Im Kontext der Theorie-Praxis-Debatten am Ende der 1970er Jahre und der wirtschaftlichen Durchsetzung der Videotechnik auch im privaten Freizeitbereich entwickelte Dieter Baacke ein theoretisch sorgfältig begründetes didaktisches Seminar-Konzept zum „Spielfilm als Gegenstand der pädagogischen Analyse“. Im vorliegenden Beitrag, der erstmals 1981 publiziert wurde, stellt Baacke dieses Konzept vor und reflektiert seine ersten Seminarerfahrungen mit diesem Ansatz. Sein Hauptanliegen war es, vermeintlich trockenes pädagogisches Theoriewissen über das Medium lebensweltnaher und erfahrungsgesättigter Filmerzählungen den Studenten nahe zu bringen und ein tieferes Verständnis für pädagogische Zusammenhänge zu erzielen. / In the context of contemporary theory-practice debates in the late 1970s and economic enforcement of video technology in the private recreational area Dieter Baacke developed a theoretically substantiated didactic concept for „Spielfilm als Gegenstand der pädagogischen Analyse“ (feature film as an object of pedagogical analysis). In the present article, which was first published in 1981, Baacke introduces this concept and reflects on his first seminar experience with this approach. His main concern was to convey apparently boring educational theory knowledge through the medium of Film narratives of everyday life and to achieve a deeper understanding of educational contexts.

Wanghua Chu (b. 1941) is an outstanding Chinese composer and pianist, who has written extensively for piano. This dissertation offers a pedagogical analysis of Seven Chinese Folk Songs (1999), one of his most famous and well-regarded piano solo works. The present study has two broad and related aims: to introduce Wanghua Chu's Seven Chinese folk songs to a broader community of pianists outside of China; and to provide a pedagogical analysis so that pianists of a late-intermediate level and higher can learn it effectively and teachers can teach it successfully. Chapter 2 provides an overview of Wanghua Chu's artistic career and major works, as well as the composition background of Seven Chinese Folk Songs. Chapter 3 introduces the seven original Chinese folk songs that are used in this work, both the actual songs and the song types. Chapter 4 provides an analysis of the musical form of each movement of Seven Chinese Folk Songs. Chapter 5 analyzes the technical difficulties of this work and provides specific practice methods to solve them. Seven Chinese Folk Songs exposes the pianist to the diversity and richness of Chinese folk songs and offers them a different kind of learning opportunity in which they not only broaden their horizons through learning Chinese folk songs and ethnic cultures but also improve their piano playing techniques, as well as enhance their musical expression and imagination abilities.

This study provides background information, International Phonetic Alphabet (IPA) transcriptions and pronunciations, poetic translations, and pedagogical analyses of ten Francesco Paolo Tosti songs. Included is the connection between the rhythm and meter of the poetry and its’ influence on Tosti’s setting of the text to music. In addition, a portion is devoted to an overview of pedagogy, specifically, appoggio, registers and passaggi in the lyric tenor voice, range and, as well as chiaroscuro. This document addresses potential vocal challenges presented for the lyric tenor voice within each song, as well as the benefits. In particular, suggestions for vowel modifications in the passaggi of the lyric tenor voice in relationship with the provided IPA transcription are addressed. Finally, by gathering all of the necessary information on Aprile, Non t’amo più, Luna d’estate, Preghiera, La serenata, Ideale, A vucchella, In van preghi, L’alba sepàra dalla luce l’ombra, and L’ultima canzone, this performance guide creates a concise tool for teachers and singers in the vocal studio seeking ideal performance practice suggestions.

This study provides a performance guide to the nine song settings of Mother Goose Lyrics and Mother Goose Lyrics II by American composer Richard Faith (b. 1926). Included is a biography of the composer. The primary purpose is to provide analysis that shows that these nine songs are accessible to undergraduate singers and that these are arguably Faith’s most approachable songs for the young singer. As is pertinent to each individual song the discussion may include information on the poetry, musical form, textual support, pedagogical issues, harmonic progressions, melodic ideas, rhythmic devices, character analysis, as well as information on text setting devices. This is accomplished through the author’s own analysis and study of Faith’s songs, interviews with the composer, and references to the three other dissertations covering Faith’s song compositions. This performance guide will provide an introduction to Richard Faith and his musical style, as well as provide a tool for teachers and singers seeking performance practice guidance.

Im Kontext der Theorie-Praxis-Debatten am Ende der 1970er Jahre und der wirtschaftlichen Durchsetzung der Videotechnik auch im privaten Freizeitbereich entwickelte Dieter Baacke ein theoretisch sorgfältig begründetes didaktisches Seminar-Konzept zum „Spielfilm als Gegenstand der pädagogischen Analyse“. Im vorliegenden Beitrag, der erstmals 1981 publiziert wurde, stellt Baacke dieses Konzept vor und reflektiert seine ersten Seminarerfahrungen mit diesem Ansatz. Sein Hauptanliegen war es, vermeintlich trockenes pädagogisches Theoriewissen über das Medium lebensweltnaher und erfahrungsgesättigter Filmerzählungen den Studenten nahe zu bringen und ein tieferes Verständnis für pädagogische Zusammenhänge zu erzielen. / In the context of contemporary theory-practice debates in the late 1970s and economic enforcement of video technology in the private recreational area Dieter Baacke developed a theoretically substantiated didactic concept for „Spielfilm als Gegenstand der pädagogischen Analyse“ (feature film as an object of pedagogical analysis). In the present article, which was first published in 1981, Baacke introduces this concept and reflects on his first seminar experience with this approach. His main concern was to convey apparently boring educational theory knowledge through the medium of Film narratives of everyday life and to achieve a deeper understanding of educational contexts.