Music
Permanent URI for this communityhttp://hdl.handle.net/1903/2265
Browse
13 results
Search Results
Item The Effects of Gender and Grade Level on the Compositional Processes of Sixth, Seventh, and Eighth Grade Students(2009) Kurtz, Jonathan David; Carter, Bruce A; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The purpose of this study was to examine the effects of grade level and gender on the amount of time early adolescents spent on selected compositional processes (exploration, repetition, development, and silence). This study serves as an extension of the Kratus (1989) study that examined the compositional processes used by 7, 9, and 11-year-olds. For this study, 30 students in grades 6, 7, and 8 were given 10 minutes to compose a piece of music on an electronic keyboard. Following the composition time, students were asked to play their compositions two times in a row. The time spent on the compositional processes of exploration, development, repetition, and silence was analyzed quantitatively by the researcher and two independent judges. Analysis showed no significant relationships between grade level and the use of compositional processes. No gender differences were found, and all students in grades 6-8 were able create a composition to some degree. Although no significant main effects were observed, analysis of the mean time spent on the process of development indicates that a trend may exist in which older students spend more time developing ideas than younger students.Item Exploring the experiences of three teachers at a summer youth music camp: "As positive for the faculty as it is for the kids"(2009) Belin, Leah Rachel; Montgomery, Janet; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The purpose of this single case study ethnography was to explore the experiences of three music teachers at a summer youth music camp (SYMC) at a large university outside a metropolitan area on the East Coast. This exploration was intended to investigate the following research questions: (a) Why did the participants choose to participate in SYMC, (b) How did the participants benefit from participation in SYMC, and (c) How did the experiences of the participants relate to the professional and nonprofessional aspects of SYMC? Data analysis revealed two major themes: nonprofessional aspects of participation and professional aspects of participation. The professional aspects of camp were of more benefit to the participants and were a stronger motivation for participation than the nonprofessional aspects. The results of the present study held implications for SYMC as a learning community and as an opportunity for professional development for music teachers.Item Expanding the Choral Conductor's Horizon: The Application of Selected Literary Theories to the Process of Choral Score Study(2009) Seighman, Gary Bernard; Maclary, Edward; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The main premise of this document is that the various movements associated with literary theory can provide unique interpretative insights for the modern choral conductor during score study. Traditionally, score study involves making performance decisions based upon formal analysis, study of performance practices, examination of historical and stylistic information, and practical ensemble considerations. By adopting a stance that also acknowledges elements offered by literary theory, the conductor can begin to uncover those elements in the music that maximize the potential for the singer to have a meaningful musical experience. Literary theory deals critically with the process of interpretation and focuses especially on the relationship between the literary text and the reader. On one end of the literary theory spectrum, formalist studies of interpretation place value only on the words and notes and their grammatical relationship with one another while ignoring historical information as a determinant source for meaning. On the other end, Reader-Response Criticism focuses on the attributes of the reader, understood as part of the culture he belongs to, and through his personal background and experiences. Many branches of theory are located in the middle and consider how the properties of a text fuse with a reader's expectations and guide him to a particular interpretation. The adaptation of these theories to music is not new, as shown by the sizeable corpus of books and articles devoted to musico-literary studies. Few if any of these studies focus exclusively on choral repertoire or address practical issues of score preparation and conducting gesture, however. This document surveys several literary theories, identifies their key concepts, and adapts them to the analysis of specific choral works. The result is a series of analyses that offer fresh perspectives for a variety of choral works. Topics include, but are not limited to the following: uncovering hidden dialogue, music as a system of signs (semiotics), tropes and hermeneutic windows, the vocality of text, and conducting gesture as metaphor. The goal of musico-literary studies as it relates to choral training should be to educate a new generation of conductors who understand the processes of how we as both performers and listeners perceive meaning from our vast repertory and to develop strategies that improve its accessibility.Item Authorship and Methodology Patterns in Music Education Research, 1984-2007(2008-05-05) Farmer, Dawn Marie; Hewitt, Michael P.; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The purpose of this study was to evaluate gender-related authorship and research methodology patterns in music education research. Articles were examined in order to determine if the frequency of women authors in the sample matched the frequency of women receiving doctoral degrees in music education. Furthermore, methodologies of the articles were tallied to determine what types of research were being published and in what frequencies. Analysis of seven top-tier music education journals published from 1984 to 2007 suggested that women published below the expected frequency and that quantitative research comprised 78.93% of published articles. Data indicated that women were less frequent authors than men, but published a greater percentage of qualitative research. The number of women authors increased from the Early Period (1984-1991) to Late Period (1992-2007), as did the number of authors writing qualitative research.Item An Examination Of The Relationship Between Teaching Method And Middle School Instrumentalists' Performance Of Three Expressive Skills(2008-05-05) Chester, Erin; Silvey, Philip; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The purpose of this study was to examine the relationship between instrumental music teacher instructional approaches on student performance of expressive skills at the middle school level. The instructional approaches of: a) modeling only, b) verbal communication using technical explanation only, c) verbal communication using imagery and metaphor only, and d) no instruction, were compared for their instructional effectiveness. Participants (N=51) recorded two performances of two researcher-created melodies that included articulation, dynamics, and ritardando markings. The data were also analyzed to confirm previous research conducted on the effect of experience and instrument type on expressive skill performance. Data revealed no statistically significant relationships between these variables. Implications for middle school instrumental music teachers and future research on the topic are discussed.Item The Status of Instruction in Composition in Elementary General Music Classrooms of MENC Members in the State of Maryland(2008-05-05) Phelps, Kerry Bowman; Silvey, Philip; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The purpose of this study was to examine the status of composition activities in elementary level general music classrooms in the state of Maryland. Participants (N=60) completed an online questionnaire with questions in the areas of teacher demographics, beliefs about composition, and frequency of composition activities in the classroom. Responses indicated that composition was present, at a low frequency, at all student grade levels. Relationships were found between student grade level and structure of composition activity and student grade level and group structure of composition activity. Implications of the frequency of composition activities as well as relationships found for music education are discussed. Suggestions are made for increasing the frequency of composition activities by building upon the most common practices identified by this study.Item The Status of Inclusive Education in Maryland School Band and Orchestra Programs(2007-05-03) Shelfo, Kerri Lynn; Hewitt, Michael; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The purpose of this study was to determine the status of inclusion in instrumental music programs in Maryland public schools and the attitudes of instrumental music teachers towards the inclusion of students with disabilities into their instrumental music programs. Participants (N = 214) completed an online survey which assessed the representation of disabilities in instrumental music classes, teacher preparation, inclusion practices and teacher attitudes. Data revealed poor representation of students with mental retardation in instrumental music classes, discrepancies in the implementation of inclusion, and conflicting teacher attitudes toward inclusion and specific disabilities. These data will be discussed in light of national statistics on inclusive education and the manner in which they might impact instrumental music programs.Item THE EFFECT OF A PROGRAM OF PORTABLE ELECTRONIC PIANO KEYBOARD EXPERIENCE ON THE ACQUISITION OF SIGHT-SINGING SKILL IN THE NOVICE HIGH SCHOOL CHORUS(2005-11-23) Parks, Judith Elseroad; Silvey, Philip; Smith, Bret; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The problem was to determine whether a method of aural and visual vocal training that included a program of portable electronic piano keyboard experience would be more effective in teaching sight-singing skills to novice high school chorus students than a method that included only aural and visual vocal training. A sub-problem was to determine whether novice chorus students enjoyed playing electronic keyboards in chorus as a reinforcement experience in sight-singing training. Students were randomly assigned to two treatment groups, tested with the Musical Aptitude Profile, Tonal Imagery, part A, and then trained separately. The experimental group sang repetitions of melodic patterns and utilized techniques associated with the Kodály Method while simultaneously playing keyboard. The comparison group received a similar treatment without using keyboards. The students were pre- and post-tested in sight-singing using the Vocal Sight-Reading Inventory. Results of the Analysis of Covariance using MAP scores as the covariate revealed no significant difference (p<.05) between post-test scores of the two groups. Improvement was noted in 96% of students from pre-test to post-test regardless of grouping. The repeated measures ANOVA revealed a significant relationship (p<.006) between aptitude group and post-test score. High aptitude students in both groups were found to benefit more from the training than low aptitude students. High aptitude keyboard group students achieved an average gain score that was 8.67 points higher than the comparison group. Of the total experimental group, 92% enjoyed playing keyboards in chorus. It is recommended that future research be undertaken to study the use of keyboards with advanced high school choruses and with uncertain singers in the high school chorus. Research is also needed to develop graded, valid, and reliable sight-singing tests for use in high school chorus. Techniques of the Kodály Method should be further investigated for use in high school sight-singing training.Item Incipit for Flute and Computer(2005-05-15) Kim, Hyun Kyung; Gibson, Robert; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Recent advances in digital technology have made it possible for musicians to interact in live performance with real-time digital audio signal processing generated from a personal computer. As a result, composers have been able to develop sophisticated algorithms and software for sound generation and control, taking advantage of real-time human/computer interaction to emulate the expressive responsiveness of traditional musical ensembles. Incipit for Flute and Computer requires an Apple PowerBook computer, a compatible four-channel audio interface and the digital audio signal processing application Max/MSP by Cycling74. The piece is structured so that performance parameters generated by the computer are triggered by the amplitude, pitch and duration of the flute sound, or by a foot pedal (MIDI trigger). Incipit is truly interactive in that the piece evolves in response to and because of the performance gestures of the flutist. An incipit ("here begins," Latin) is typically found on the opening pages of early manuscripts to mark the beginning of the text. These openings have a unique appearance that often includes elaborate and creative letterforms. In my composition Incipit, various short initial motives played on the flute form thematic material used to delineate the structure of the piece and are further developed through various real-time audio digital signal processing (DSP) algorithms. In the first section of Incipit, the method of capturing the performance gestures in digital format and the musical responses of the computer are created using tap.shift~, a Max/MSP object written by Timothy Place, to detune the incoming sound of the flute. The computer senses the flute's amplitude and triggers the detuning action when the performer plays a passage loudly (specifically, a Musical Instrument Digital Interface (MIDI) velocity over 65). A Virtual Studio Technology (VST) plug-in is then applied to delay and further enhance the effect. The second section uses algorithms written by the composer controlling the Max/MSP objects sfplay~ and groove~ to play prerecorded sounds randomly. Here the computer does not respond to the flute, but rather provides a ostinato over which the performer improvises passages derived from suggested motives. The third section uses the fiddle~ object, written by Miller Puckett, the creator of the Max/MSP, to track the pitch and amplitude contours of the incoming sound. Specific pitches at the appropriate amplitude trigger the computer to play prerecorded sounds along with the flute.Item Vocal Pegagogy and Applications for Conductors not Trained in Singing(2005-04-20) Walders, Patrick Michael; Maclary, Edward L; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Musicians who are given the opportunity to conduct a choir may not always be trained singers themselves. In particular, keyboard players who are not trained as vocalists often elect to pursue careers that include choral conducting. There is no single resource designed specifically for choral conductors (or any conductor whose primary instrument is not their singing voice) who may not have received private voice lessons for an extended period in their musical training. There are many resources for advanced choral techniques, warm-ups, vocal pedagogy for those who already have experience as choral conductors, choral singers and vocal soloists. This document provides basic discussions and applications that address the fundamentals of vocal pedagogy and how those fundamentals could be applied within basic choral warm-ups and rehearsal techniques, all designed for conductors who do not have training in applied voice or in choral music education. The heart of this document focuses on basic Vocal Pedagogy, equipping the inexperienced vocalist with anatomical knowledge of the voice and the mechanics of vocal production. Inexperienced and untrained singers, along with other musicians who are seeking ways to teach vocal technique to choirs will benefit from this overview, as it will provide a single and concise resource to answer questions concerning foundational issues of vocal pedagogy, and their application within a choral rehearsal. My sources include a compilation of books, articles, and videos published in the latter half of the twentieth century, weighted more toward materials published within the last ten years. I analyze, highlight and compare current leading Vocal and Choral Pedagogy texts by Barbara Conable, Meribeth Bunch, Cynthia Vaughn, Leon Thurman, Graham Welch, Roger Love, Frauke Haasemann and other authors citing, in my opinion, the most important information needed by inexperienced vocalists who find themselves teaching and/or conducting in a choral setting. I then share my own experiences, offer applications and exercises and reflect and/or comment on the information cited. I hope this makes the terminology less technical and more user-friendly to the "vocal layperson," or inexperienced vocalist, allowing for quicker understanding and application of the content.