The status of contrabass instruction at selected colleges and universities in the United States of America

Bibliographic Details
Main Author: Leavitt, Tod
Language:English
Published: The Ohio State University / OhioLINK 1997
Online Access:http://rave.ohiolink.edu/etdc/view?acc_num=osu1283175968
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spelling ndltd-OhioLink-oai-etd.ohiolink.edu-osu12831759682021-08-03T06:00:31Z The status of contrabass instruction at selected colleges and universities in the United States of America Leavitt, Tod <p>The purpose of this document is to analyze current trends in contrabass pedagogy at colleges and universities in the United States of America.</p><p>Before this century, the contrabass was considered to be merely an accompanimental instrument. Except for an occasional solo line in some orchestral and chamber works, the melodic capability of this instrument was largely ignored by major composers. The voice of the solo contrabass emerged in various styles of music during the twentieth-century and many new approaches, methods, techniques, and sounds have been developed. Most college students of the contrabass are now required to give full solo recitals before they graduate. In order to better understand these expectations, a questionnaire was sent to contrabass instructors at selected colleges and universities in the United States of America.</p><p>Four-hundred-eighty-nine questionnaires were sent to contrabass instructors at colleges and universities in The United States of America at the beginning of the 1996-97 academic year. One-hundred-twenty-nine final responses were received by June 30th, 1997. The questionnaire focused on contrabass pedagogy, student opportunities and program requirements.</p><p>The results show the Simandl and Rabbath methods to be most favored. While some instructors choose to teach exclusively the French or German bow, most are willing and able to teach both. More than half of the pedagogues teach the use of the thumb in the lower positions, extended fingerings, and pivot fingerings; less than half teach the use of the third finger separate from the fourth in the lower positions. While only 47% of students occasionally record their lessons, 60% of instructors believe their students record practice sessions. Over 90% of the teachers advise their students to practice in front of a mirror and with a metronome. Recital requirements average between one and two full recitals for BA, BM, MA, MM, and Ph.D. degrees; MFA and AD degrees averaged between two and three recitals while the DMA averaged 3.22 recitals. Eighty-seven percent of the respondents require a jury or orchestral board for their students.</p> 1997 English text The Ohio State University / OhioLINK http://rave.ohiolink.edu/etdc/view?acc_num=osu1283175968 http://rave.ohiolink.edu/etdc/view?acc_num=osu1283175968 unrestricted This thesis or dissertation is protected by copyright: all rights reserved. It may not be copied or redistributed beyond the terms of applicable copyright laws.
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language English
sources NDLTD
author Leavitt, Tod
spellingShingle Leavitt, Tod
The status of contrabass instruction at selected colleges and universities in the United States of America
author_facet Leavitt, Tod
author_sort Leavitt, Tod
title The status of contrabass instruction at selected colleges and universities in the United States of America
title_short The status of contrabass instruction at selected colleges and universities in the United States of America
title_full The status of contrabass instruction at selected colleges and universities in the United States of America
title_fullStr The status of contrabass instruction at selected colleges and universities in the United States of America
title_full_unstemmed The status of contrabass instruction at selected colleges and universities in the United States of America
title_sort status of contrabass instruction at selected colleges and universities in the united states of america
publisher The Ohio State University / OhioLINK
publishDate 1997
url http://rave.ohiolink.edu/etdc/view?acc_num=osu1283175968
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