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Teaching the Percussion Section: Dif...

Encina, Solomon David.

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Teaching the Percussion Section: Differences between Teachers Whose Primary Instrument Is Percussion, and Teachers Whose Primary Instrument Is Not Percussion.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Teaching the Percussion Section: Differences between Teachers Whose Primary Instrument Is Percussion, and Teachers Whose Primary Instrument Is Not Percussion./
作者:	Encina, Solomon David.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
面頁冊數:	70 p.
附註:	Source: Masters Abstracts International, Volume: 80-04.
Contained By:	Masters Abstracts International80-04.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10935681
ISBN:	9780438496392

Teaching the Percussion Section: Differences between Teachers Whose Primary Instrument Is Percussion, and Teachers Whose Primary Instrument Is Not Percussion.
Encina, Solomon David.

Teaching the Percussion Section: Differences between Teachers Whose Primary Instrument Is Percussion, and Teachers Whose Primary Instrument Is Not Percussion. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 70 p.

Source: Masters Abstracts International, Volume: 80-04.

Thesis (M.M.Ed.)--Azusa Pacific University, 2018.

This item must not be sold to any third party vendors.

The purpose of this multiple case study is to compare the way in which directors whose primary instrument is not percussion and directors whose primary instrument is percussion, interact with their percussion section during a full ensemble rehearsal. Four high school band directors participated in this study. Two of those four directors had a primary instrumental background in percussion while the other two had instrumental backgrounds in other instruments. Three rehearsals were observed using Duke's (1994) rehearsal frame methodology of observing ensemble rehearsals. After three rehearsals were observed, a semi-structured interview was conducted with each director to answer questions and to learn about the director's music education philosophy. Findings show that the two directors that were percussionists spent less rehearsal time with their percussionists than the two directors who weren't percussionists. The two percussionist directors spent averages of 7.83% and 8.83% of rehearsal time with their percussionists, and the two non-percussionist directors spent averages of 11.33% and 19.33% of rehearsal time with their percussionists. Results indicated the following: (1) Nonpercussionist directors were found to spend more time with their percussionists than percussionist directors, (2) All directors have stated their time spent with percussion shifts throughout the concert cycle and may be dependent on the repertoire and the needs of the pieces, (3) An additional period for percussion instruction is occurring at three of the four schools which affects the way heterogenous rehearsals are planned, (4) All of the directors observed recognize that percussion, especially percussion pedagogy is quite different from the pedagogies of a majority of members in the heterogenous rehearsal, (5) The most common reason the observed directors addressed their percussionists in the rehearsal was to verify that the percussionists were ready to perform, (6) Each of the directors observed desired to hold their percussionists to the same standards and conducts as the rest of the band, and (7) Each of the directors observed want their percussion students to leave their program being well-versed in all percussion families. Recommendations for further research include observing a heterogenous ensemble from the beginning to end of a concert cycle to determine if patterns occur in percussion-centered frames, observing an increased pool of band directors, and commencing a similar study again without informing the director of the researcher's full intentions beforehand.

ISBN: 9780438496392Subjects--Topical Terms:

516178
Music.

Teaching the Percussion Section: Differences between Teachers Whose Primary Instrument Is Percussion, and Teachers Whose Primary Instrument Is Not Percussion.
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520 $a The purpose of this multiple case study is to compare the way in which directors whose primary instrument is not percussion and directors whose primary instrument is percussion, interact with their percussion section during a full ensemble rehearsal. Four high school band directors participated in this study. Two of those four directors had a primary instrumental background in percussion while the other two had instrumental backgrounds in other instruments. Three rehearsals were observed using Duke's (1994) rehearsal frame methodology of observing ensemble rehearsals. After three rehearsals were observed, a semi-structured interview was conducted with each director to answer questions and to learn about the director's music education philosophy. Findings show that the two directors that were percussionists spent less rehearsal time with their percussionists than the two directors who weren't percussionists. The two percussionist directors spent averages of 7.83% and 8.83% of rehearsal time with their percussionists, and the two non-percussionist directors spent averages of 11.33% and 19.33% of rehearsal time with their percussionists. Results indicated the following: (1) Nonpercussionist directors were found to spend more time with their percussionists than percussionist directors, (2) All directors have stated their time spent with percussion shifts throughout the concert cycle and may be dependent on the repertoire and the needs of the pieces, (3) An additional period for percussion instruction is occurring at three of the four schools which affects the way heterogenous rehearsals are planned, (4) All of the directors observed recognize that percussion, especially percussion pedagogy is quite different from the pedagogies of a majority of members in the heterogenous rehearsal, (5) The most common reason the observed directors addressed their percussionists in the rehearsal was to verify that the percussionists were ready to perform, (6) Each of the directors observed desired to hold their percussionists to the same standards and conducts as the rest of the band, and (7) Each of the directors observed want their percussion students to leave their program being well-versed in all percussion families. Recommendations for further research include observing a heterogenous ensemble from the beginning to end of a concert cycle to determine if patterns occur in percussion-centered frames, observing an increased pool of band directors, and commencing a similar study again without informing the director of the researcher's full intentions beforehand.
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