RJA #12b: Field Research Report

I sent an e-mail to my percussion instructor with this attached. I figured that they would have more time to answer and think through their answers if they typed it out. Also, it documents his answers better through him writting it as well. I used him for my feild research because he is a classicly trained percussionist and will have a lot of insight into the notated part of my essay. This kind of first hand information is very helpful and useful in my paper.



Interview Sheet

Thesis: Instrumental music undergraduate students in America should be taught to play with a combination of oral and notated music methods because it will give them a wider knowledge of music allowing them to play a greater variety of music and in a differing selection of ensembles.

Vocabulary:
1 Oral Method
o The oral tradition of non-notated music, learning through memory and repetition, passing on the music orally
2 Notated Method
o Reading written music and learning the styles of notation and what they imply, passed on by notation



1. Give a brief background of your musical training. (Ensembles, instruments, degrees and so on…)
Started with piano in 3rd grade; percussion in 5th grade. Studied with the instrumental music teacher, and also at the local music store. In high school, was leader of the stage band, arranged and wrote music for and conducted the student musical production "Stunts". Bachelor of Music degree @ Oberlin Conservatory; MMusic @ The Juilliard School.

2. How important is it for undergrad students, in any music degree, to be able to read and understand different types of notated music? Elaborate.
It is extremely important. As a teacher, the most difficult student is the one who doesn't read music well and really doesn't want to try. As with any language, it is important to read and well as speak for effective communication (how can you play music by past masters without being able to read their notes?). It is also the only way for students to begin to "teach themselves"...which is what I try to teach my students to do.

3. How important is it for the same students to be able to be a part of and understand music that is passed down through oral tradition? Elaborate.
Oral traditions are also important, although not as important, in my opinion. I have not written down everything that my teachers have taught me, so much of a lesson deals with passing down their thoughts. For a percussionist, oral traditions are often associated with folk music...African musical traditions (the root of all music, especially percussion), Latin percussion, etc. I believe these should be a cornerstone of a college student's training.

4. In your opinion, what are the three main skills that a music undergrad student would take from being taught with the notated method?
Sight-reading (being able to play anything quickly in an ensemble situation, especially recording); analyzing music (being able to identify harmonies, patterns, form...and use that to inform a musical interpretation to present to the audience); ensemble playing (being able to read a percussion score and also play at the same time so you can "lock in" with the other members of the ensemble).

5. In your opinion, what are the three main skills that a music undergrad student would take from being taught with the oral method?
Improvisation (being able to listen and respond with/to other musicians); folk music appreciation (an understanding of many different musical styles); ensemble playing (listening as well as looking to "lock in" with the other members of the ensemble).

6. Would it be beneficial for music undergrad students to be taught in both the oral method and the notated method? If yes, explain why it would. If no, explain your thoughts on that matter.
I believe that both methods have their place. However, for a music school in the United States which is based on the Western music tradition, I strongly believe that the major emphasis should be placed on the notated method. There is too much theory, sight-reading, and history that has to be learned (for the undergrad to become either a good performing musician or a teacher) that can only be learned quickly and effectively with the notated method.