Tác động của phương pháp giảng dạy kỹ thuật và hình ảnh đến nghệ sĩ biểu diễn

Trường đại học

University of South Florida

Chuyên ngành

Music Education

Người đăng

Ẩn danh

Thể loại

thesis

2016

263
0
0

Phí lưu trữ

55 Point

Mục lục chi tiết

DEDICATION

ACKNOWLEDGMENTS

LIST OF FIGURES

1. CHAPTER ONE: INTRODUCTION

1.1. Higher Education for Aspiring Performing Artist

1.2. Music in Transition

1.3. Contributors of Artistic Development

1.4. Pedagogy and Learning Styles

1.5. Body Language in Applied Lessons

1.6. Support Systems for Student Development

1.7. Philosophically Constructing Identity

1.8. Imagery for Expressivity and Learning

1.9. Imagery for Improvisation

1.10. Technology and Imagery for Learning

1.11. Imagery in Master Classes

1.12. The Performer’s Use of Imagery

1.13. The Role of Imagery for Awareness

1.14. Imagery for Meaningful Learning

1.15. Technical and Imagery-Based Instruction

2. CHAPTER TWO: LITERATURE REVIEW

2.1. The Value of Imagery

2.2. Historical Perspectives of Imagery

2.3. Operational Definition of Imagery

2.4. Addressing the Construct of the Review

2.5. Theories of Imagery

2.6. What It’s Used For? Practical Application of Imagery

2.7. Imagery for Meaningful Learning

2.8. Imagery in Sports and Music

2.9. Imagery in Martial Arts and Music

2.10. Imagery in Dance and Music

2.11. Imagery in Acting and Music

2.12. Imagery in Music

2.13. Imagery in Music Teaching

2.14. Imagery for Young Musicians

2.15. Imagery for Musical Expressivity

2.16. Implications from the Literature

2.17. Suggestions for Future Research

3. CHAPTER THREE: METHODS

3.1. Aspiring Performing Artists

3.2. Newly Composed Pieces

3.3. Play-along Tracks for Improvisation

3.4. Itinerary for Aspiring Performing Artists

3.5. Itinerary for Margaret

3.6. Itinerary for James

3.7. Itinerary for Greg

3.8. Itinerary for Dylan

3.9. Perceived Expressivity Questionnaire

4. CHAPTER FOUR: RESULTS

4.1. Background of Students

4.2. Analysis of Qualitative Statements

4.3. Fostered Emotional Connection

4.4. Provided Frame of Reference

4.5. Provided a Non-Threatening Environment

4.6. Enhanced Intrinsic Motivation

4.7. Strengthened Self-Efficacy

4.8. Fostered Enjoyment for Learning

4.9. Improved Technical Facility for Performance

4.10. Improved Cognition for Improvisation

4.11. Modern Music Technology

4.12. Quality of Life

4.13. Increased Life Satisfaction

4.14. Multi-Faceted Musicianship

4.15. Redefining Performing Artist

4.16. Summary of Themes

4.17. Quality of Life

4.18. Preference for Improvisation-Learning Aspiring Performing Artists

4.19. Variability for Instruction

4.20. Additional Support for T-I Instruction

4.21. Unacceptable Internal Consistency

4.22. Listeners’ Explanations for Their Ratings

4.23. Contrasting Explanations for Listeners’ Ratings of Perceived Expressivity

4.24. Themes from Brief Essay Response

4.25. Contrast of Musical Components

4.26. Knowledge of Significances

4.27. Themes from Brief Essay Response Not Present in Listeners’ Stimuli

4.28. Answers to Phase Two Research Questions

4.29. Conclusions of the Study’s Results

5. CHAPTER FIVE: DISCUSSION

5.1. Why Was This Study Needed?

5.2. Answers to Phase-One Research Questions

5.3. Frame of Reference

5.4. Non-Threatening Environment

5.5. Enjoyment for Learning

5.6. Cognition for Improvisation

5.7. Modern Music Technology

5.8. Quality of Life

5.9. Multi-Faceted Musicianship

5.10. Redefining Performing Artist

5.11. Preference for Improvisation-learning Aspiring Performing Artists

5.12. Variability for Instruction

5.13. Additional Support for T-I Instruction

5.14. Answers To Phase-Two Research Questions

5.15. Low Internal Consistency of Listeners’ Ratings

5.16. Research Question II

5.17. Research Question II

5.18. Research Question II

5.19. Research Question II

5.20. Research Question II

5.21. Gains From The Study

5.22. Induces Benefits in Learning

5.23. Enriches Quality of Life

5.24. Strengthens Improvisation Skills

5.25. Improves Cognitive Skills

5.26. Improves Performances of Newly Composed Pieces

5.27. Implications for Performers & Music Educators

5.28. Implications for Phase-One Findings

5.29. Implications for Phase-Two Findings

Appendix A: Perceived Expressivity Questionnaire

Appendix B: Post-Lesson Reflection Journal

Appendix C: Student Weekly Reflection Journal

Appendix D: Bi-Weekly Interview Questions for Aspiring Performing Artists

Appendix E: Pre-Lesson Questionnaire for Aspiring Performing Artists

Appendix F: IRB Expedited Approval for Initial Review

Appendix G: IRB Expedited Approval for Amendment

Appendix H: IRB Expedited Approval for Continuing Review

ABSTRACT