The Problems of Band: An Inquiry into the Future of Instrumental Music Education

2008 ◽  
Vol 16 (2) ◽  
pp. 156-173 ◽  
Author(s):  
Randall Everett Allsup ◽  
Cathy Benedict
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Instrumental Music Education ◽  
The Future

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 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.

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.

Students’ and Teachers’ Perceptions of Undergraduate Conducting Curricula: A Review of Literature

2019 ◽  
Vol 38 (1) ◽  
pp. 46-54
Author(s):  
Christian M. Noon
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Teaching Practice ◽  
Instructional Materials ◽  
Review Of Literature ◽  
Common Component ◽  
Teachers Perceptions ◽  
Movement Theory ◽  
Instrumental Music Education ◽  
Music Education Programs

Conducting courses are a common component of undergraduate instrumental music education programs. The experiences students have in those courses vary across and sometimes within institutions. This variation is due to many factors including choice of instructional materials and sequences, as well as whether textbooks or other instructional approaches (e.g., Laban movement theory) are used and how classes are designed for students to practice and refine their conducting. In this review, I summarized and synthesized literature related to the structure and content of undergraduate conducting curricula, as well as students’ and teachers’ perceptions of those curricula. I also made suggestions for teaching practice and for further research, and proposed a shift in the discourse on undergraduate conducting curricula toward authentic context, pedagogy-rich coursework aimed at preparing students to successfully adopt the conductor-educator role in their future careers.

Self-Regulated Music Practice: Microanalysis as a Data Collection Technique and Inspiration for Pedagogical Intervention

2018 ◽  
Vol 66 (3) ◽  
pp. 295-319 ◽  
Author(s):  
Peter Miksza ◽  
Jennifer Blackwell ◽  
Nicholas E. Roseth
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Self Regulation ◽  
Daily Practice ◽  
Data Sources ◽  
Practice Session ◽  
Music Practice ◽  
Instrumental Music Education ◽  
Data Collection Technique ◽  
Music Education Majors

The purpose of this study was to explore a microanalysis technique for measuring instrumentalists’ self-regulation tendencies during music practice. A secondary purpose was to investigate whether an intervention informed by the features of the microanalysis technique would increase the students’ self-regulated learning tendencies. Three undergraduate instrumental music education majors volunteered to participate in this study. This study was designed as a multiple-baselines experiment spanning 15 consecutive days. Data sources included (a) entrance interviews; (b) daily practice efficacy ratings; (c) data gathered from pre- and posttest microanalysis sessions; (d) detailed behavioral analyses of video-recorded, pre- and posttest practice sessions; and (e) a focus group exit interview. The microanalytic intervention designed for this study involved a coaching session in which a member of the research team explicitly drew attention to the affective, behavioral, and metacognitive qualities related to effective practicing during a student’s practice session. The pretest microanalysis data revealed distinct learning profiles for each student that were corroborated with information from the other data sources. The intervention had modest effects that varied across participants, suggesting that it was useful for bringing to light and addressing individuals’ specific self-regulatory deficiencies in a manner respective to their needs.

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.

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