The Implications of Using Improvisation in Undergraduate Class Piano Curricula PDF Download

Author: Yuko Kishimoto
Publisher:
ISBN:
Category : Improvisation (Music)
Languages : en
Pages : 112

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Author: Jungeyun Grace Choi
Publisher:
ISBN:
Category : Improvisation (Music)
Languages : en
Pages : 116

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With intent to improve pedagogy in collegiate class piano, the purpose of this research was to investigate an aural approach to improvisation in beginning class piano. Research questions were: (a) What is the improvisation achievement of beginning collegiate class piano students? (b) What is the relationship between beginning collegiate class piano students' music aptitude and music achievement? and (c) what are students' perceptions of improvisation in class piano pedagogy? Participants in this study were undergraduate class piano students enrolled in their first year of class piano. Prior to the study, students' stabilized music aptitude was measured with the Advanced Measures of Music Audiation (AMMA, Gordon, 1989). Each student participated in two classes each week for a period of 14 weeks. I taught classes using instructional materials based on Keyboard Musicianship: Piano for Adults (Lyke, Caramia, Alexander, Haydon, & CHioldi, 2014) and Developing Musicianship through Improvisation (DTMI; Azzara & Grunow, 2006, 2010a, 2010b). This study was integrated into the pre-existing, school-wide, semester-long curriculum. Each student completed a: (a) pre-study survey, (b) mid-study group interview, and (c) post-study individual interview. I video-recorded all performances and interviews. At the end of 14 weeks of instruction, each student: (a) sang the melody of "Happy Birthday," (b) improvised to "Happy Birthday" vocally, (c) played the melody of "Happy Birthday" in the right hand with appropriate accompaniment in the left hand, and (d) improvised to "Happy Birthday" in the right hand with appropriate accompaniment in the left hand. Students then repeated this procedure with an unfamiliar researcher-composed tune. Three independent judges, professional musicians with experience improvising, rated recordings of student performances using rating scales designed to measure tonal, rhythm, expressive, and improvisation skills. Quantitative results affirmed that an aural approach to improvisation in beginning collegiate class piano may have led to improvised music achievement. Qualitative results revealed that an aural approach to improvisation in beginning collegiate class piano enhanced participants' perspectives of undergraduate music curricula.

Author: Laurel Larsen
Publisher: ProQuest
ISBN: 9780549210221
Category : Improvisation (Music)
Languages : en
Pages : 204

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Author: Ajay Heble
Publisher: Routledge
ISBN: 1317569938
Category : Education
Languages : en
Pages : 309

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This book offers compelling new perspectives on the revolutionary potential of improvisation pedagogy. Bringing together contributions from leading musicians, scholars, and teachers from around the world, the volume articulates how improvisation can breathe new life into old curricula; how it can help teachers and students to communicate more effectively; how it can break down damaging ideological boundaries between classrooms and communities; and how it can help students become more thoughtful, engaged, and activist global citizens. In the last two decades, a growing number of music educators, music education researchers, musicologists, cultural theorists, creative practitioners, and ethnomusicologists have suggested that a greater emphasis on improvisation in music performance, history, and theory classes offers enormous potential for pedagogical enrichment. This book will help educators realize that potential by exploring improvisation along a variety of trajectories. Essays offer readers both theoretical explorations of improvisation and music education from a wide array of vantage points, and practical explanations of how the theory can be implemented in real situations in communities and classrooms. It will therefore be of interest to teachers and students in numerous modes of pedagogy and fields of study, as well as students and faculty in the academic fields of music education, jazz studies, ethnomusicology, musicology, cultural studies, and popular culture studies.

Author: Eric Mark Laughlin
Publisher:
ISBN:
Category :
Languages : en
Pages : 414

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Author: David Earl Hart
Publisher:
ISBN:
Category : Improvisation (Music)
Languages : en
Pages : 260

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With the intent of improving improvisation curriculum and instruction at the collegiate level, the purpose of this descriptive study was to describe improvisation achievement and personal perspectives of collegiate undergraduate non-jazz majors following 14 weeks of learning to improvise. Improvisation has not traditionally been part of core curricula in collegiate music education programs. Researchers have requested the need for inclusion of improvisation in collegiate curricula. With addition of Jazz Studies as a major for undergraduate and graduate study over the last 50 years, more curricula include beginning jazz improvisation courses for music majors who are not studying jazz. Many music education departments require an improvisation class for their majors. For many students, this is their first exposure to improvisation. The following research questions guided this study: 1. What are performance and improvisation achievement levels for collegiate undergraduate students following 14 weeks of instruction using a sequential music curriculum designed for a beginning jazz improvisation class? 2. What are the relationships between music aptitude and (a) performance achievement, (b) improvisation achievement, (c) composite music achievement, and (d) singing achievement? and 3. How does improvisation instruction influence perceptions of learning by participants? Based on data gathered in this study, four conclusions are warranted (a) Collegiate non-jazz major students are capable of engaging in meaningful improvisations, (b) Learning to improvise has a positive effect on overall musicianship, (c) Improvisation and singing achievement are related to overall performance achievement, and (d) Rating scales used in this study are appropriate tools for measuring music achievement achievement and personal perspectives of collegiate undergraduate non-jazz majors following 14 weeks of learning to improvise.

Author: Christoph Neidhofer
Publisher: State University of New York Press
ISBN: 143849324X
Category : Music
Languages : en
Pages : 624

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This book teaches Baroque compositional techniques through writing and improvisation exercises and analysis of repertoire examples. It provides readers with a historical outlook by focusing largely on principles taught in treatises from the period 1680–1780. This expanded edition includes new sections with keyboard exercises that provide training in Partimento performance as it was practiced at the time, helping students master Baroque style from the inside. While the focus of the book is on fugue, it also treats chorale preludes, stylized dances, inventions, and trio sonatas. The volume is divided into two parts—basic and advanced— which could be taught in a two-semester sequence. There are various options to introduce material from Part II into Part I for a one-semester course.

Author: Bruno Nettl
Publisher: University of Chicago Press
ISBN: 9780226574103
Category : Music
Languages : en
Pages : 434

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In the Course of Performance is the first book in decades to illustrate and explain the practices and processes of musical improvisation. Improvisation, by its very nature, seems to resist interpretation or elucidation. This difficulty may account for the very few attempts scholars have made to provide a general guide to this elusive subject. With contributions by seventeen scholars and improvisers, In the Course of Performance offers a history of research on improvisation and an overview of the different approaches to the topic that can be used, ranging from cognitive study to detailed musical analysis. Such diverse genres as Italian lyrical singing, modal jazz, Indian classical music, Javanese gamelan, and African-American girls' singing games are examined. The most comprehensive guide to the understanding of musical improvisation available, In the Course of Performance will be indispensable to anyone attracted to this fascinating art. Contributors are Stephen Blum, Sau Y. Chan, Jody Cormack, Valerie Woodring Goertzen, Lawrence Gushee, Eve Harwood, Tullia Magrini, Peter Manuel, Ingrid Monson, Bruno Nettl, Jeff Pressing, Ali Jihad Racy, Ronald Riddle, Stephen Slawek, Chris Smith, R. Anderson Sutton, and T. Viswanathan.

Author: Christopher Fisher
Publisher: Oxford University Press
ISBN: 0195337042
Category : Music
Languages : en
Pages : 265

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Teaching Piano in Groups provides a one-stop compendium of information related to all aspects of group piano teaching. Motivated by an ever-growing interest in this instructional method and its widespread mandatory inclusion in piano pedagogy curricula, Christopher Fisher highlights the proven viability and success of group piano teaching, and arms front-line group piano instructors with the necessary tools for practical implementation of a system of instruction in their own teaching. Contained within are: a comprehensive history of group piano teaching; accessible overviews of the most important theories and philosophies of group psychology and instruction; suggested group piano curricular competencies; practical implementation strategies; and thorough recommendations for curricular materials, instructional technologies, and equipment. Teaching Piano in Groups also addresses specific considerations for pre-college teaching scenarios, the public school group piano classroom, and college-level group piano programs for both music major and non-music majors. Teaching Piano in Groups is accompanied by an extensive companion website, featuring a multi-format listing of resources as well as interviews with several group piano pedagogues.

Author:
Publisher:
ISBN:
Category : Dissertation abstracts
Languages : en
Pages : 872

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