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The function of expressive bodily movement in the teaching of instrumental musicFogt, Marvin Willis January 1952 (has links)
No description available.
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A comparative study of selected approaches to teaching tenor clef in bassoon instructionHouser, Steven Dale January 1975 (has links)
No description available.
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The Alexander Graham Bell Vowel Chart as a Teaching TechniqueGant, Jeanette Lucille January 1947 (has links)
No description available.
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THE EFFECTS OF LEARNING PRACTICES ON MOTIVATION AND ENGAGEMENT AMONG HIGH SCHOOL INSTRUMENTALISTSScalise, David 02 September 2015 (has links)
No description available.
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"It's More Than Playing Music:" Perceptions of a Concert Band Program from Members of a Predominantly Latino School CommunityGerrard, Crystal Lynn 18 September 2018 (has links)
No description available.
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A comparison of music criticism in press and radioAnstaett, Muriel Sizer January 1946 (has links)
No description available.
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Community aspects of the orchestraKern, Ruth January 1946 (has links)
No description available.
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The objectives of the elementary school music program: a comparative studyLandry, Paul Emile, Jr. January 1963 (has links)
Thesis (M.M.)--Boston University
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Freshman Music Students' Identification With Expected Tasks in the Music Theory Class as a Relevant Part of Becoming a MusicianKteily-O'Sullivan, Laila Rose 12 1900 (has links)
The purpose of the study was to investigate freshman music students' identification with expected tasks in music theory class including aural, written, and performance requirements. The second research problem compared students' descriptions with actions in class to determine the presence of role taking (the conscious adherence to a set of behaviors) or role playing (the unconscious assumption of a set of behaviors).
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Three pieces for orchestra. (Original composition);Parris, Erick 01 January 1994 (has links)
The compositional problem I have proposed to solve is the creation of a work for full symphonic orchestra, utilizing a unified melodic and harmonic field in a piece of large dimension. The form of the first movement is ternary, the second is variation form, and the third is rondo-like. Technically I have employed a single hexachord--C, E-flat, E-natural, F-sharp, G, and B--registered in integers as (0, 3, 4, 6, 7, 11), which I have rotated and permuted to create both melodic and harmonic materials. Furthermore, I have used a number of rhythmic and timbral devices to help sustain the thrust of these materials, and also to create variety. The projected playing time of this composition is approximately 25 minutes.
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