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You searched for +publisher:"Ball State University" +contributor:("Rhoden, Lori E."). Showing records 1 – 3 of 3 total matches.

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1. Meulink, Judie N. Cooperative learning methods for group piano : the development of a teaching guide.

Degree: Thesis (D.A.), 2011, Ball State University

This inquiry explored cooperative learning theory and methodology in the context of teaching functional keyboard skills in undergraduate collegiate group piano classes. The purpose was to create a teaching guide to be used in the teaching and learning of harmonization, transposition, improvisation, sight-reading, accompanying, playing by ear, and technique. The guide was created using established cooperative learning methods and was intended to be used in conjunction with other resources common to collegiate group piano classes. The majority of cooperative learning material pertains to non-music subjects; of those resources that relate to music, there are almost no available published sources that incorporate cooperative learning into the group piano curriculum. Teachers of collegiate group piano classes may wish to use this guide to introduce cooperative learning methodology in their teaching situations. Advisors/Committee Members: Scheib, John W. (advisor), Rhoden, Lori E. (advisor).

Subjects/Keywords: Group work in education; Piano – Methods – Group instruction

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APA (6th Edition):

Meulink, J. N. (2011). Cooperative learning methods for group piano : the development of a teaching guide. (Doctoral Dissertation). Ball State University. Retrieved from http://cardinalscholar.bsu.edu/handle/123456789/195137

Chicago Manual of Style (16th Edition):

Meulink, Judie N. “Cooperative learning methods for group piano : the development of a teaching guide.” 2011. Doctoral Dissertation, Ball State University. Accessed March 29, 2020. http://cardinalscholar.bsu.edu/handle/123456789/195137.

MLA Handbook (7th Edition):

Meulink, Judie N. “Cooperative learning methods for group piano : the development of a teaching guide.” 2011. Web. 29 Mar 2020.

Vancouver:

Meulink JN. Cooperative learning methods for group piano : the development of a teaching guide. [Internet] [Doctoral dissertation]. Ball State University; 2011. [cited 2020 Mar 29]. Available from: http://cardinalscholar.bsu.edu/handle/123456789/195137.

Council of Science Editors:

Meulink JN. Cooperative learning methods for group piano : the development of a teaching guide. [Doctoral Dissertation]. Ball State University; 2011. Available from: http://cardinalscholar.bsu.edu/handle/123456789/195137

2. Chin, Yu-Ching. A recording and performer's analysis of Partita-variations for piano solo by George Rochberg.

Degree: Thesis (D.A.), 2012, Ball State University

The purpose of this document is to provide a recording and a performer’s analysis of the piano work titled Partita-Variations by American composer George Rochberg, as well as to provide an accessible guide for the pianist in understanding his role as a musician of the twenty-first century. Partita-Variations for Piano Solo, composed in 1976, is a large-scale keyboard work that features a juxtaposition of two different musical genres (partita and variations) and consists of twelve variations on a theme. Chapter One presents an introductory statement of the need and the purpose of the study, including an introduction, review of the literature, methodology, and organization. Chapter Two consists of two parts: an overview of Rochberg’s compositional techniques and styles, and a survey of Rochberg’s published works for solo piano. Rochberg experimented with various musical styles and techniques over the course of his career. His style evolved in the mid-1960s from serialism to conventional tonal idioms to create a unique and expressive voice in the twentieth-century. The chapter concludes with a brief discussion of the musical characteristics of each of Rochberg’s published solo keyboard works. Chapter Three is devoted to an analysis and interpretation of the Partita-Variations. The analysis focuses on characteristics such as harmony, texture, form, referenced musical styles, quotation technique, and specific thematic relationships of the pieces. Chapter Four summarizes the analysis of Partita-Variations and concludes with observations on how Rochberg absorbs and transforms musical elements from the past within his own distinctly twentieth-century approach. Finally, a recording of Rochberg’s Partita- Variations is provided as an aid for performance interpretation. Advisors/Committee Members: Kilburn, Ray (advisor), Rhoden, Lori E. (advisor).

Subjects/Keywords: Rochberg; George. Partita-variations

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APA (6th Edition):

Chin, Y. (2012). A recording and performer's analysis of Partita-variations for piano solo by George Rochberg. (Doctoral Dissertation). Ball State University. Retrieved from http://cardinalscholar.bsu.edu/handle/123456789/196106

Chicago Manual of Style (16th Edition):

Chin, Yu-Ching. “A recording and performer's analysis of Partita-variations for piano solo by George Rochberg.” 2012. Doctoral Dissertation, Ball State University. Accessed March 29, 2020. http://cardinalscholar.bsu.edu/handle/123456789/196106.

MLA Handbook (7th Edition):

Chin, Yu-Ching. “A recording and performer's analysis of Partita-variations for piano solo by George Rochberg.” 2012. Web. 29 Mar 2020.

Vancouver:

Chin Y. A recording and performer's analysis of Partita-variations for piano solo by George Rochberg. [Internet] [Doctoral dissertation]. Ball State University; 2012. [cited 2020 Mar 29]. Available from: http://cardinalscholar.bsu.edu/handle/123456789/196106.

Council of Science Editors:

Chin Y. A recording and performer's analysis of Partita-variations for piano solo by George Rochberg. [Doctoral Dissertation]. Ball State University; 2012. Available from: http://cardinalscholar.bsu.edu/handle/123456789/196106

3. Beach, Gabriel Kyle. An interpretive study of percussion solos opus 21 & 24.1 by Nebojsa Jovan Zivkovic.

Degree: Thesis (D.A.), 2013, Ball State University

The Serbian-born, German university educated Nebojša Jovan Živković is a virtuoso percussionist and an acclaimed composer of a large body of innovative music. The concert percussion community has embraced several of these works and this document examines two solo pieces: “ULTIMATUM I for Solo Marimba,” Opus 24.1 (1990/91), and “Generally Spoken It Is Nothing But Rhythm for Percussion Solo,” Opus 21 (1994/95). The intention of this study is to be a practical performance guide to aid in making decisions that will inform expressive interpretation. Both works are examined in the context of the formal structure and how the motivic, thematic, and harmonic elements relate to the form. Performance aspects such as instrument selection, setup optimization, interpretation, utilization of expressive dynamics and articulations, dynamic balance, extended techniques, universal four-mallet techniques, practice strategies, and suggestions for preparation are included. Overall, the challenges of “ULTIMATUM I” are many—technical, musical, physical, and emotional. The composer’s comments concerning Opus 24.1 focus on an energetic and expressive attitude. The energy is written into the music, but the performer must communicate this ultimative energy to the audience. Opus 24.1 has an angular texture, complex rhythms, fast tempos, and extremely loud dynamics. The aggressivo middle section contains many of the greatest challenges of the piece. Inherent to any multi-percussion setup are technical challenges and these are compounded in “Generally Spoken“ due to the inclusion of the vibraphone. Opus 21 is an excellent addition to any percussion recital and a performance will captivate the audience—due in particular to the unique sonorities achieved between tuned almglocken, tuned toms, Chinese gongs, and vibraphone. The music of Živković may have limited appeal to listeners unaccustomed to solo concert percussion. More scholarly research into Živković’s personal history, Balkan heritage, and compositional concepts may help widen audience appreciation. Advisors/Committee Members: Mueller, Erwin C. (Erwin Carl), 1930- (advisor), Rhoden, Lori E. (advisor).

Subjects/Keywords: Zivkovic, Nebojsa. Ultimatum, no. 1; Zivkovic, Nebojsa. Generally spoken, it's nothing but rhythm

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Beach, G. K. (2013). An interpretive study of percussion solos opus 21 & 24.1 by Nebojsa Jovan Zivkovic. (Doctoral Dissertation). Ball State University. Retrieved from http://cardinalscholar.bsu.edu/handle/123456789/197130

Chicago Manual of Style (16th Edition):

Beach, Gabriel Kyle. “An interpretive study of percussion solos opus 21 & 24.1 by Nebojsa Jovan Zivkovic.” 2013. Doctoral Dissertation, Ball State University. Accessed March 29, 2020. http://cardinalscholar.bsu.edu/handle/123456789/197130.

MLA Handbook (7th Edition):

Beach, Gabriel Kyle. “An interpretive study of percussion solos opus 21 & 24.1 by Nebojsa Jovan Zivkovic.” 2013. Web. 29 Mar 2020.

Vancouver:

Beach GK. An interpretive study of percussion solos opus 21 & 24.1 by Nebojsa Jovan Zivkovic. [Internet] [Doctoral dissertation]. Ball State University; 2013. [cited 2020 Mar 29]. Available from: http://cardinalscholar.bsu.edu/handle/123456789/197130.

Council of Science Editors:

Beach GK. An interpretive study of percussion solos opus 21 & 24.1 by Nebojsa Jovan Zivkovic. [Doctoral Dissertation]. Ball State University; 2013. Available from: http://cardinalscholar.bsu.edu/handle/123456789/197130

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