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Praxes for confident music improvising.

Shevock, Daniel John.

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Praxes for confident music improvising.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Praxes for confident music improvising./
Author:	Shevock, Daniel John.
Description:	108 p.
Notes:	Source: Dissertation Abstracts International, Volume: 76-12(E), Section: A.
Contained By:	Dissertation Abstracts International76-12A(E).
Subject:	Music education. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3715564
ISBN:	9781321937985

Praxes for confident music improvising.
Shevock, Daniel John.

Praxes for confident music improvising. - 108 p.

Source: Dissertation Abstracts International, Volume: 76-12(E), Section: A.

Thesis (Ph.D.)--The Pennsylvania State University, 2015.

Scholars in many fields of study have examined confidence. Within music education, confidence is often studied through the lens of Bandura's social cognitive theory, and for music improvisation, much confidence work has been accomplished through survey design and examined confidence to teach improvisation or gender differences. Though Bandura's self-efficacy model provides a useful framework to study confidence as part of music (especially in understanding why people's behavior may differ markedly in improvising), confidence may be important to improvising distinct from self-efficacy theory, and deserves inductive and explorative treatment; I completed three qualitative research studies on confident music improvising (CMI). These three studies are shared in this dissertation, a phenomenological study of CMI from the perspective of improvising performers (Chapter 2), a case study of teachers at the jazz portion of a summer music camp (Chapter 3), and most recently (Chapter 4), I explored CMI within the parameters of improvisation teachers helping students build a personal, subjective sense of confidence, which is needed to improvise musically.

ISBN: 9781321937985Subjects--Topical Terms:

3168367
Music education.

Praxes for confident music improvising.
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020 $a 9781321937985
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100 1 $a Shevock, Daniel John. $3 3193905
245 1 0 $a Praxes for confident music improvising.
300 $a 108 p.
500 $a Source: Dissertation Abstracts International, Volume: 76-12(E), Section: A.
500 $a Adviser: Linda Thornton.
502 $a Thesis (Ph.D.)--The Pennsylvania State University, 2015.
520 $a Scholars in many fields of study have examined confidence. Within music education, confidence is often studied through the lens of Bandura's social cognitive theory, and for music improvisation, much confidence work has been accomplished through survey design and examined confidence to teach improvisation or gender differences. Though Bandura's self-efficacy model provides a useful framework to study confidence as part of music (especially in understanding why people's behavior may differ markedly in improvising), confidence may be important to improvising distinct from self-efficacy theory, and deserves inductive and explorative treatment; I completed three qualitative research studies on confident music improvising (CMI). These three studies are shared in this dissertation, a phenomenological study of CMI from the perspective of improvising performers (Chapter 2), a case study of teachers at the jazz portion of a summer music camp (Chapter 3), and most recently (Chapter 4), I explored CMI within the parameters of improvisation teachers helping students build a personal, subjective sense of confidence, which is needed to improvise musically.
520 $a In the first study, interviews and observations were conducted with three self-described confident music improvisers: a bluegrass fiddler, a jazz bassist, and a baroque violinist. Participants described their learning experiences with CMI. The following essential themes emerged from that analysis -- listening, criticism-free environment, sequential experiences, passion for a style, and openness to learning. The first three of these themes were considered pedagogical and the final two themes dispositional.
520 $a In the second study, case study design was employed to test the essential pedagogical themes---listening, criticism-free environment, and sequential experiences---against situational reality of the jazz portion of a one-week summer music camp. The focus of this second study was on teaching CMI. Interviews, observations, and documents were used to triangulate data. Teaching through questions emerged as a theme of teaching CMI.
520 $a In the third study, an emergent, responsive interviewing research design was used to explore the experiences of expert improvisation teachers' teaching praxes for improving student confidence to improvise music. The purpose of this qualitative study was to understand praxes of teaching CMI, that is, how expert improvisation teachers conceive the techniques they use to increase student confidence to improvise music. There were two research questions. What teaching praxes do participants use to help unconfident students become confident music improvisers? How does student gender affect teaching praxes?
590 $a School code: 0176.
650 4 $a Music education. $3 3168367
650 4 $a Music. $3 516178
650 4 $a Pedagogy. $3 2122828
690 $a 0522
690 $a 0413
690 $a 0456
710 2 $a The Pennsylvania State University. $3 699896
773 0 $t Dissertation Abstracts International $g 76-12A(E).
790 $a 0176
791 $a Ph.D.
792 $a 2015
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3715564