Jazz Ensembles

2019 ◽  
pp. 843-862
Author(s):  
C. Michael Palmer
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Music Educators ◽  
Jazz Pedagogy ◽  
Instrumental Music Education ◽  
Art Form ◽  
Musical Cultures ◽  
Jazz Ensembles ◽  
Jazz Theory

This chapter acknowledges the growth of jazz ensembles in instrumental music education and the value of preparing future music educators to teach jazz. It situates jazz pedagogy in an authentic, experiential framework, emphasizing the important role of the rhythm section and what it means to be culturally literate through improvisation. Topics such as jazz theory, swing feel, and jazz styles are examined. The chapter also discusses a paradigm shift in the conceptualization of music education, whereby an interpreter-performer perspective is replaced by a creator-performer perspective. Musicians’ roles as composers and improvisers in the jazz idiom suggest learning this art form is relevant for developing creative performers who may then be able to participate in a variety of other musical cultures.

The Role of Accompaniment Quality in the Evaluation of Solo Instrumental Performance

2018 ◽  
Vol 66 (1) ◽  
pp. 92-110 ◽  
Author(s):  
D. Gregory Springer ◽  
Brian A. Silvey
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Education Majors ◽  
Instrumental Performance ◽  
Solo Performance ◽  
Instrumental Music Education ◽  
Performance Quality ◽  
Music Education Majors ◽  
Main Effects

The purpose of this study was to examine the effect of accompaniment quality on the evaluation of solo instrumental performance. Undergraduate instrumental music education majors ( N = 71) listened to and evaluated the accuracy and expressivity of six excerpts of Haydn’s Concerto for Trumpet in E-Flat Major, which we created by synchronizing recordings of good and bad performances of a trumpet soloist with good and bad performances of a piano accompaniment (as well as a no-accompaniment condition). Participants also chose one “best aspect of the performance” and one “aspect needing most improvement” for each excerpt. Significant main effects for accompaniment condition (good, bad, or none) and solo condition (good or bad) were found, in addition to interaction effects. Results of a Solo × Accompaniment interaction signified that participants’ ratings were not independent of accompaniment condition, and this effect was moderated by the performance quality of the trumpet soloist. Additionally, participants noted different “best aspects” and “aspects needing most improvement” based on both solo performance quality and accompaniment condition.

A Grounded Theory of Preservice Music Educators’ Lesson Planning Processes Within Field Experience Methods Courses

2017 ◽  
Vol 65 (3) ◽  
pp. 287-308 ◽  
Author(s):  
Elizabeth Cassidy Parker ◽  
Vanessa L. Bond ◽  
Sean R. Powell
Keyword(s):  
Preservice Teachers ◽  
Grounded Theory ◽  
Music Education ◽  
Instrumental Music ◽  
Field Experience ◽  
Lesson Planning ◽  
Music Educators ◽  
Written Responses ◽  
Instrumental Music Education ◽  
Context Learning

The purpose of this grounded theory study was to understand the process of field experience lesson planning for preservice music educators enrolled in choral, general, and instrumental music education courses within three university contexts. Data sources included multiple interviews, written responses, and field texts from 42 participants. Four waves of data collection and analysis revealed a five-step process beginning with “learning the tasks of teaching” and “experiencing an authentic teaching context.” Participants articulated the central phenomenon as “embracing teaching as an interaction,” which led to “teaching more effectively” and “learning about teaching with my style.” The findings reflect that participants developed a situated understanding of how thoughtful preparation is connected to effective teaching. An implication for this study is that preservice teachers should be consistently immersed in authentic context learning environments during undergraduate education.

A Comparison of the Basic Song Repertoire of Vocal/Choral and Instrumental Music Education Majors

2000 ◽  
Vol 48 (1) ◽  
pp. 5-9 ◽  
Author(s):  
Carol A. Prickett ◽  
Madeline S. Bridges
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Instrumental Music ◽  
Music Educators ◽  
Education Majors ◽  
Education Students ◽  
Song Repertoire ◽  
Instrumental Music Education ◽  
Significant Difference ◽  
Music Education Majors

Following up on an earlier study, an audiotape of the tunes of 25 standard songs, assumed to be known by everyone who has finished 6th grade, was played for 135 undergraduate instrumental music education students and 79 undergraduate vocal/choral music education students. There was no significant difference in the ability of either group to identify the songs. The means for both groups indicated that neither had developed a strong repertoire of standard songs outside the college classroom. Several songs that music educators have stated are very important for children to learn could not be identified by even half the students in either group. It is recommended that professors preparing music education students for their future careers consider adding activities to music education courses that build a strong song repertoire.

The Role of Accompaniment Quality in Band Directors’ Evaluations of Solo Instrumental Performance

2019 ◽  
Vol 67 (4) ◽  
pp. 481-493
Author(s):  
Brian A. Silvey ◽  
D. Gregory Springer
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Band Directors ◽  
Education Majors ◽  
Instrumental Performance ◽  
Instrumental Music Education ◽  
Study Results ◽  
Music Education Majors ◽  
Trumpet Performance

The purpose of this replication study was to examine the effects of accompaniment on evaluations of solo instrumental performances. Although previous findings have indicated that instrumental music education majors’ evaluations of soloists were not independent of accompaniment, it is unknown whether more experienced evaluators are similarly affected by accompaniment. In addition to using a new population (in-service band directors), we also extended the previous study by asking participants whether they believed their evaluations of a soloist were influenced by the accompaniment provided. Participants ( N = 58) listened to six excerpts of Haydn’s Concerto for Trumpet, which we created by pairing different recordings of solo trumpet performance (good or bad) with piano accompaniment (good, bad, or none). Participants evaluated the accuracy and expressivity of the soloist in each excerpt. Similar to the previous study, results indicated that participants discriminated between good and bad solo performances successfully, but a significant three-way interaction among solo, accompaniment, and order indicated that these differences were further influenced by the quality/presence of accompaniment and order. Most participants (72.4%) believed that their evaluations of the soloist were not influenced by the piano accompaniment, primarily because they were able to focus on the soloist or because they followed the instructions provided.

An Observational Study of Score Study Practices Among Undergraduate Instrumental Music Education Majors

2017 ◽  
Vol 65 (1) ◽  
pp. 52-71 ◽  
Author(s):  
Brian A. Silvey ◽  
Mark Montemayor ◽  
Christopher M. Baumgartner
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Education Majors ◽  
Preparation Programs ◽  
Score Study ◽  
Instrumental Music Education ◽  
Study Session ◽  
Significant Difference ◽  
Model Condition ◽  
Music Education Majors

The purpose of this study was to investigate undergraduate instrumental music education majors’ score study practices as they related to the effectiveness of their simulated conducting. Participants ( N = 30) were video recorded in two sessions in which they completed a 20-min score study session and a simulated conducting performance. In the first score study session, all 30 conductors studied Mini-Suite for Band, Movement 1. In Session 2, participants studied Portrait of a Clown but this time either with a model recording ( n = 15) or without one ( n = 15). We computed the overall duration of participants’ score study behaviors for both pieces. Additional data included graduate students’ evaluations of participants’ post–score study conducting performances and an inventory of participants’ score study markings. We found a significant difference in the proportion of time spent in score studying activities between the model and no-model condition conductors, with more time spent in gesturing when studying along with a model. Evaluations of participants’ conducting revealed no differences between those conductors who used a model and those who did not while studying Portrait of a Clown. Our analysis of conductors’ score markings revealed a small number of notable differences between stronger/weaker conductors and between model/no-model conditions. Implications for undergraduate conductor preparation programs are discussed.

The National High School Orchestra 1926—1938

2009 ◽  
Vol 57 (1) ◽  
pp. 50-72
Author(s):  
Phillip M. Hash
Keyword(s):  
High School ◽  
Music Education ◽  
Instrumental Music ◽  
National Conference ◽  
Instrumental Music Education ◽  
The Arts ◽  
History Of ◽  
Research Questions ◽  
School Orchestra ◽  
High School Musicians

The purpose of this study was to document the history of the National High School Orchestra (NHSO), a select ensemble organized by Joseph E. Maddy under the auspices of the Music Supervisors' National Conference during the 1920s and 1930s. Research questions examined the orchestra's (1) origin, performances, and operation; (2) instrumentation and repertoire; (3) influence on music education; and (4) implications for modern practice. The first NHSO was assembled for the 1926 meeting of the Music Supervisors' National Conference in Detroit, Michigan. Initially led by Maddy, this ensemble was reorganized in 1927, 1928, 1930, 1932, and 1938. The NHSO helped promote instrumental music education through conference performances, radio broadcasts, and concerts presented throughout the country. This organization also demonstrated the potential of high school musicians and served as a basis for the NHSO Camp—the institution known today as the Interlochen Center for the Arts.

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