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Teaching with improvisation: Three ...

Matthews, William Evan.

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Teaching with improvisation: Three case studies of flow experience in beginning adult singers.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Teaching with improvisation: Three case studies of flow experience in beginning adult singers./
作者:	Matthews, William Evan.
面頁冊數:	154 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-02, Section: A, page: 0437.
Contained By:	Dissertation Abstracts International64-02A.
標題:	Education, Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3080065

Teaching with improvisation: Three case studies of flow experience in beginning adult singers.
Matthews, William Evan.

Teaching with improvisation: Three case studies of flow experience in beginning adult singers. - 154 p.

Source: Dissertation Abstracts International, Volume: 64-02, Section: A, page: 0437.

Thesis (Ed.D.)--Columbia University Teachers College, 2003.

This study examined private voice lessons that included improvisation as an integrated element with three beginning adult singers using the flow experience model (Csikszentmihalyi, 1975, 1988, 1997), a paradigm based on high challenge and high skill. Challenge was recorded in a descriptive "flow narrative" using indicators borrowed from Custodero's observational protocol for studying flow: anticipation, expansion, extension, self-assignment, self-correction and deliberate gesture. Vocal skill was measured by specific researcher-chosen indicators: breath support, intonation/tone, vocal freedom, phrasing and expressivity, which were recorded on a 4-point scale on the Vocal Skill Indicators Form (VSIF). Through the Flow Narrative and the VSIF, data were examined for challenge and skill.Subjects--Topical Terms:

1017808
Education, Music.

Teaching with improvisation: Three case studies of flow experience in beginning adult singers.
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245 1 0 $a Teaching with improvisation: Three case studies of flow experience in beginning adult singers.
300 $a 154 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-02, Section: A, page: 0437.
500 $a Sponsor: Lori Custodero.
502 $a Thesis (Ed.D.)--Columbia University Teachers College, 2003.
520 $a This study examined private voice lessons that included improvisation as an integrated element with three beginning adult singers using the flow experience model (Csikszentmihalyi, 1975, 1988, 1997), a paradigm based on high challenge and high skill. Challenge was recorded in a descriptive "flow narrative" using indicators borrowed from Custodero's observational protocol for studying flow: anticipation, expansion, extension, self-assignment, self-correction and deliberate gesture. Vocal skill was measured by specific researcher-chosen indicators: breath support, intonation/tone, vocal freedom, phrasing and expressivity, which were recorded on a 4-point scale on the Vocal Skill Indicators Form (VSIF). Through the Flow Narrative and the VSIF, data were examined for challenge and skill.
520 $a Five 1-hour voice lessons, taught by the researcher, were videotaped and analyzed via event sampling; events were specific improvisational and non-improvisational activities designed to increase vocal skill ( N = 103). Validity of the challenge indicator measure was established through comparison with Custodero's descriptions of challenge indicators in research with children. Descriptions of indicators in the present study were judged as being either parallel or novel in regard to examples provided in Custodero's (2000, 2002a) studies: 19 of 21 representative descriptions of adults were parallel with descriptions in children. Verification of challenge indicator observations was also established through their association with spontaneous verbal self-reports of participants. Reliability of the VSIF was established through moderate to high inter-rater agreement between two independent raters, experienced voice teachers, and the researcher, who coded the same randomly sampled events.
520 $a In keeping with the individual nature of flow experience, skill ratings were calculated relative to individual performance. To honor the preponderance of deliberate gesture in the focused one-on-one voice lesson, observed in 85% of events across cases, the following definition of flow was posited: deliberate gesture & 1 challenge indicator + ≤average skill = flow. Improvisational activities showed consistently higher occurrences of flow than non-improvisational activities across cases. Eighty-six percent of improvisational events were flow facilitating, while 26% of prescribed events showed flow. Specific improvisational activities based on major scales and the Dorian mode were found to be particularly flow facilitating.
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