Max Reger Symposium UW School of Music in conjunction with St. Mark's Cathedral Dr. Carole Terry Wyatt Smith, co-directors November 11-12, 2016

Concert Program

Introducing ethnomethodological analysis to the field of music education

In recent years qualitative research methods have been adopted within in the field of music education and have received widespread acceptance. However, the theoretical framework provided by ethnomethodology (Garfinkel, 1974, in R. Turner, Ethnomethodology , Penguin, Middlesex, UK) and the tools of conversational analysis (Sacks, 1992, Lectures on Conversation , edited by Gail Jefferson, Blackwell, Oxford, UK) have, to this point, been overlooked by researchers in the field of music education. In this paper I argue that the application of ethnomethodological and conversation analytical approaches in the field of research in music education can provide fresh insights into the work of music teachers and how this work is accomplished in institutional settings. Here I demonstrate how a conversation analytical perspective drawing on an ethnomethodological framework might be used to investigate transcripts of audio-recorded interview talk. This type of analysis can illuminate aspects of members' roles in relation to, and perceptions about music education in school settings that might be overlooked in other types of analysis. A conversation analytical approach to the examination of talk-in-interaction explicates in fine-grained detail how members orient to matters at hand in the context of research settings, as well as revealing features of the cultural world of music teaching. Further application of the approach to research problems in other school settings, I argue, will inform the field of music education in ways yet to be realised.

The public performance : impact to music learning in conservatoire tradition

Paper presented at the Conference “The Reflective Conservatoire – 2nd International Conference: Building Connections”. Guildhall School of Music and Drama and Barbican Conference Centre, London. 28 February – 3 March 2009

Music and evolutionary computation

This paper presents a brief history of the western music: from its genesis to serialism and the Darmstadt school. Also some mathematical aspects of music are then presented and confronted with music as a form of art. The question is, are these two distinct aspects compatible? Can computers be of real help in automatic composition? The more appealing algorithmic approach is evolutionary computation as it offers creativity potential. Therefore, the Evolutionary Algorithms are then introduced and some results of GAs and GPs application to music generation are analysed.

Sound levels and risk perceptions of music students during classes

It is well recognized that professional musicians are at risk of hearing damage due to the exposure to high sound pressure levels during music playing. However, it is important to recognize that the musicians’ exposure may start early in the course of their training as students in the classroom and at home. Studies regarding sound exposure of music students and their hearing disorders are scarce and do not take into account important influencing variables. Therefore, this study aimed to describe sound level exposures of music students at different music styles, classes, and according to the instrument played. Further, this investigation attempted to analyze the perceptions of students in relation to exposure to loud music and consequent health risks, as well as to characterize preventive behaviors. The results showed that music students are exposed to high sound levels in the course of their academic activity. This exposure is potentiated by practice outside the school and other external activities. Differences were found between music style, instruments, and classes. Tinnitus, hyperacusis, diplacusis, and sound distortion were reported by the students. However, students were not entirely aware of the health risks related to exposure to high sound pressure levels. These findings reflect the importance of starting intervention in relation to noise risk reduction at an early stage, when musicians are commencing their activity as students.

Form tutors in the joint teaching of music: perspectives and experiences

In the Portuguese school system, form tutors (FTs) are an intermediate education management structure. The form tutor is responsible for a position of coordination and orientation with a «threefold function»: a relationship with students, relationship with the student’s family and relationship with other class teachers. The joint teaching of music is a part of the educational system in basic education. It is optional and provides musical and instrumental training to students who are interested in taking it. In order to achieve this, there is a system, subject to protocols, between general education schools and schools specializing in teaching music. There is also the position of FT in specialized schools and it also includes a «threefold function». However, these FTs have the additional role of representing music teachers at the class council, which is held at the general education school. Thus, in these cases, both FTs have a fourth joint area, between the music school and the general education school, which makes the relationship between them even more complex. This paper is based on the analysis of empirical data obtained from the testimonies of FTs regarding their representations and experiences in leadership and the coordination of teachers among schools in which there is a joint teaching system. The aim of collecting narratives is to look into some of the main challenges and confrontations related to leadership issues, which we assume to be the focus of those who have the role of form tutor in that specific context.

Transition into the teaching profession: induction and mentoring issues surrounding secondary music teachers /

The purpose of this study was to investigate the issues surrounding the transition into the teaching profession by specifically focusing on teacher induction and mentoring issues while explicitly addressing matters of concern by secondary music teachers in a large suburban school board in southern Ontario. Participants included beginning teachers with fewer than 5 years of teaching, mid career teachers with between 6 and 15 years of instruction, and experienced teachers with more than 16 years of practice. The ' processes of mentoring and inducting new teachers within the board were examined, along with their relationships between proteges, mentors, and administrators. Further, internal and external programs specifically designed and implemented for newer music teachers were scrutinized and discussed. An analysis of key documents and literature on the subject was performed, and data were collected through 16 personal interviews. The findings suggest that although the necessity of mentoring and induction processes has begun to be recognized, there exists a fundamental relationship between mentoring and induction and the effect of the professional attachments to mentoring; the institutional and administrative supports that are enabled; and essential processes and practices between mentors and proteges. Together these three arms combine to support successfiil induction and mentoring initiatives that will help ease the transition into teaching.

Bradley Institute of Music fonds

1.23 m. textual records, 1 col. post card, 1 b&w post card, 116 col. photographs, 59 b&w photographs, 6 negatives, 1 metal logo, 2 photo cuts, 7 woodcuts, 1 VHS tape, 1 stamp/press, 1 guest book, 5 account books

Niagara Falls Seminary [school for young Ladies] advertisement, ca. 1840

One broadside advertising the Niagara Falls Seminary [school for young Ladies], run by Mrs. Shotter of Drummondville, ca. 1840. The advertisement contains information about fees and courses, including a complete English education, music, French, drawing and flower painting, and dancing. The bottom of the page contains a list of references for Mrs. Shotter, including Ex-Consul Buchanan, Colonel Delatre, Rev. W. Leeming, Rector of Chippawa (all of Drummondville); Dr. Mewburn (Stamford); Rev. T.B. Fuller, Rector of Thorold; John Stayner, Esq., P.M. Queenston; William Gamble, Esq., Milton, near Toronto; and Hon. John Hamilton, Kingston.

Niagara Falls Seminary [school for young Ladies] advertisement, ca. 1840

One broadside advertising the Niagara Falls Seminary [school for young Ladies], run by Mrs. Shotter of Drummondville, ca. 1840. The advertisement contains information about fees and courses, including a complete English education, music, French, drawing and flower painting, and dancing. The bottom of the page contains a list of references for Mrs. Shotter, including Ex-Consul Buchanan, Colonel Delatre, Rev. W. Leeming, Rector of Chippawa (all of Drummondville); Dr. Mewburn (Stamford); Rev. T.B. Fuller, Rector of Thorold; John Stayner, Esq., P.M. Queenston; William Gamble, Esq., Milton, near Toronto; and Hon. John Hamilton, Kingston.

Primary music education: the misrepresentation of the ideals of curricula in research

The author starts from a historical viewpoint to suggest that, at primary level, we have tended to perpetuate a nineteenth-century notion of music education. This is evident in the selection and organisation of musical content in curriculum documents, the scope of the teacher-pupil transaction implicit in these and the assumptions about music education which underpin research on practice conducted at official policy level. In light of the introduction of the 1999 Revised Primary School Curriculum, with its change in emphasis, she notes that it is timely to reconsider the situation. Central to this is the need to challenge the notion of music as a set of delineated skills, to explore the relationship between the primary teacher and music, and to move towards a notion of research which acknowledges the richness of multiple interpretations teachers bring to the curriculum.

The perspective of the teaching of arts projected by H. Gardner and the National Syllabus Parameters - (arts) of elementary school

In a concise way, the article reports part of the Master of Arts dissertation in Music entitled The meaning of the teaching of Arts in H. Gardner's perspective, presented in the IAUNESP [Arts Institute-State of Sao Paulo University] in 2008. Some considerations on the Statutory Law n. 11.769/08 were added to the original text. The produced research had an exploratory nature and a theoretical mark. Some texts by Howard Gardner, by the psychologist Eliane Leao, as well as the text of the National Syllabus Parameters-Art, from the Department of Elementary Education, served as a foundation for this article. The intended aim was to demonstrate to what extent the pedagogical proposition of the Arts Education projected by H. Gardner is similar to the one proposed by the National Syllabus Parameters, and which would the benefits be in this age group of an artistic sensitizing work for the development of the individual's personality.

THE FLUTE MUSIC OF PAUL DESENNE: A COMPARATIVE ANALYTICAL STUDY OF REPRESENTATIVE WORKS

The significance of the works by Venezuelan-born composer Paul Desenne lies in his unique compositional style that incorporates elements of Latin American folk, pop, and traditional music within the framework of the Western European tradition. His works, though easily classified as art music, nevertheless gain much of their emotional and referential meaning through this rich borrowing. This document focuses on three of Desenne’s flute pieces: the Solo Flute Sonata (2001), Gurrufío for flute orchestra (1997), and Guasa Macabra for flute and clarinet (2003). It provides an analysis of the three works, examining formal, structural, motivic, and rhythmic aspects. Scores and interviews with the composer have been employed as primary sources. Bibliographical material closely related to his music and other secondary sources support this analytical approach. This document also provides an introduction and stylistic discussion of Desenne’s other pieces that incorporate the flute. Chapter one consists of an introduction to Desenne’s life and general considerations of his musical style. Each of the following three chapters focuses on one the three aforementioned flute works, including information about the composition and premiere of each piece as well as analysis and an examination of its incorporation of traditional folk elements. The final chapter presents an introduction to and stylistic discussion of the other flute pieces by this composer. This study intends to provide a basic understanding of Desenne’s flute music, including general characteristics of his musical style, paving the way for further investigation of Desenne’s music, and flute music in particular.

Music at the Fair! The Trans- Mississippi and International Exposition. An Interactive Website

“Music at the Fair!” gives the daily musical programs for The Trans-Mississippi and International Exposition, held in Omaha, Nebraska, June 1 through October 31, 1898. The Trans-Mississippi and International Exposition brought an unprecedented array of local, national, and international musical acts to Omaha, NE in 1898. This served to designate Omaha, "the gateway to the west" as a musical hub, as well as to incite musical excitement in the region. Some of the more popular acts featured were the Theodore Thomas Orchestra, the U.S. Marine Band, and the Apollo Club of Chicago. Many more groups and their musical programs can be found within the pages of this site. The “Music at the Fair!” website was created by Grace Carey, and last revised on May 19, 2006.It is the result of a two- year research grant funded by an Undergraduate Creative Activities and Research Experiences (UCARE) grant through the University of Nebraska at Lincoln. It is an extension of an ongoing project on music at the TME by Music Professor Peter Lefferts. The primary sources of information for the site are the following newspapers from June – November 1898: The Omaha Daily Bee, the Omaha Evening Bee, and the Omaha World Herald, and the the official programs of the fair located in the archives at the Omaha Public Library. I would like to thank the helpful staff at the Nebraska State Historical Society and the downtown branch of the Omaha Public Library. Site Creator: Grace Carey Project Advisor: Peter Lefferts, Professor of Music History at the University of Nebraska, Lincoln The linked “Document” is a flat PDF version of the interactive website. To download the fully interactive html version, click on the “Related file” to download the zipped folder. When unzipped, click on the file named “index” to enter the website.

Career Influences of Music Education Audition Candidates

In this descriptive study, we examined the influences and experiences motivating students to enter college-level music schools as reported by a population of precollegiate students auditioning (but not yet accepted) to music education degree programs. As a follow-up to a published pilot study, this research was designed to quantify the various experiences respondents had as part of their precollege school and community programs that related to teaching and music. Results indicate a strong connection between respondents’ primary musical background and future teaching interest. The top three influential experiences were related to high school ensemble membership (band, choir, orchestra), and the most influential group of individuals in the decision to become a music educator were high school ensemble directors. Respondents from all four primary background groups (band, choir, orchestra, and general or other) rated private lesson teaching as their second strongest future teaching interest, just behind teaching at the high school level in their primary background. Respondents rated parents as moderately influential on their desire to become a music teacher.