Music Faculty Publications and Presentations Copyright (c) 2013 Boise State University All rights reserved. http://scholarworks.boisestate.edu/music_facpubs Recent documents in Music Faculty Publications and Presentations en-us Thu, 23 May 2013 12:55:20 PDT 3600 Teaching Clarinet Fundamentals http://scholarworks.boisestate.edu/music_facpubs/10 http://scholarworks.boisestate.edu/music_facpubs/10 Wed, 22 Aug 2012 12:48:01 PDT Three words summarize the basic fundamentals of clarinet playing: tone, technique, and tongue. If any portion of these skills is lacking, students are incomplete as players.

]]> Carola K. Winkle Demographics and Faculty Time Allocation of Music Education Professors in the United States http://scholarworks.boisestate.edu/music_facpubs/9 http://scholarworks.boisestate.edu/music_facpubs/9 Thu, 17 Nov 2011 11:10:20 PST

The purpose of this study was to construct a demographic and time allocation profile of the typical music education faculty member in the United States. Participant institutions (n = 220) were selected from a random sample of National Association of Schools of Music–accredited institutions offering music education degrees (N = 517). The authors sent invitations to complete the online survey to 665 music education professors at the institutions in the sample. The completed response rate for the survey was 35% (n = 236). Findings aided in the construction of a profile of the typical music education faculty member in the United States. The data demonstrate that the typical respondent has a doctorate, 9 to 12 years of K–12 teaching experience, and is 51.5 years old, but entered the professoriate around age 36. The typical respondent spends approximately 11 hours per week teaching undergraduate students and has only 10% of his or her workload devoted to research. The report explores numerous other variables as well. Certain characteristics of the profile varied according to the type of institution at which the respondent worked. For example, the data demonstrate a significant difference in mean percentage of workload devoted to teaching and research between various institution types but not in time devoted to service. The exploration of demographic and time allocation norms in the music education professoriate may be of interest to those who prepare music teacher education faculty. Such information may also be of value to current and future graduate students preparing for careers in the music education professoriate.

]]> Wesley D. Brewer et al. Louisville Orchestra http://scholarworks.boisestate.edu/music_facpubs/8 http://scholarworks.boisestate.edu/music_facpubs/8 Wed, 26 Oct 2011 13:50:51 PDT The Louisville Orchestra has one outstanding tradition in its nearly 50-year history: its commitment to innovation, change, and expansion. Internationally known for its involvement in new music, the Louisville Orchestra should also be cited for its flexible, market-conscious programming, which was especially noticeable in the 1984-1985 season. Offerings included a formal 10-concert, double-night subscription series entitled "Whitney Series", eight "Cumberland Coffee" concerts, five "Yellow SuperPops" concerts, four "Family Series concerts, and two "New Music" concerts, all by subscription. In addition to its regular series, the orchestra provides services to the Louisville Ballet and the Kentucky Opera Association, and the reduced chamber orchestra participates in promotional events.

]]> Jeanne Marie Belfy How To Buy a Step-Up French Horn http://scholarworks.boisestate.edu/music_facpubs/7 http://scholarworks.boisestate.edu/music_facpubs/7 Wed, 26 Oct 2011 13:50:41 PDT David Saunders A 20th-Century Alternative for the Alto Trombonist: Paul Hindemith's <em>Sonata for Alto Horn</em> http://scholarworks.boisestate.edu/music_facpubs/6 http://scholarworks.boisestate.edu/music_facpubs/6 Mon, 24 Oct 2011 12:52:31 PDT As more trombonists use the alto trombone on recitals, finding music from various historical periods becomes a problem. The works of the baroque and classical periods for alto trombone, such as the Albrechtsberger and Wagenseil concerti, are now performed enough to be considered "warhorses"! Although many contemporary composers, such as Frigyes Hidas and Thom Ritter George, have written excellent new works for the instrument, 20th-century recital music for the alto trombone is still scarce. An alternative is to transcribe works from the brass literature; one of the finest is the Sonata for Alto Horn by Paul Hindemith.

]]> David Mathie Improving the Sound of Your Trombone Players http://scholarworks.boisestate.edu/music_facpubs/5 http://scholarworks.boisestate.edu/music_facpubs/5 Mon, 24 Oct 2011 12:49:24 PDT David Mathie Where Are the Euphoniums? http://scholarworks.boisestate.edu/music_facpubs/4 http://scholarworks.boisestate.edu/music_facpubs/4 Mon, 24 Oct 2011 12:48:09 PDT David Mathie 'Judith' and the Louisville Orchestra: The Rest of the Story http://scholarworks.boisestate.edu/music_facpubs/3 http://scholarworks.boisestate.edu/music_facpubs/3 Tue, 11 Oct 2011 13:16:14 PDT Musicians and scholars who lived through the late 1940s and early 1950s witnessed an astounding activity which took place in Louisville, Kentucky during that time. An ambitious effort by civic and musical leaders yielded an extraordinary legacy of new music, pioneering a concept that placed the composer first in the orchestral bureaucratic hierarchy. From the fall of 1948 through 1958, the commissioning project of the Louisville Orchestra fostered the creation of 132 musical compositions. The Louisville Orchestra preserved performances of approximately one hundred of these compositions on long-playing records at a time when little contemporary art music was available through this new medium. This massive plan to commission both American and foreign composers was formulated and implemented in Louisville but provoked national and international cultural as well as political repercussions. The Rockefeller Foundation, in an unprecedented grant to an artistic endeavor, gave half a million dollars to support the activity. The United States State Department found it a useful tool in the Cold War. During the 1950s, listeners around the world heard broadcasts of Louisville Orchestra world premiere performances aired on the Voice of America and Radio Free Europe.

]]> Jeanne Marie Belfy Henry Wolking’s Ballet <em>Forever Yesterday</em> http://scholarworks.boisestate.edu/music_facpubs/2 http://scholarworks.boisestate.edu/music_facpubs/2 Tue, 11 Oct 2011 13:12:32 PDT Fifty years ago the Louisville Orchestra under conductor Robert Whitney embarked on a path of commissioning compositions by contemporary composers with civic and foundation support. One principal offshoot of the endeavor resulted in a historic recording project for new music, funded in part by a ground-breaking grant from the Rockefeller Foundation. Ten years and over two hundred compositions later, the Louisville Orchestra had established both the basic framework for orchestral commissioning projects and a model for the collaboration of orchestras and private foundations in support of serious new music.1 By the 1990s, such activities are an assumed part of our American musical culture.

]]> Jeanne Marie Belfy Influences on Career Choice Among Music Education Audition Candidates: A Pilot Study http://scholarworks.boisestate.edu/music_facpubs/1 http://scholarworks.boisestate.edu/music_facpubs/1 Fri, 17 Jun 2011 14:48:39 PDT The purpose of this pilot study was to survey prospective undergraduate music education majors to learn what motivated them to aspire to a career in music education. Respondents were candidates auditioning, but not yet accepted, for music teacher preparation programs at four institutions (N = 228). Findings corroborate prior research that suggests that school music teachers and/or private lesson teachers are highly influential. This study sought to quantify the types of experiences participants had in teaching roles at the time of their college audition, supporting other research suggesting that such experiences may increase interest in a music teaching career. Recommendations include engaging music educators at all PreK—12 levels in actively recruiting and encouraging future teachers, providing private instructors and performance majors with teacher recruitment information, emphasizing earlier identification and preparation of prospective educators, and refining and continuing the work begun in this pilot study.

]]> David A. Rickels et al.