Reedmaking is as integral to oboists’ skills as performers and teachers as any other element of their musical study. Reeds regulate almost all aspects of oboists’ music making, including pitch, line, and tone. But reedmaking is also the part of oboists’ professional training least integrated with their overall music education. Currently available resources on oboe reedmaking are written for the practitioner, and tend to be technical rather than pedagogical in nature. They do not cater to oboists’ varying backgrounds in reedmaking; nor do they take into account a given student’s unique physiology, technique, or variations in the instruments themselves. Indeed, techniques for teaching reedmaking have barely changed since the oral tradition of the nineteenth century. Given these shortcomings, there is great opportunity for instructional reexamination and intervention in the teaching of reedmaking. This dissertation blends reedmaking’s pedagogical traditions with principles from L. Dee Fink’s theory of “significant learning” into a useful, task-based guide for oboe professors in modern collegiate settings. First, it surveys historical writings on reedmaking and reedmaking pedagogy from the invention of the oboe to present day. It then examines relevant data and narratives about typical modern reedmaking pedagogy in the context of higher education. Third, it envisions reedmaking curricula based on significant learning principles. Finally, it explores broader implications for the oboe studio, other performance studios, and the expansion of a literature of reedmaking pedagogy.

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This study presents the outcomes of an exploration of the ways in which instrumental music teachers (IMTs) engaged to teach in UK university departments experience their work and interpret their role. It provides the basis for realistic steps for enriching their contribution to and relationship with the department in which they are situated. The area of activity was examined through a qualitative research approach within a single case study design that highlights the particularities and complexities of the case and of its context. It progressed through semi-structured interviews, document review, job-shadowing and a research diary that engaged participants in an iterative process aimed at generating rich descriptions of the situation and increasing the veracity of its subsequent interpretation. The findings echo the isolated location found in earlier studies of IMTs in HE (Burwell, 2005; Haddon, 2009; Purser, 2005, Young et al, 2003) but note that they did not display the secretive or isolationist tendencies previously espoused. Instead there was a narrative of neglect and exclusion by the employer that contributed to a low sense of entitlement from these employees who occupy a peripheral and static position at the margins of departmental operations. It concludes that IMTs do not form a convenient organisational sub-unit (Weick and Orton, 1990) or a community of practice (Lave and Wenger, 1991) that would respond in a uniform fashion. Instead, they experience their engagement with the university in an individual manner framed by their personal and professional environment or umwelt (Uexküll, 1985) and interpreted according to their particular interests, needs and priorities. Finally it suggests that the employing department must recognise this diversity and facilitate greater participation of its IMTs through the creation of permeable boundaries that permit but do not require involvement in curriculum design and assessment, teaching innovations and research into instrumental pedagogy.

Dass gerade im Fach Gehörbildung negative Stimmungslagen bei Studierenden besonders kontraproduktiv für die angestrebten Bildungsziele sind, ist bekannt. Motivierend ist das Wissen, mit Hilfe fachspezifischer Gehörbildung Fähigkeiten zu erwerben, die Hilfestellungen für die spätere Berufspraxis darstellen. Das Unterrichtsprojekt Fachspezifische Gehörbildung wurde an der Hochschule für Musik und Theater München praktisch erprobt. Es basiert auf einer intensiven, interdisziplinären und zeitaufwändigen Kooperation von Kolleginnen und Kollegen der künstlerischen Fächer, der Gehörbildung und der Musiktheorie. Exemplarisch werden ausgewählte Aspekte zur fachspezifischen Gehörbildung anhand der künstlerischen und pädagogischen Hauptfachstudiengänge Violine und Klavier vorgestellt. Vor diesem Hintergrund zeigt sich auch ein dringender Bedarf an Seminaren zur Didaktik der Gehörbildung im Instrumentalunterricht für die Studienpläne von Instrumental- und Gesangspädagogik-Studiengängen (IGP) an deutschen Musikhochschulen. Seit dem Jahr 2004, als dieser Vortrag beim 4. Kongress der Gesellschaft für Musiktheorie (HfMT Köln) zu hören war, ergaben sich auf hochschulpolitischer Ebene und in informationstechnologischer Hinsicht bedeutende Veränderungen. / It is common knowledge that a negative attitude from students is particularly counterproductive for the intended educational goals, particularly in the subject ear training. Yet it is motivating for students if one presents the advantages of specific ear training skills for professional practice. The educational project Fachspezifische Gehörbildung was tested out practically at the Hochschule für Musik und Theater München. The project is based on an intensive, interdisciplinary, time-consuming cooperation between colleagues in artistic fields, ear training, and music theory. Select aspects of field-specific ear training will be presented in the context of the artistic and pedagogical majors of violin and keyboard. Against this backdrop the dire need for seminars in Didactics of Ear Training in Instrumental Instruction in the curricula of instrumental and vocal pedagogy majors in German conservatories becomes apparent. Since 2004, when this article was presented at the Gesellschaft für Musiktheorie anual meeting in Köln, significant changes have taken place at the conservatory level and regarding information technology.

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Rattachés à la tradition musicale occidentale savante, les travaux présentés dans cette thèse portent sur l’analyse de l’interprétation des œuvres de la période baroque (1600-1750) au piano. L’interprétation a été étudiée en lien avec deux compositions pour clavier seul : un extrait du dernier mouvement de la Partita en do mineur BWV 826 de J. S. Bach (1685-1750) et le Passepied GWV 325 de C. Graupner (1683-1760). Ces œuvres ont été jouées et enregistrées selon trois styles d’interprétation contrastants (romantique, moderne et rhétorique) dans le contexte de deux études expérimentales. Une étude auto-ethnographique a visé le développement d’un protocole d’analyse qualitative et quantitative de l’interprétation d’une œuvre de Bach selon les principes des trois styles. Une étude de cas a permis d’explorer la mise en pratique d’une méthode de travail pour le développement d’une démarche artistique informée et exploratoire en interprétation. Une approche mixte d’analyses qualitatives et quantitatives a été utilisée dans les deux études pour révéler les rapports entre différents types de paramètres d’exécution (dont les variations de tempo, l’articulation, la dynamique, la pédale ou l’expression) et les descriptions stylistiques (dont l’auto- explicitation des participants). En s’appuyant sur une étude de l’interprétation de la musique baroque au 20e siècle, un pianiste (l’auteur de la thèse) a enregistré un extrait de la Partita en do mineur (BWV 826) selon trois esthétiques contrastantes (romantique, moderne, rhétorique). Le jeu du pianiste a été capté en format de données MIDI sur un piano Yamaha Disklavier DC7X. Une description verbale de chaque style a été obtenue suivant la technique de l’auto-explicitation réalisée par le pianiste. Les captations sonores de chaque extrait ont ensuite été présentées à une auditrice experte, spécialiste en enregistrement du piano, ce qui a permis d’obtenir une perspective externe sur les interprétations. Les analyses de l’étude auto- ethnographique ont montré une cohérence entre les descriptions stylistiques, l’auto-explicitation du pianiste, les évaluations qualitatives par l’auditrice externe et les données quantitatives relatives aux paramètres d’interprétation. Ces résultats suggèrent qu’une compréhension des principes d’interprétation aiderait à construire une interprétation dont les attributs paramétriques sont cohérents et conformes avec les postulats stylistiques de départ. Ce protocole de recherche a été approfondi dans une étude de cas réalisée avec une pianiste titulaire d’un doctorat de la Faculté de musique de l’Université de Montréal. Des consignes écrites ont été envoyées à la participante et l’étude s’est déroulée en cinq étapes : interprétation de référence, analyse de la partition par accents immanents, analyse stylistique, interprétation selon les trois styles et interprétation idéale. Les analyses ont confirmé la cohérence entre les règles stylistiques, les propos de la participante recueillis durant des entretiens semi-dirigés et les paramètres quantitatifs extraits de sa performance. Les mesures et les proportions des différents paramètres de l’interprétation ont été établies à l’aide d’une nouvelle technique de « quantification de la perception ». L’analyse qualitative a révélé un sentiment de liberté et de contrôle que la participante a éprouvé en créant son interprétation dans des conditions déterminées et fondées sur des règles. En s’appuyant sur le modèle proposé par l’étude auto-ethnographique, l’étude de cas aura permis à la pianiste de créer un style hybride, original et idiosyncrasique. Ce modèle de développement de l’interprétation peut s’appliquer dans un contexte de formation des musiciens et musiciennes où la connaissance des styles et du contexte historique et esthétique constituera les bases de la création artistique individuelle. / In the context of the Western musical tradition, the research presented in this thesis centres on the analysis of the interpretation of works from the Baroque period (1600–1750) at the piano. The interpretation was studied in relation to two compositions for solo keyboard: an excerpt from the last movement of the Partita in C minor BWV 826 by J.S. Bach (1685–1750) and the Passepied GWV 325 by C. Graupner (1683–1760). These works were performed and recorded in three contrasting styles (romantic, modern, and rhetorical) in the context of two experimental studies. An auto-ethnographic study aimed to develop a protocol for qualitative and quantitative analysis of the performance of a work by Bach according to the principles of each of the three styles. A case study tested the application of a practical method for the development of an informed and exploratory artistic approach in performance. A mixed approach of qualitative and quantitative analysis was used in both studies to reveal relationships between different types of performance parameters (including tempo variations, articulation, dynamics, pedalling, or expression) and stylistic descriptions (including participants’ commentaries). Based on a study of baroque music performance in the 20th century, a pianist (the author of this thesis) recorded an excerpt of Bach’s Partita in C minor (BWV 826) according to three contrasting styles (romantic, modern, and rhetorical). The pianist’s performance was captured in MIDI data format using a Yamaha Disklavier DC7X piano. A verbal description of each style has been provided by the pianist through a self-explicitation exercise. Each audio recording was then presented to an expert auditor, a specialist in piano recordings, who provided an external perspective on the interpretation. The analysis of the auto-ethnographic study showed consistency between the stylistic descriptions, the self-assessment of the pianist/participant, the qualitative evaluations by an expert listener, and the quantitative data pertaining to musical parameters. These results suggest that an understanding of the principles of interpretation may help shape an interpretation whose parametric attributes are consistent with the original stylistic postulates. This research protocol was further developed in a case study carried out with a pianist who had completed her doctorate at the Faculty of Music of the University of Montreal. Based on written instructions sent to the participant, the study unfolded in five stages: a baseline or control performance, a score analysis by immanent accents, a stylistic analysis, a performance according to three styles, and an ideal interpretation. The analysis confirmed the consistency between the stylistic rules, the pianist’s verbal output collected in interviews, and the quantitative parameters extracted from her performance. The measures and proportions of various performance parameters were established using a new technique of “perceptual quantification.” Qualitative analysis revealed a sense of freedom and control experienced by the participant as she developed her interpretation under predetermined, rule-based conditions. Building on the model proposed by the auto-ethnographic study, the case study allowed the pianist to create a hybrid, original and idiosyncratic style. This model for the development of interpretation can be applied to musician training in which knowledge of style as well as historical and aesthetic context provides the foundation of individual artistic creation.