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dc.contributor.advisorAnderson, Christine L.
dc.creatorDeSilva, Bryan Edward
dc.date.accessioned2020-10-21T14:27:20Z
dc.date.available2020-10-21T14:27:20Z
dc.date.issued2016
dc.identifier.other965642516
dc.identifier.urihttp://hdl.handle.net/20.500.12613/1083
dc.description.abstractIn 2008, the American Academy of Teachers of Singing released a paper in support of further research and training in the teaching of non-classical music or Contemporary Commercial Music (CCM). CCM can be defined as encompassing (but not limited to) the following genres: musical theatre, pop, rock, gospel, R&B, soul, hip-hop, rap, country, folk, and experimental music. Despite the increase in number of musical theatre and CCM degree programs at American universities, and the that national voice pedagogy organizations have begun to include musical theatre competitions and masterclasses, such academic training for future voice teachers has not met the demand. A 2003 survey by LoVetri and Weekly to evaluate the levels of training and experience of voice teachers in CCM styles of singing showed that while 71 schools offered Bachelor’s degrees in Musical Theatre, there were no schools offering CCM voice pedagogy training. In a 2009 follow-up, Weekly and LoVetri found that only 19% of those surveyed had any training to teach Musical Theatre. Additionally, many teachers indicated they were only classically trained and had no idea how to sing in any other style. For this study a three-part survey containing 27 questions was used to survey voice teachers who had been enrolled in or completed graduate-level (MM or DMA) voice programs since the publication of Weekly and LoVetri’s most recent survey. The purpose of the survey was to discover the pedagogical training of recent graduate voice students in CCM. The data is collected from a population in which n=66. While this study did show an increase in pedagogical training in CCM at the graduate university level (26%) as well as an increase in the number of CCM teachers with both graduate-level training and performance experience, this increase was small, and the majority of those who reported having received training did so through private instruction or independent study.
dc.format.extent86 pages
dc.language.isoeng
dc.publisherTemple University. Libraries
dc.relation.ispartofTheses and Dissertations
dc.rightsIN COPYRIGHT- This Rights Statement can be used for an Item that is in copyright. Using this statement implies that the organization making this Item available has determined that the Item is in copyright and either is the rights-holder, has obtained permission from the rights-holder(s) to make their Work(s) available, or makes the Item available under an exception or limitation to copyright (including Fair Use) that entitles it to make the Item available.
dc.rights.urihttp://rightsstatements.org/vocab/InC/1.0/
dc.subjectMusic
dc.subjectPedagogy
dc.subjectPerforming Arts Education
dc.subjectContemporary Commercial Music
dc.subjectMusical Theater
dc.subjectMusical Theatre
dc.subjectVocal Performance
dc.subjectVoice Pedagogy
dc.titleA SURVEY OF THE CURRENT STATE OF CONTEMPORARY COMMERCIAL MUSIC (CCM) VOCAL PEDAGOGY TRAINING AT THE GRADUATE LEVEL
dc.typeText
dc.type.genreThesis/Dissertation
dc.contributor.committeememberDilworth, Rollo A.
dc.contributor.committeememberGratis, Lorie
dc.contributor.committeememberFolio, Cynthia
dc.description.departmentMusic Performance
dc.relation.doihttp://dx.doi.org/10.34944/dspace/1065
dc.ada.noteFor Americans with Disabilities Act (ADA) accommodation, including help with reading this content, please contact scholarshare@temple.edu
dc.description.degreeD.M.A.
refterms.dateFOA2020-10-21T14:27:20Z


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