Master of Music / Department of Music, Theatre, and Dance / Virginia Houser / Maintaining interest to continue studying and practicing the piano during the middle school years can be very challenging. Not only are students distracted by so many activities but peer interactions and opinions are taken more seriously. One way to motivate piano students to continue study is to use some form of group instruction. This can be done in various ways, including theory and performance classes as well as chamber and duet preparations. I conducted two separate assessments: five middle-school aged boys and two sixth graders, a girl and a boy. I gave each of these participants a survey to determine the positive and negative outcomes experienced during these group experiences. The results of this study included the following conclusions: Students who take ownership of their music-making are also more motivated to practice; if they really enjoy a piece, they will learn it. This motivation also extends to playing with a friend, since the student will want to play competently in front of their friend. Extrinsic motivation (i.e. candy, prizes, etc.) is exciting at first, but does not really provide long-term motivation for the middle school student to practice more. The ensuing embarrassment of being unprepared was a stronger form of motivation. Middle school students also liked having goals such as working toward an upcoming festival or competition, since it gave them a goal toward which to work, even if they did not like the idea of being judged. Students also enjoyed playing duets with a parent, which proved to be a positive experience in this study. Occasionally, however, the teacher had to deal with factors beyond their control and the student decided to discontinue study.

abstract: This project discusses the horn, tuba, piano sub-genre of brass chamber music. Alec Wilder wrote the first piece for this instrumentation in 1963 for his friends John Barrows and Harvey Phillips. Wilder's compositional style was directly affected by life events and relationships. Through letters, biographies, recordings and autobiographies the importance of his friendship with Barrows and Phillips are displayed to show the links between the two men and the composer's compositional output. A deeper look into the life of Alec Wilder and a thematic analysis of his Suite No.1 for Horn, Tuba and Piano (1963), and Suite No.2 for Horn, Tuba and Piano (1971) shed light on the beginnings of the genre and provide a deeper understanding of the works. Since Wilder's two trios there have been at least twenty works written for this instrumentation. A brief overview of works written for the trio since 1971 provide a broad sense of the quantity and benefits of the trio in the hopes of inspiring new performances and compositions. This paper will combine the seemingly random compositions for the instrumentation into a collected repertoire. With an increase in exposure, the trio for horn, tuba and piano has the potential to become a standard brass chamber group that will benefit students, performers, and audiences alike. / Dissertation/Thesis / Doctoral Dissertation Music 2015

abstract: One of the most notable composers of the twentieth century, Krzysztof Penderecki played a vital role in the development of new sonorities and compositional movements in the latter half of the century. Penderecki wrote two sonatas for violin and piano, one in his student days in 1953 and the second in the twilight of his career in 1999. Given the almost fifty years that separate the two works, these sonatas provide valuable insight to Penderecki’s development as a composer over the course of his career as well as give evidence that his own unique compositional style was in place at a very early age. Despite the large span of time between the completions of these two great works, these sonatas share many commonalities. With regards to key aspects such as form, tonality, rhythm, texture, articulation, and more, this paper will analyze and compare the two works to define the ways in which they are similar as well as the ways in which they differ. / Dissertation/Thesis / Doctoral Dissertation Music 2016

Made available in DSpace on 2015-05-07T15:08:59Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 15278489 bytes, checksum: eeae84df2716372602f9b4bbd95292df (MD5) Previous issue date: 2013-04-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis is based on a survey that heard some characters who contributed so valuable to the consolidation of a musical tradition and the teaching of music, specifically the piano, in Paraiba. The professional history of these characters is intertwined with the History of Music of Paraiba, nevertheless, is not in the writings and little documented runs the serious risk of being forgotten. In this sense, we think it appropriate and necessary to carry out this study on teaching piano in Paraiba, using beyond the bibliographic sources, iconographic and documentary, the memories of four piano teachers who helped us discuss the places where took place the early education and understand the pedagogical practices and performances achieved in some of the most important institutions of musical education in Paraíba. To this end, we bring in the theoretical referential advocated by Hobsbawm (1998), Saviani (2007) and Magalhães (1998 and 2004). This study has, therefore, the objective to understand the trajectory of teaching piano in Paraiba. To do this, if made necessary, seek clues of a musical education performed even in the 19th century, and understand how the pianistc school was consolidated in multiple instances by now. Soon, therefore, in private institutions when it was still informalized, until its consolidation in three specialized musical education schools institutionalized and formalized, that arose in Joao Pessoa: Anthenor Navarro School of Music, the Music Conservatory of Paraíba and the Orpheonic Singing Conservatory. The thesis that has led us, therefore, was that the piano education, even when formalized in its highest and significant educational institution, which is: the Piano course at the Federal University of Paraíba until the scoped in this study, remains on a historical continuum reflecting processed practices in the institutions that housed the traditional model of musical education realized from Musical Conservatory Institutions. So, despite graduating from pianists-Bachelors in piano, for the first time in Paraiba, the course remains reflecting in the curricula, the technical studies approaches and pianistic repertoire composers that were adopted by the schools mentioned above. Both in current and in the Course of Piano of UFPB found strong presence in your academic schedule of important elements that were brought from experience in conservatories in the country and abroad. So, the first Music University of Paraiba went on to make pedagogical practices and performances, which were already consolidated in the above quoted model musical make confirming the thesis that we initially developed. / Esta tese tem como base uma pesquisa que ouviu alguns personagens que contribuíram de forma valiosa para a consolidação de uma tradição musical e do ensino da música, especificamente do piano, na Paraíba. A história profissional desses personagens se confunde com a História da Música Paraibana, apesar disso, não está nos escritos e sendo pouco documentada corre o sério risco de ser esquecida. Neste sentido, julgamos pertinente e necessário realizar este estudo sobre o ensino de piano na Paraíba, utilizando para além das fontes bibliográficas, documentais e iconográficas, as memórias de quatro professoras de piano que nos ajudou a discutir sobre os lugares onde ocorreram o ensino pianístico e entender as práticas pedagógicas e de performances concretizadas em algumas das mais importantes instituições de ensino musical paraibano. Para tanto, nos aportamos nos referenciais teóricos propugnados por Hobsbawm (1998), Saviani (2007) e Magalhães (1998 e 2004). Este estudo tem, portanto, como objetivo entender a trajetória do ensino de piano na Paraíba. Para isso, se fez necessário, buscar indícios de uma educação musical realizada ainda no século XIX e, entender como o ensino pianístico se consolidou nas várias instâncias por que passou. Logo, portanto, nas instituições particulares quando ainda era informalizado, até a sua consolidação nas três escolas especializadas de ensino musical institucionalizadas e formalizadas, que surgiram em João Pessoa: a Escola de Música Anthenor Navarro, o Conservatório Paraibano de Música e o Conservatório de Canto Orfeônico da Paraíba. A tese que nos conduziu, portanto, foi a de que o ensino de piano, mesmo quando formalizado na sua mais alta e significativa instituição educativa, qual seja: o Curso de Piano da Universidade Federal da Paraíba, até o período delimitado neste estudo, permanece num continuum histórico refletindo práticas processadas nas Instituições que abrigavam o modelo tradicionalista de ensino musical concretizado a partir das instituições de conservatório musical. Assim, apesar de diplomar pianistas - Bacharéis em piano, pela primeira vez na Paraíba, o curso permanece refletindo nos currículos, a sequência de abordagens de estudos técnicos e compositores do repertório pianístico que eram adotados pelas Escolas acima mencionadas. Tanto naquelas quanto no atual Curso de Piano da UFPB encontramos forte presença na sua programação acadêmica de importantes elementos que foram trazidos da experiência ocorrida nos conservatórios do país e do exterior. Assim, a primeira Universidade de Música da Paraíba passou a reproduzir as práticas pedagógicas e de performances, que já estavam consolidadas no fazer musical do modelo supra citado confirmando a tese que inicialmente elaboramos.

Este trabalho busca verificar os princípios e diretrizes propostos para a reavaliação e redefinição da aula de piano e sua relação com as concepções pedagógicas de Pace, Verhaalen e Gonçalves. É feita uma análise histórico-hermenêutica da bibliografia americana pertinente ao tema - aula de piano e ensino de música - a partir do movimento deflagrado no início do século XX nos Estados Unidos a favor da implantação da aula de piano em grupo nas escolas públicas, passando pela reforma educacional americana iniciada em 1957 até chegar ao seu perfil atual. Procura-se detectar influências sócio-econômico-educacionais influentes na reavaliação da aula de piano e na consequente formulação de uma proposta de renovação desta, traçando sua relação com as correntes psico-filosóficas de cada época. Procede-se a um levantamento dos procedimentos utilizados por Pace, Verhaalen e Gonçalves em suas produções pedagógicas bem como dos fundamentos que os embasam. A última etapa do trabalho evidencia as características e os aspectos relevantes da proposta como um todo, relacionando a presença desses aspectos nas produções pedagógicas dos referidos autores. / This research analyses the principles and goals developed by the american music teachers aiming at a ney approach to piano instruction as well as their relationship to the pedagogical contributions of Pace, Verhaalen and Gonçalves. First, a hostorical-hermeneutical analysis of North-American bibliography is conducted relating the idea of piano instruction and music teaching in the American schools in the beginning of the 20th century, including the 1957 educational reform and reachingthe present decade. One of the main objectives is to verify how a new approach to the piano instruction was influenced by social, economical and educational trends along the century, how it relates with the phylosophical and psychological principles and what is proposed for the piano teaching situation. Second, a survey of the foundations and procedures developed by Pace, Venhaalen and Gonçalves in done based on each one of hteir pedagogical contributions. The last part seeks to demonstrate how the relevant aspects of the proposal relate to pedagogical contribution of each of the authors.

Este estudo investiga a identidade profissional do professor particular de piano a partir da análise de sua trajetória docente, tendo como método de pesquisa a história oral. Através de entrevistas com 13 professores, de 62 a 79 anos de idade, atuantes na cidade de Porto Alegre, o trabalho analisa os vários processos de formação, as idéias, os valores e as concepções dos professores sobre a profissão, tomando como referencial teórico os estudos de NÓVOA (1995), HUBERMAN (1995) e SCHÕN (1983, 1995). Os resultados obtidos mostram que os professores particulares de piano que participaram desse trabalho possuem concepções claras sobre a profissão, assumem os limites e dificuldades encontrados no exercício dessa atividade profissional, e, sobretudo, estão atentos às mudanças que foram ocorrendo durante os anos de trajetória docente, indo ao encontro das necessidades do aluno em aprender música, avaliando e reajustando suas formas de ver e de proceder. Esse trabalho desmistifica a idéia de que o professor particular está descomprometido com seu papel como profissional.

abstract: Numerous orchestral reductions for piano are plagued by cumbersome passages that impede pianists from delivering phrases with flow and elegance. The vocal works of George Frideric Handel (1685–1759) and Richard Wagner (1813–1883) are among the more unwieldy of these. While arrangers of the piano vocal scores by these two composers admirably include as much orchestration as possible, their efforts often result in writing that is not idiomatic for the piano. The frustrating difficulties in the orchestral reductions of Handel’s “Empio, dirò, tu sei” (Giulio Cesare), his Messiah chorus “For unto us a child is born” as well as Wagner’s aria “Du bist der Lenz” (Die Walküre) all plead for a new, fresh arrangement for the working pianist. Concerning itself with the formation of one’s hands, stamina preservation, and the need to give proper support to the singers, this paper makes examples of these three pieces to document and justify the steps and techniques one may take to customize both these and any variety of orchestral reductions. With great emphasis on the methodology of rewriting operatic and choral orchestral reductions, this document presents newly arranged note–for–note piano vocal scores of the above arias and chorus. By customizing and rewriting complex scores, our partners benefit by singing above the identical accompaniment every time. It is the intent that the collaborative pianist can apply these methods to future rewrites, with the result of producing scores that are conducive to proper technique and flow. / Dissertation/Thesis / D.M.A. Music 2012

abstract: This document is intended to show the various kinds of stylistically appropriate melodic and rhythmic ornamentation that can be used in the improvisation of the Sarabandes by J.S. Bach. Traditional editions of Bach's and other Baroque-era keyboard works have reflected evolving historical trends. The historical performance movement and other attempts to "clean up" pre-1950s romanticized performances have greatly limited the freedom and experimentation that was the original intention of these dances. Prior to this study, few ornamented editions of these works have been published. Although traditional practices do not necessarily encourage classical improvisation in performance I argue that manipulation of the melodic and rhythmic layers over the established harmonic progressions will not only provide diversity within the individual dance movements, but also further engage the ears of the performer and listener which encourages further creative exploration. I will focus this study on the ornamentation of all six Sarabandes from J.S. Bach's French Suites and show how various types of melodic and rhythmic variation can provide aurally pleasing alternatives to the composed score without disrupting the harmonic fluency. The author intends this document to be used as a pedagogical tool and the fully ornamented Sarabandes from J.S. Bach's French Suites are included with this document. / Dissertation/Thesis / D.M.A. Music 2013

Este trabalho busca verificar os princípios e diretrizes propostos para a reavaliação e redefinição da aula de piano e sua relação com as concepções pedagógicas de Pace, Verhaalen e Gonçalves. É feita uma análise histórico-hermenêutica da bibliografia americana pertinente ao tema - aula de piano e ensino de música - a partir do movimento deflagrado no início do século XX nos Estados Unidos a favor da implantação da aula de piano em grupo nas escolas públicas, passando pela reforma educacional americana iniciada em 1957 até chegar ao seu perfil atual. Procura-se detectar influências sócio-econômico-educacionais influentes na reavaliação da aula de piano e na consequente formulação de uma proposta de renovação desta, traçando sua relação com as correntes psico-filosóficas de cada época. Procede-se a um levantamento dos procedimentos utilizados por Pace, Verhaalen e Gonçalves em suas produções pedagógicas bem como dos fundamentos que os embasam. A última etapa do trabalho evidencia as características e os aspectos relevantes da proposta como um todo, relacionando a presença desses aspectos nas produções pedagógicas dos referidos autores. / This research analyses the principles and goals developed by the american music teachers aiming at a ney approach to piano instruction as well as their relationship to the pedagogical contributions of Pace, Verhaalen and Gonçalves. First, a hostorical-hermeneutical analysis of North-American bibliography is conducted relating the idea of piano instruction and music teaching in the American schools in the beginning of the 20th century, including the 1957 educational reform and reachingthe present decade. One of the main objectives is to verify how a new approach to the piano instruction was influenced by social, economical and educational trends along the century, how it relates with the phylosophical and psychological principles and what is proposed for the piano teaching situation. Second, a survey of the foundations and procedures developed by Pace, Venhaalen and Gonçalves in done based on each one of hteir pedagogical contributions. The last part seeks to demonstrate how the relevant aspects of the proposal relate to pedagogical contribution of each of the authors.

Orientadores: Antonio Rafael Carvalho dos Santos, Adriana Giarola Kayama / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-04T20:43:39Z (GMT). No. of bitstreams: 1 Leal_EsterRodriguesFernandes_M.pdf: 339481 bytes, checksum: 311dabd0d99f502b64e5726f46e39438 (MD5) Previous issue date: 2005 / Resumo: Este trabalho trata-se de um estudo detalhado sobre as possibilidades do acompanhamento ao piano específico para coro infantil. Através de uma entrevista realizada com regentes de coros infantis, alguns aspectos da arte de acompanhar foram destacados, os quais juntamente com a bibliografia encontrada a respeito, forneceram material para esta pesquisa. Em sua primeira parte, uma breve trajetória do canto no Brasil chegando até os dias de hoje, é discorrida. Na segunda parte, o tema central é o acompanhamento ao piano e todos os aspectos que o envolvem. Os anexos são compostos pelas entrevistas na íntegra com os regentes de coros infantis, bem como o currículo destes e de seus respectivos coros / Abstract: This work is a detailed study about the possibilities of piano accompaning for children's choir. It discusses some aspects of the art of accompaning, with the support of materials collected through interviews with choir conductors and bibliographical research. The first part is a historic overview of singing in Brazil; the second part has piano accompaning as main subject. The attachments include the complete interviews as well as he biographies of the conductors and the curriculum of the choirs / Mestrado / Mestre em Música