participants (70%) did not feel prepared to teach in urban schools, but were generally comfortable creating instruction relevant to the interests of minority students. Band resources by program demographics were unequal. Significant findings showed that band programs with fewer minority students had more students taking private lessons, more participation in ensembles outside of school, higher parental involvement in fundraising, more supplemental instructors, and received more student teachers than band programs with higher percentages of minority students. Band programs with more minority students had more students using school-owned instruments. Significant findings also showed that band programs with lower percentages of minority students had more students become music majors after high school.Item A conductor's analysis of Antonio María Valencia's Requiem(Indiana University, 2020-05-03) Hernandez, JuanItem A conductor's analysis of Antonio María Valencia's Requiem(Indiana University, 2020-05-03) Hernández, Juan (Juan Camilo)Item A CONDUCTOR'S GUIDE TO INTERPRETING BEETHOVEN'S NINTH SYMPHONY(Indiana University, 2024-04-19) Ho, Pak Lok AlvinItem A conductor's guide to the music of Hildegard von Bingen(Indiana University, 2021-07-23) Gardiner, KatieItem A CONDUCTOR’S ANALYSIS OF GABRIEL JACKSON’S “THE PASSION OF OUR LORD JESUS CHRIST”(Indiana University, 2024-05-01) Abernathy, LawrenceItem A Course of Study on the History of Congregational Song for Use in Mainline Protestant Church Classes(2012-05-03) Harper, Monica AlexandraItem A course syllabus and handbook for undergraduate voice pedagogy instruction(2016-09-20) Wood, Rachel (Rachel Lindsay)Item A Critical analysis of selected aspects of music education([Calgary, Alberta] : University of Calgary, 1976-07) Jorgensen, Estelle Ruth; Koch, Edward L.Music educators currently face five major problem areas in the determination of appropriate administrative, pedagogical and research policies and approaches, namely, problems respecting the nature of the musical symbol itself ; socio-cultural issues; problems respecting the pedagogical process and its nature; problems in music education research; and the lack of a theoretical base in musical pedagogy. The writer, therefore, develops three logically distinguishable areas of focus in the analysis, i . e., structural or musical, sociocultural, and pedagogical. Each of these areas is composed of several assumptive sets. In each case a review of the extant relevant research and/or theoretical formulations precedes an attempt to evaluate these, and where feasible, to offer alternate assumptions, which hopefully will prove more desirable. Resultant from the analysis are twenty propositions which in turn address the five problem areas in music education which have been identified by the writer. The study constitutes an attempt to re-evaluate "the present state of the art" of music education. In so doing, it represents a first step in the development of a theoretical formulation which is not only consistent with the evidence from extant research but tends to be internally and logically consistent. Further it is illustrative of attempts to explicate the crucial role of assumptions, for in the explication of assumptions, the roots of action, the logical premises of behaviour are examined and evaluated.Item A curricular outline for teaching beginning improvisation in the high school jazz ensemble based on a survey of band directors' practices and opinions(2014-04-15) Porter, John ChristopherThe primary purpose of this study was to investigate and analyze the practices and opinions of high school band directors regarding the teaching of beginning improvisation in jazz ensemble rehearsal. The secondary purpose was to outline a curriculum for teaching beginning jazz improvisation in said rehearsals. Participants (N = 57) for the Instrumental Jazz Improvisation Instruction Questionnaire were Indiana high school band directors. Regarding whether or not improvisation should be taught in a large jazz ensemble setting, an overwhelming majority (93%) of respondents felt that the skill should be taught in rehearsal. Concerning an appropriate amount of jazz ensemble rehearsal time to dedicate to improvisation, the largest percentage (42%) selected was 11-16 minutes. However, at the time the IJIIQ was distributed, the largest percentage of directors (46%) allotted only 5-10 minutes. Regarding what to include in a beginning jazz improvisation curriculum, the highest rated item, considered "extremely important," was listening to expert recordings. Other items considered "very important" were chord-scale relationships, ear training, aural imitation, call and response, melodic embellishment, guide tones, and melodic devices. Concerning what is most difficult about learning to improvise, directors most frequently reported "playing the right notes/chord changes" when referring to their own playing. In the case of their students, "fear" was most frequently reported. Finally, with regard to what is most difficult about teaching jazz improvisation, directors most frequently reported "student inhibitions."