Browsing by Subject "Music -- Instruction and study"
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Item A comparative study of art education and music education majors at Texas Tech University(Texas Tech University, 1980-05) Todd, Marilyn Elizabeth MyersNot availableItem A music program for grade one based on the new music curriculum standards (1993) in Taiwan(Texas Tech University, 2003-12) Chung, Szu-MingNot availableItem A study of time and personality traits as a factor in sightreading(Texas Tech University, 1976-08) Snodgrass, BillNot availableItem An evaluative study of the effectiveness of the music education programs in Texas colleges and universities(Texas Tech University, 1962-05) Clinton, Robert L.Not availableItem Audio-visual aids for instrumental music instruction for beginning students(Texas Tech University, 1947-06) Nevins, James BNot availableItem Development of a music curriculum for an early childhood non-music major college level course(Texas Tech University, 2004-08) Jahnke Dees, JenniferInstructors of music courses for undergraduate early childhood education majors face many challenges when designing a one-semester music curriculum. Few music textbooks specific to early childhood are available. Many more music texts geared for elementary majors are available but include little information of early childhood years (birth - 8 years old). In addition, these elementary music texts often place a major emphasis on the fundamentals of music. Studies show this focus may not be the most productive in developing generalists who will provide quality musical experiences in their classrooms. Students would benefit greatly from a sequential, experiential, and applicable music curriculum that includes song materials, age appropriate activities, pertinent readings, valuable resources, and experiences interacting musically with children. The purpose of this study was to develop a music curriculum designed for undergraduate early childhood majors in the study of early childhood music. The curriculum was based on studies of the practical music skills and understandings of classroom teachers, studies of musical self-perceptions of non-music majors, studies of sequence, the MENC position statement on early childhood music (MENC, 1993), and a review of available texts. The prescribed sequential curriculum provides a weekly format of in-class topics and activities, as well as homework assignments. Although the curriculum described in this paper is specific to a particular one-semester, three-credit-hour, early childhood major music course, the ideas and activities could be adapted to meet the needs of another course.Item Pedagogical works for piano by Samuel Adler(Texas Tech University, 2003-08) Tang, Mei-YukMany new musical styles evolved during the twentieth century. The disjunct melodies, harsh dissonances, and irregular time-signatures, phrasings, rhythms, and notations featured in much music of the twentieth century were foreign to those accustomed to the tonal harmonies of the major-minor system. Consequently, new techniques and guidelines to performing and teaching this repertoire were in great demand. Samuel Adler is a prolific composer whose works include operas, symphonies, concertos, chamber music, vocal music, and piano music. Adler wrote the Gradus and The Sense of Touch to provide young students with a solid theoretical and technical introduction to the performance of contemporary music. The purpose of this study is three-fold: to analyze the pedagogical piano pieces of Samuel Adler in terms of their musical and pedagogical content; to compare these compositions with the works of important twentieth-century piano pedagogues, Bartók and Kabalevsky; and to propose Adler's works as worthy additions to the pedagogical canon. The study of Adler's Gradus set (1971 and 1981) and The Sense of Touch (1983) shows that these sixty-eight pieces are short in length but rich in musical content. The flowing melodies, driving rhythms, coloristic sound effects, and clarity of texture of Adler's piano pieces are appealing to students. They are recommended by music scholars, piano teachers, and pedagogues. A comparison of Adler's collections with Béla Bartók's Mikrokosmos (1926, 32-39) and Dmitri Kabalevsky's Pieces for Children, Op. 27 (1937-38) and Twenty-Four Little Pieces, Op. 39 (1943) shows that each has its own function. Nevertheless, Adler introduces a greater number of innovative twentieth-century techniques than either Kabalevsky or Bartók. Adler's Gradus and The Sense of Touch are valuable teaching materials. They contain a diversity of contemporary styles and systems. At the same time, these works exemplify Adler's expressive and eclectic compositional style. They are instructive piano works of high quality that deserve a wider circulation among piano teachers and students.Item Programmed keyboard instruction for freshman music theory students(Texas Tech University, 1973-08) Hoover, Rodney ClarkNot availableItem Selected pedagogical needs of the string class as addressed in the compositions of Carold Nunez(Texas Tech University, 1998-12) Garverick, Jan Karen DanielIn this study, the author designed a single research document to encompass three areas of concern: research in the history of the American string class, identification of several pedagogical needs in the string class, and historical research about a Texas music educator, Carold Nunez, whose compositions have produced successful results in the string class. The author conducted a survey in order to seek verification of Nunez' compositions as means of meeting particular needs of the string class. The open-ended survey was conducted by the author at the Texas Orchestra Directors Association convention in August, 1997. After an 80% retum of surveys, the examination of data identified eighteen pedagogical needs of the string class, which were then grouped into six more clearly defined categories: rhythm, bowing style, ensemble skill, intonation, compositional techniques, and basic reinforcement of skills. From the results of the survey, the three predominant categories (rhythm, bowing style, and ensemble skill) were analyzed in the four most frequently taught Nunez compositions: Funny Fiddlin', String Swing, M to the Third Power, and Jazz in D from Uni-Tunes. In conclusion, the study confirmed the author's experience that Nunez' compositions are successful works for integrating technical skills in the string class. Documentation also revealed that the works are enjoyed by students. The study is organized into six chapters. Chapter I includes an assessment of needs and purposes, a description of the study, definition of terms, and limitations of the study. Chapter E contains related literature about significant events in the history of the American string class, highlights of the lives of five selected American string pedagogues (Isaac, Applebaum, Green, Rolland, and Nunez), and a brief historical discussion of selected American professional music organizations. Chapter IH presents a biography of Nunez, including historical, social, and economic trends which occurred during his life. Chapter IV defines the survey instrument. Chapter V contains the report of the survey and pedagogical analyses of the four Nunez compositions identified in the survey. Chapter VI reports the conclusion of the study as well as recommendations for further study. A bibliography and appendices are included after Chapter VI.Item The Development of Music in the Amarillo Schools, 1889-1942(Texas Tech University, 1942-08) Hughes, Ola IreneNot Available.