Singing in the Contemporary Traverso Classroom

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dc.contributor.author Plosila, Vera
dc.date.accessioned 2019-08-20T06:53:42Z
dc.date.available 2019-08-20T06:53:42Z
dc.date.issued 2019
dc.identifier.uri http://hdl.handle.net/10138/304757
dc.identifier.uri URN:NBN:fi-fe2019082024785
dc.description.abstract This research aims to study the usage and effects of singing as a tool for contemporary traverso pedagogy. It is also intended to shed light on the historical usage of singing tools in the professional-musician training from the 16th to the 18th century. The data was collected through a semi-structured expert interview, and the emerging themes analyzed through an epistemological framework, including theories of Deweyan pragmatism and tacit knowledge. Sources within Historically Informed Performance (HIP) were consulted to achieve an overview of the field and the historical use of singing tools in music education. The results suggest various advantages for singing in traverso tuition, such as improved intonation, togetherness and phrasing. A strong theme of “naturality” also emerged in conjunction with singing, which can be linked to the rhetorical practices of the pre-Romantic centuries. However, singing might also be experienced awkward, or some tools confusing, and thus be incorporated into the classroom with care. fi
dc.format.extent 21 fi
dc.language.iso eng fi
dc.title Singing in the Contemporary Traverso Classroom fi
dc.subject.ysa huilu fi
dc.subject.ysa musiikkikasvatus fi
dc.subject.ysa esityskäytäntö fi
dc.subject.ysa solmisaatio fi
dc.subject.ysa epistemologia fi
dc.subject.ysa pragmatismi fi
dc.subject.ysa hiljainen tieto fi
dc.type.ontasot kirjallinen työ fi
dc.contributor.organization Taideyliopiston Sibelius-Akatemia, Klassisen musiikin osasto, Vanha musiikki fi
dc.format.content fulltext fi

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