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|Title:||Solo accompaniments in instrumental music education: The impact of the computer-controlled vivace on flute student practice|
|Author(s):||Tseng, Shan-Mei Amy|
|Doctoral Committee Chair(s):||Peters, G. David|
|Department / Program:||Education|
|Degree Granting Institution:||University of Illinois at Urbana-Champaign|
Education, Technology of
|Abstract:||This study presented 10 college flute students' interactions with the Vivace system; an environment through which students rehearse music within its musical context of performing with an accompaniment that follows performers. Research questions included: (a) How do participants' past experiences in performing/practicing and using computers shape the way they incorporate Vivace to their practice? (b) How does Vivace affect the participants' practice? (c) How do the participants incorporate Vivace into their practice? (d) How do the participants react to using Vivace as a practice/teaching tool?
Research methods included participant observation, audio and video taping, and semi-structured interviews with the participants and the flute professor. To gain the manufacturer's perspective, a questionnaire was constructed and forwarded to the company. The setting for this study included both micro and macro perspectives.
The diversity among the participants was presented as four case studies; Fran, Philip, Kristy and Susan. Kristy expressed her interest in weaving the concept of harmony, theory and music history in her teaching to help her students better understand the music. She would build a balanced curriculum that incorporates the Vivace system to teach her students various aspects of a musical composition. Fran added another dimension by emphasizing that students need to be monitored by their instructors. Philip, though not completely satisfied with Vivace's ability to follow, considered it helpful for beginners. Susan regarded Vivace better for adults than young students.
The benefits and costs of using the Vivace system were assessed through cross-participant analyses. Participants in this study argued that Vivace had helped them learn music better and expedited their performance preparation processes. They also became sensitive to their pitch and intonation monitoring while rehearsing with the Vivace accompaniment. They acquired stage presence experiences through practicing in simulated performance settings. These transformations were long-term, complex processes. However, the participants interacted with Vivace through non-verbal communications and faced some technical problems. Technical problems were easy to fix while human-machine interaction needed more time to solve.
This study has profound implications for instrumental music education, research in music education and computer-based learning. It embraces a holistic approach to both of musical learning and research.
|Rights Information:||Copyright 1996 Tseng, Shan-Mei Amy|
|Date Available in IDEALS:||2011-05-07|
|Identifier in Online Catalog:||AAI9625203|