Instrumental Music Education

2020 ◽  
Author(s):  
Evan Feldman ◽  
Ari Contzius ◽  
Mitchell Lutch ◽  
Katarzyna (Kasia) Bugaj ◽  
Frank L. Battisti
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Instrumental Music Education

An Observational Study of Score Study Practices Among Undergraduate Instrumental Music Education Majors

2017 ◽  
Vol 65 (1) ◽  
pp. 52-71 ◽  
Author(s):  
Brian A. Silvey ◽  
Mark Montemayor ◽  
Christopher M. Baumgartner
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Education Majors ◽  
Preparation Programs ◽  
Score Study ◽  
Instrumental Music Education ◽  
Study Session ◽  
Significant Difference ◽  
Model Condition ◽  
Music Education Majors

The purpose of this study was to investigate undergraduate instrumental music education majors’ score study practices as they related to the effectiveness of their simulated conducting. Participants ( N = 30) were video recorded in two sessions in which they completed a 20-min score study session and a simulated conducting performance. In the first score study session, all 30 conductors studied Mini-Suite for Band, Movement 1. In Session 2, participants studied Portrait of a Clown but this time either with a model recording ( n = 15) or without one ( n = 15). We computed the overall duration of participants’ score study behaviors for both pieces. Additional data included graduate students’ evaluations of participants’ post–score study conducting performances and an inventory of participants’ score study markings. We found a significant difference in the proportion of time spent in score studying activities between the model and no-model condition conductors, with more time spent in gesturing when studying along with a model. Evaluations of participants’ conducting revealed no differences between those conductors who used a model and those who did not while studying Portrait of a Clown. Our analysis of conductors’ score markings revealed a small number of notable differences between stronger/weaker conductors and between model/no-model conditions. Implications for undergraduate conductor preparation programs are discussed.

The Role of Accompaniment Quality in the Evaluation of Solo Instrumental Performance

2018 ◽  
Vol 66 (1) ◽  
pp. 92-110 ◽  
Author(s):  
D. Gregory Springer ◽  
Brian A. Silvey
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Education Majors ◽  
Instrumental Performance ◽  
Solo Performance ◽  
Instrumental Music Education ◽  
Performance Quality ◽  
Music Education Majors ◽  
Main Effects

The purpose of this study was to examine the effect of accompaniment quality on the evaluation of solo instrumental performance. Undergraduate instrumental music education majors ( N = 71) listened to and evaluated the accuracy and expressivity of six excerpts of Haydn’s Concerto for Trumpet in E-Flat Major, which we created by synchronizing recordings of good and bad performances of a trumpet soloist with good and bad performances of a piano accompaniment (as well as a no-accompaniment condition). Participants also chose one “best aspect of the performance” and one “aspect needing most improvement” for each excerpt. Significant main effects for accompaniment condition (good, bad, or none) and solo condition (good or bad) were found, in addition to interaction effects. Results of a Solo × Accompaniment interaction signified that participants’ ratings were not independent of accompaniment condition, and this effect was moderated by the performance quality of the trumpet soloist. Additionally, participants noted different “best aspects” and “aspects needing most improvement” based on both solo performance quality and accompaniment condition.

The National High School Orchestra 1926—1938

2009 ◽  
Vol 57 (1) ◽  
pp. 50-72
Author(s):  
Phillip M. Hash
Keyword(s):  
High School ◽  
Music Education ◽  
Instrumental Music ◽  
National Conference ◽  
Instrumental Music Education ◽  
The Arts ◽  
History Of ◽  
Research Questions ◽  
School Orchestra ◽  
High School Musicians

The purpose of this study was to document the history of the National High School Orchestra (NHSO), a select ensemble organized by Joseph E. Maddy under the auspices of the Music Supervisors' National Conference during the 1920s and 1930s. Research questions examined the orchestra's (1) origin, performances, and operation; (2) instrumentation and repertoire; (3) influence on music education; and (4) implications for modern practice. The first NHSO was assembled for the 1926 meeting of the Music Supervisors' National Conference in Detroit, Michigan. Initially led by Maddy, this ensemble was reorganized in 1927, 1928, 1930, 1932, and 1938. The NHSO helped promote instrumental music education through conference performances, radio broadcasts, and concerts presented throughout the country. This organization also demonstrated the potential of high school musicians and served as a basis for the NHSO Camp—the institution known today as the Interlochen Center for the Arts.

Students’ and Teachers’ Perceptions of Undergraduate Conducting Curricula: A Review of Literature

2019 ◽  
Vol 38 (1) ◽  
pp. 46-54
Author(s):  
Christian M. Noon
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Teaching Practice ◽  
Instructional Materials ◽  
Review Of Literature ◽  
Common Component ◽  
Teachers Perceptions ◽  
Movement Theory ◽  
Instrumental Music Education ◽  
Music Education Programs

Conducting courses are a common component of undergraduate instrumental music education programs. The experiences students have in those courses vary across and sometimes within institutions. This variation is due to many factors including choice of instructional materials and sequences, as well as whether textbooks or other instructional approaches (e.g., Laban movement theory) are used and how classes are designed for students to practice and refine their conducting. In this review, I summarized and synthesized literature related to the structure and content of undergraduate conducting curricula, as well as students’ and teachers’ perceptions of those curricula. I also made suggestions for teaching practice and for further research, and proposed a shift in the discourse on undergraduate conducting curricula toward authentic context, pedagogy-rich coursework aimed at preparing students to successfully adopt the conductor-educator role in their future careers.

scholarly journals Characterizing Communal Creativity in Instrumental Group Learning

2014 ◽  
Vol 3 (3) ◽  
pp. 336-362 ◽  
Author(s):  
Pamela Burnard ◽  
Tatjana Dragovic
Keyword(s):  
Music Education ◽  
Teacher Leadership ◽  
Instrumental Music ◽  
Teaching Practice ◽  
Group Learning ◽  
Subject Area ◽  
Instrumental Ensemble ◽  
Leadership Practice ◽  
Instrumental Music Education ◽  
Creative Teacher

Situated broadly within the field of secondary (high) school education, and with a specific focus on the subject area (and extra-curricular educational setting) of instrumental music education, this essay provides evidence of the meaning of communal creativity as it arises in three interrelated practices: creative learning practice, creative teaching practice, and creative teacher leadership practice. This article reports on how learning is enhanced by experiences of communal creativity as illustrated in the case of a particular instrumental ensemble called Percussion 1. Findings support the specific nature of communal creativity, expressed in terms of embodiment, immersion, enhancement, and empowerment, and constituted socially (made manifest in a social context) through activity. Communal creativity has the potential to transform the experience of instrumental group learning with regard to the pedagogical values that aim to engage the whole community of learners.

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