The purpose of this study is to compare the ways high school instrumental teachers and high school vocal teachers teach musicianship skills. The study also compares secondary music teachers' perceptions of the effectiveness of their teaching of musicianship skills with college students' perceptions of how effectively they were taught these skills. I examined how instructional time, teaching methodology, and availability of small-group and private lessons factor into (1) teacher perception of student understanding of musicianship, and; (2) college students' perception of remembered musicianship education experienced while in high school. I distributed a survey designed to examine the pedagogy of specific musicianship skills. This survey was sent to 75 vocal teachers and 75 instrumental teachers who teach ensemble music classes (band, orchestra, and choir) in urban and suburban areas in Pennsylvania. A similar measure designed to examine college students' remembered perception of the effectiveness of their high school musicianship education was sent to 150 vocal college music majors and 150 instrumental college music majors in Pennsylvania and Delaware. The survey was designed for students and instructors to rate musicianship training using a five point Likert-type scale and a six point Likert-type scale. The skills assessed included: reading notation from treble and bass clefs; sight-reading and sight-singing; recognizing and interpreting music symbols; identifying key signatures and time signatures; working independently on a musical task; and recognizing and performing dynamics, articulations, and common tempo markings. Data were analyzed using a Chi-square test to determine what, if any, significant results negating the null hypothesis are present. / Music Education

Studien utgår från tanken att musikteori kan vara ett hjälpmedel för körmedlemmar samt att kör är ett fördelaktigt sammanhang för inlärning av musikteori. Syftet med studien är att undersöka hur jag kan integrera kör och musikteori för att utveckla körmedlemmars kunskap och förmågor inom båda fält. Studiens frågeställningar är 1. Hur kan musikteori integreras i körrepetitionen som en naturlig del av körens arbete? 2. Hur kan musikteoretisk kunskap fungera som ett hjälpmedel för kören i det praktiska musicerandet? och 3. Vilka möjligheter och begränsningar finns det med att använda körsång som medel för inlärning av musikteori? Studien genomförs med en ungdomskör verksam i Svenska kyrkan under två separata undersökningstillfällen där två olika musikteoretiska områden behandlas: rytm respektive intervall och ackord. Områdena väljs med bakgrund i tidigare forskning gällande vilka musikteoretiska kunskaper som körledare anser vara viktiga för kör. Studien utgår från grundläggande idéer inom dels rytmikpedagogik som handlar om att lära med kroppen, dels comprehensive musicianship som handlar om att förena teori och praktik och att bidra med ett helhetsperspektiv på musik inom musikpedagogik. Det tillvägagångssätt som används för att utforma undersökningstillfällena består av tre huvudsakliga delar: medvetandegöra, lyssna och göra. Resultatet av studien analyseras utifrån två identifierade teman: medvetenhet och osäkerhet. De slutsatser som dras är att musikteori kan integreras på ett naturligt sätt i kör genom att utforma övningar utifrån körens aktuella repertoar. Resultatet visar att sådana övningar kan skapa större medvetenhet om musikteoretiska teman vilket kan ge kören ett bredare perspektiv på musik. Ytterligare slutsatser är att osäkerhet kan hämma körens lärande av musikteori och att utveckla körmedlemmars självständighet kan vara ett sätt för att motverka osäkerhet. Studien lyfter även vikten av säkra individer som informella ledare i kören för inlärning av musikteori samt för körens arbete generellt.

Comprehensive Musicianship (CM) is a philosophy that developed in the 1960s to encourage the study of contemporary music and student creativity. It expanded in the 1970s to describe the interdisciplinary study of music. Its goal was to encourage teachers to go beyond technical and performance aspects of music and start integrating theory, history, composition, improvisation and aural skills instruction to their curriculums. However, while CM has had a strong influence on many music programs, it is not clear whether this trend has influenced the field of private piano instruction, and whether CM elements have been included and integrated in beginner piano method books. To address this question, categories that constitute the core elements of CM were selected to conduct a content analysis of 12 piano method series. Analysis showed that the focus tends to be on aural skills (as teacher duets), and theory, with a noticeable lack of the more creative activities of improvisation and composition.

This essay is about two Swedish folk musicians, Anders Rosén and Leif Stinnerbom, who have been playing two important rolls in the developing process of Swedish folk music, on their separate ways. The main part of this work is focused on the era called “The Folk Music Vogue”, which was the era when my informants were in the limelight on the Swedish fiddler scene of the 70s. Our music culture is constantly lying under the change of progress and I find it interesting to reflect how these kinds of changes are affecting the role of the musician. In this essay I am reflecting on the different perspectives of the musicianship according to my informants and how they both are referring to their role as musicians. The purpose is further on to see how they have been relating to the change of progress on the field of the Swedish folk music during the 70s and up to this date. Throughout interviews with the informants I am analyzing their personal relationship to their life as folk musicians. I am focusing on their personal relationship to the Swedish folk music climate of today, as well as to the Folk Music Vogue of the 70s. The essay also focuses on the interpretation of traditional folk tunes, which leads us further on into the folk music tradition itself. During the 70s there was a young generation of fiddlers, which my informants was a strong part of, who was questioning the old values of the traditional folk music. With new kinds of perspectives and with different values this young generation changed the values in the tradition and through this, the folk musical climate became more open minded than before. One of my main conclusions in this essay is that my informants have been changing their relationship to the style of folk music as well as to the field of folk music. They have been changing their point of view, and these changes is mainly a result of the developments that have occurred in the style and on the field of folk music, after the era of the Folk Music Vogue, and further on up to this very date. These changes have also been affecting their personal relationship to their own musicianship. The history chapter of this essay will give the reader relevant information about the Swedish folk music history. Throughout the history the reader will get a bigger picture of the circumstances before and meanwhile the time of the Folk Music Vogue. The answers of my informants are compared to this history but firstly I have been comparing them with each other, and thereby answer the main questions of this essay.

<p>This essay is about two Swedish folk musicians, Anders Rosén and Leif Stinnerbom, who have been playing two important rolls in the developing process of Swedish folk music, on their separate ways. The main part of this work is focused on the era called “The Folk Music Vogue”, which was the era when my informants were in the limelight on the Swedish fiddler scene of the 70s.</p><p>Our music culture is constantly lying under the change of progress and I find it interesting to reflect how these kinds of changes are affecting the role of the musician.</p><p>In this essay I am reflecting on the different perspectives of the musicianship according to my informants and how they both are referring to their role as musicians. The purpose is further on to see how they have been relating to the change of progress on the field of the Swedish folk music during the 70s and up to this date. Throughout interviews with the informants I am analyzing their personal relationship to their life as folk musicians. I am focusing on their personal relationship to the Swedish folk music climate of today, as well as to the Folk Music Vogue of the 70s.</p><p>The essay also focuses on the interpretation of traditional folk tunes, which leads us further on into the folk music tradition itself. During the 70s there was a young generation of fiddlers, which my informants was a strong part of, who was questioning the old values of the traditional folk music. With new kinds of perspectives and with different values this young generation changed the values in the tradition and through this, the folk musical climate became more open minded than before.</p><p>One of my main conclusions in this essay is that my informants have been changing their relationship to the style of folk music as well as to the field of folk music. They have been changing their point of view, and these changes is mainly a result of the developments that have occurred in the style and on the field of folk music, after the era of the Folk Music Vogue, and further on up to this very date. These changes have also been affecting their personal relationship to their own musicianship.</p><p>The history chapter of this essay will give the reader relevant information about the Swedish folk music history. Throughout the history the reader will get a bigger picture of the circumstances before and meanwhile the time of the Folk Music Vogue. The answers of my informants are compared to this history but firstly I have been comparing them with each other, and thereby answer the main questions of this essay.</p>

Despite the interest in and importance of producing high quality choral performance, the question "How is superior performance produced?" has not been addressed in a holistic and naturalistic way. A synthesis of previous research findings suggests that a combination of actions, interactions, relationships, and conditions produce superior choral performance. Yet a holistic examination of this multi-faceted production process has not been conducted. In order to identify all factors contributing to the production of superior performance and how these factors work together, I comprehensively examined an extreme case of superior performance. This extreme case of superior performance was one high school, mixed choir who had performed at a national ACDA convention on three different occasions. This choir had consistently earned state superior ratings and top awards in many competitions. Through grounded theory analysis of over 34 hours of interview data, three and one-half days of observation, examination of material culture and field notes, and analysis of survey data, I purposed to discover how this choir produced superior performance. Results of my study indicated that a combination of choral performers' beliefs, values, characteristics, actions, and interactions produced superior performance. As the core explanation of the production of superior performance, the common beliefs and values of the director and his singers promoted and activated actions and interactions that produced superior performance. Choral performers (i.e., director and singers) strongly believed in and valued hard work, diligence, excellence, success, caring, responsibility, and the music. These beliefs and values powerfully determined their identity and the quality of their performance. The director's motivational strategies and expert technical pedagogy also provided explanation for how the choir produced superior performance. The director's musicianship and musical pedagogy powerfully motivated singers. The director's musicianship inspired singers to increasingly greater performance heights. Singers' love for the music and their convictions for producing aesthetically, expressive performance, grew as they learned about and experienced the intermingling of musical and textual devices. Of lesser importance to the production of superior performance was the director's expert technical pedagogy. Through technical pedagogy, singers learned to perform with precision. Through the director's motivational strategies, musicianship, and musical and technical pedagogy, singers learned the actions and interactions necessary for the production of superior performance. Performers' beliefs and values interacting with the motivational strategies of the director propelled singers into achieving these actions and interactions and determined the intensity with which they performed. The results of this investigation suggest examination into the effects of motivation, musicianship, and musical pedagogy on large ensemble performance quality. Results also suggest the need for investigation into the choral performers' beliefs and values and how they may impact the rehearsal and the quality of performance.

Ethnic culture – an important part of common and musical culture. Ethnic, musical culture is a presumption of national individuality, not vanishing value, raising and maintaining humanity, transferring cumulative experience. Ethnics raising, in a process of playing with kanklės, should be effective, should be used practically and must close children to ethnic musical culture more and more. The theory and practice of pedagogy did not research the role of Lithuanian folksong much; there is not much common information about the importance of Lithuanian ethnic culture, which helps to develop children’s national identity, so we hope to forward a development of spiritual and educative personality in this work. The aim of this work is to examine the possibilities of pedagogic effect during the kanklės lesson by developing nationally conscious personality. The object of the work – the development of personality ethnic through kanklės. The hypothesis of the work – the development of personality ethnic becomes more effective when you put more Lithuanian folk plays into teaching repertoire and give lack of information on ethnic culture during the process of kanklės teaching. The nonfiction analysis and pedagogical research were carried out at three stages since 2003 till 2006. During the pedagogical experiment in Alytus music school were formed and examined experimental and auditorial children groups from kanklės class. The questionnaire method was also practiced in other Lithuanian... [to full text]

Comprehensive Musicianship (CM) is a philosophy that developed in the 1960s to encourage the study of contemporary music and student creativity. It expanded in the 1970s to describe the interdisciplinary study of music. Its goal was to encourage teachers to go beyond technical and performance aspects of music and start integrating theory, history, composition, improvisation and aural skills instruction to their curriculums. However, while CM has had a strong influence on many music programs, it is not clear whether this trend has influenced the field of private piano instruction, and whether CM elements have been included and integrated in beginner piano method books. To address this question, categories that constitute the core elements of CM were selected to conduct a content analysis of 12 piano method series. Analysis showed that the focus tends to be on aural skills (as teacher duets), and theory, with a noticeable lack of the more creative activities of improvisation and composition.

Comprehensive Musicianship (CM) is a philosophy that developed in the 1960s to encourage the study of contemporary music and student creativity. It expanded in the 1970s to describe the interdisciplinary study of music. Its goal was to encourage teachers to go beyond technical and performance aspects of music and start integrating theory, history, composition, improvisation and aural skills instruction to their curriculums. However, while CM has had a strong influence on many music programs, it is not clear whether this trend has influenced the field of private piano instruction, and whether CM elements have been included and integrated in beginner piano method books. To address this question, categories that constitute the core elements of CM were selected to conduct a content analysis of 12 piano method series. Analysis showed that the focus tends to be on aural skills (as teacher duets), and theory, with a noticeable lack of the more creative activities of improvisation and composition.

This dissertation consists of three solo recitals and one lecture recital. The repertoire of all programs is composed of music written specifically for the trombone plus two transcriptions of works for voice. The purpose of this paper is to investigate the use of selected vocal pedagogical material as a means of developing musicianship for the trombonist. The historical relationship of the voice and the trombone is traced through written documentation and musical composition. Similarities between the development of legato technique for the vocal student and the trombonist are examined. A brief history of the vocalise and its pedagogical function is presented. The development of expressive musical performance for the trombonist is explored through the use of examples from three different vocalises of Marco Bordogni.