Why Classical String Musicians Are Exploring a Multistyle Approach to Teaching Kelly C
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James Madison University JMU Scholarly Commons Masters Theses The Graduate School Fall 2014 The variety show: Why classical string musicians are exploring a multistyle approach to teaching Kelly C. Wiedemann James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/master201019 Part of the Music Education Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Other Music Commons Recommended Citation Wiedemann, Kelly C., "The av riety show: Why classical string musicians are exploring a multistyle approach to teaching" (2014). Masters Theses. 12. https://commons.lib.jmu.edu/master201019/12 This Thesis is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Masters Theses by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Approved and recommended for acceptance as a thesis in partial fulfillment of the requirements for the degree of Master of Music. Special committee directing the thesis work of Kelly C. Wiedemann ___________________________________________ Dr. William M. Dabback Date ___________________________________________ Dr. Gary K. Ritcher Date ___________________________________________ Dr. Pedro R. Aponte Date Received by The Graduate School ________________ Date The Variety Show: Why Classical String Musicians are Exploring a Multistyle Approach to Teaching Kelly C. Wiedemann A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Master of Music Music Education December 2014 DEDICATION Dedicated to my colleagues at Eastern Mennonite University, Sharon Miller and Megan Tiller. Sharon for your guidance, feedback, and support as my first violin teacher, current boss, mentor, and friend. Thank you for providing me with chances to pursue my passion for multistyle string education, directing me to useful resources for this paper, introducing me to the Carolina Chocolate Drops, and providing the opportunity for me to lead multistyle teen camp. Megan for your friendship, brainstorming sessions, and constant encouragement regarding the multistyle realm of possibilities. Thank you for your energy, optimism, persistence, and introducing me to Redwing! All of these fantastic experiences have helped shape my musical journey in a special way and I am forever grateful to you both! ii ACKNOWLEDGEMENTS Thank you to my JMU professors: Dr. Ritcher, for such a warm and positive introduction to JMU. Dr. Axtell, for getting me excited about research and introducing me to Showboat! Dr. Aponte for bright conversation on days when being both student and teacher seemed like an impossible feat. Dr. Connell, for your interest in my research and giving me the opportunity to present at the Brazil Music Symposium. Dr. Van der vat Chromy and Dr. McCashin, for making conducting lessons a joyous occasion and helping me transfer my newfound knowledge to my classroom and this research. And finally to my advisor Dr. Dabback, for introducing me to qualitative research, which set this paper in motion, and for keeping after me to FINISH! Thank you for your encouragement and for reminding me of how important this research is and that one voice can make a difference. I want to thank the teachers featured in this case study for their willingness to open up and share their journeys and strengthen the case for a multistyle string curriculum. I am humbled by your honesty about the joys and struggles of teaching and energized by your passion. Keep up the great work! Thank you to my parents and brothers for letting me think out loud and being my cheerleaders throughout the past three years of highs and lows, reminding me that there is always light at the end of the tunnel. iii Table of Contents Dedication........................................................................................................................... ii Acknowledgements............................................................................................................ iii Table of Contents............................................................................................................... iv Abstract.............................................................................................................................. vi I. Introduction....................................................................................................................1 In the Beginning: Multicultural Movements in Music Education ...........................3 Defining the Movement ...........................................................................................7 Movements in the Music Industry and Performance Practice ...............................11 Problems & Controversy........................................................................................13 Importance & Goals...............................................................................................16 II. Literature Review.........................................................................................................18 Multicultural Music Education ..............................................................................18 Informal Music Practices .......................................................................................20 Multistylism in String Pedagogy ...........................................................................24 Multistylism in Higher Education..........................................................................27 Summary................................................................................................................29 III. Methodology................................................................................................................32 Research Approach ................................................................................................32 Pilot Study..............................................................................................................34 Participants.............................................................................................................34 Limitations of the Study.........................................................................................38 Researcher Role .....................................................................................................39 Data Collection ......................................................................................................39 Play of Analysis .....................................................................................................40 Summary................................................................................................................41 IV. Multi-Style Motivators.................................................................................................42 Developing Creativity & Personal Expression ......................................................42 Developing Creativity & Personal Expression: Discussion...................................47 iv Mistakes Redefined................................................................................................50 Mistakes Redefined: Discussion............................................................................54 Student Enrollment & Retention............................................................................57 Student Enrollment & Retention: Discussion........................................................60 Employment Opportunities....................................................................................61 Employment Opportunities: Discussion ................................................................63 Multistyle Motivators: Summary...........................................................................65 V. Exploring Relationships with Classical Music ............................................................67 Classical as a Core Component..............................................................................67 Classical as a Core Component: Discussion..........................................................70 Transferable Technique .........................................................................................72 Transferable Technique: Discussion......................................................................76 Reactions to Multistylism ......................................................................................78 Reactions to Multistylism: Discussion ..................................................................86 Summary................................................................................................................88 VI. Conclusion ...................................................................................................................92 Research Findings..................................................................................................93 Areas for Future Study...........................................................................................99 Local & Large-Scale Implications.......................................................................103 The New Normal..................................................................................................108 VII. Appendix A: Interview Questions .......................................................................110 VIII. References............................................................................................................114