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Keyboard improvisation characteristi...

Chess, Susan Lorrainne.

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Keyboard improvisation characteristics of freshman and sophomore instrumental and vocal music majors.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Keyboard improvisation characteristics of freshman and sophomore instrumental and vocal music majors./
作者:	Chess, Susan Lorrainne.
面頁冊數:	155 p.
附註:	Adviser: R. J. David Frego.
Contained By:	Dissertation Abstracts International66-06A.
標題:	Education, Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3180122
ISBN:	9780542203466

Keyboard improvisation characteristics of freshman and sophomore instrumental and vocal music majors.
Chess, Susan Lorrainne.

Keyboard improvisation characteristics of freshman and sophomore instrumental and vocal music majors. - 155 p.

Adviser: R. J. David Frego.

Thesis (Ph.D.)--The Ohio State University, 2005.

The purpose of this study was to investigate the possibility that instrumental and vocal majors improvise on the keyboard in characteristic ways that may have a relationship to their major instrument. The National Association of Schools of Music urges that music programs on the college level include improvisation as part of the curriculum. It is possible that the results of this study can be used to inform the teaching of music theory, aural training, and group piano courses, as well as implementing improvisation as a separate entity into the music curricula.

ISBN: 9780542203466Subjects--Topical Terms:

1017808
Education, Music.

Keyboard improvisation characteristics of freshman and sophomore instrumental and vocal music majors.
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100 1 $a Chess, Susan Lorrainne. $3 1293864
245 1 0 $a Keyboard improvisation characteristics of freshman and sophomore instrumental and vocal music majors.
300 $a 155 p.
500 $a Adviser: R. J. David Frego.
500 $a Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2012.
502 $a Thesis (Ph.D.)--The Ohio State University, 2005.
520 $a The purpose of this study was to investigate the possibility that instrumental and vocal majors improvise on the keyboard in characteristic ways that may have a relationship to their major instrument. The National Association of Schools of Music urges that music programs on the college level include improvisation as part of the curriculum. It is possible that the results of this study can be used to inform the teaching of music theory, aural training, and group piano courses, as well as implementing improvisation as a separate entity into the music curricula.
520 $a Seventy-one students, including 25 sophomores and 46 freshmen with varied levels of keyboard experience from The Ohio State University, were used for the study. A questionnaire, two thirty-second improvisation samples from each student, and an interview were used to gather data. The questionnaire was used to gather demographic data. The interview that was conducted after the students played the improvisation samples was used to gather information from the students on their experience in the testing process, and their views on various aspects of improvisation. The improvisation samples were analyzed with respect to the presence of harmony, melody, counterpoint, and through-composition.
520 $a The results indicated that melodic material had the highest incidence for the entire testing population. When the freshman and sophomore populations were considered separately, the improvisation samples that were performed by the freshmen had the largest incidence of melody, and the sophomore samples had the highest occurrence of harmony.
520 $a Within specific areas of study, winds, voice, and percussion students had the highest percentage of melodic material, and strings, woodwinds, and brass had the highest percentage of harmonic material. Contrapuntal material occurred the most frequently among the brass students, and through-composed material was of the highest percentage in the strings students.
520 $a The high incidence of melody in the testing population indicates that the use of melody and melodic material can serve as a point of departure for teaching various musical concepts. It is possible that the use of melody can be used to factor into learning devices that include sequence, antecedent and consequent phrase and voice leading practices that include similar, parallel, contrary, and oblique motion. Through the use of melody, fundamental concepts of music can be introduced and more complex elements of music can be clarified and reinforced.
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