|
Volume 18, February 2024 E-portfolios as Learning Tools for Applied Double Bass Study; a Research-Based, Practice Oriented Approach
by Mark Elliot Bergman
8. References
ABRSM. (2022). ABRSM: Double Bass Grade 8. Practical Double Bass Grade 8. View Website
Amoroso, R. (n.d.) The Truth About Violin Scales. Retrieved August 4, 2022, from View Website
Asmus, E. P. (1999). Music Assessment Concepts. Music Educators Journal, 86(2), 19–24. View Website
Berkeley Center for Teaching and Learning. (2022). E-Portfolio | Center for Teaching & Learning. E-Portfolio. View Website
Blom, D., Rowley, J., Bennett, D., Hitchcock, M., & Dunbar-Hall, P. (2013). Two-way Impact: Institutional e-Learning Policy/Educator Practices in Creative Arts Through ePortfolio Creation. European Conference on E-Learning, 33–XII. View Website
Brewer, S. (2020, November 6). What Does A Music Portfolio Consist Of? [Solved] - The Uncaged Musician. View Website
Buffington, M. L. (2011). Preparing a Professional Teaching Portfolio for an Art Teaching Position. Art Education, 64(3), 11–17.
Burrows, J., & Kumar, V. (2018). The Objective Ear: Assessing the progress of a music task. Smart Learning Environments, 5(1), 1–9. View Website
Chalmers, G. (Director). (2016). Discover Double Bass: Double Bass Practice with Drone Notes. View Website
Chenette, T. K. (2016). Creativity in the College Music Classroom: Guidelines for Effective Integration. College Music Symposium, 56. View Website
CIM. (2022). Cleveland Institute of Music Jury Examination Requirements. View Website
Collin, R. (2012). Composing the Career Portfolio and the Classed Subject. Research in the Teaching of English, 46(3), 260–284.
Dell, C. (2010). Strings Got Rhythm: A Guide to Developing Rhythmic Skills in Beginners. Music Educators Journal, 96(3), 31–34.
Drone Tone Tool. (n.d.). Drone Tone Tool. Retrieved August 6, 2022, from View Website
Dunbar-Hall, P., Rowley, J., Brooks, W., Cotton, H., & Lill, A. (2015). E-Portfolios in Music and Other Performing Arts Education: History through a Critique of Literature. Journal of Historical Research in Music Education, 36(2), 139–154.
Elliot, C. (Director). (2017). European String Teachers Association UK; Double bass technique: Detaché. View Video
Elmholdt, C., & Brinkmann, S. (2005). Discursive Practices at Work: Constituting the Reflective Learner. In Productive Reflection at Work. Routledge.
Floyd, S. A., & Kageff, B. K. (1978). Productivity Models for Applied Music Professors. College Music Symposium, 18(1), 105–108.
Grillo, J. (2009, June 6). CBC 120: Ed Barker interview. Contrabass Conversations. View Website
Ha, J. (2015). Teaching intonation in violin playing: A study of expert string teaching. Australian Journal of Music Education, 2, 224–236.
Heath, J. (2006). 165: Ed Barker Interview (from the archives). Contrabass Conversations. View Website
Hickey, M., & Webster, P. (2001). Creative Thinking in Music. Music Educators Journal, 88(1), 19–23. View Website
Hill, C. F. (2008). A Portfolio Model for Music Educators. Music Educators Journal, 95(1), 61–72.
Jenson, J. D., & Treuer, P. (2014). Defining the e-portfolio: What It Is and Why It Matters. Change, 46(2), 50–57.
Kaplan, B. (2004). Practicing for artistic success: The musician's guide to self-empowerment. Perception Development Techniques.
Kim, Y., & Sensale Yazdian, L. (2014). Portfolio Assessment and Quality Teaching. Theory Into Practice, 53(3), 220–227.
Lubert, V. J., Gröpel, P. (2022). Testing interventions for music performance under pressure: A randomized controlled study. Sport, Exercise, and Performance Psychology, 11(1), 93–105. View Website
Madora, R. (n.d.). Organizational Skills for Bassists: A Checklist for Getting There. No Treble. Retrieved August 1, 2022, from View Website
Manfredo, J. (2006). Effective Time Management in Ensemble Rehearsals. Music Educators Journal, 93(2), 42–46. View Website
Manning, D., Feurzeig, D., George, D., Glennon, M., Hoffman, P., & Tetel, M. (2019). Recruitment and Retention in the Applied Music Studio: A Critical Examination of Curricular and Institutional Demands. College Music Symposium, 59(1), 1–26.
Mick, J. (2015) Double Bass 101: Foundations for Building Strong Players: Florida Music Educators Association Download PDF
Morton, M. (1991). Dr. Morton's Miraculous Scale Fingerings for the Double Bass. Basso Profondo Publications.
National Association for Music Education. (2022). Assessment in Music Education. NAfME. View Website
Niles, L. (2020). How To Master the Legato Bow Stroke (Hint: It's Harder Than You Think). Strings Magazine. View Website
Norwalk Community College. (2022). EPortfolio [What is an e-portfolio]. Norwalk Community College. View Website
Rabin, M., & Smith, P. (1991). Guide to orchestral bowings through musical styles. 62.
Rickards, W. H., Diez, M. E., Ehley, L., Guilbault, L. F., Loacker, G., Hart, J. R., & Smith, P. C. (2008). Learning, Reflection, and Electronic Portfolios: Stepping Toward an Assessment Practice. The Journal of General Education, 57(1), 31–50.
Roanoke College. (2022). E-Portfolios for Psychology Majors. What Is an E-Portfolio? View Website
Roberts, J. S. (2012). Infusing Entrepreneurship Within Non-Business Disciplines: Preparing Artists and Others for Self-Employment and Entrepreneurship. Artivate, 1(2), 53–63. https://doi.org/10.1353/artv.2012.0005
Roberts, P., Maor, D., & Herrington, J. (2016). ePortfolio-Based Learning Environments: Recommendations for Effective Scaffolding of Reflective Thinking in Higher Education. Journal of Educational Technology & Society, 19(4), 22–33.
Schiff, H. (2004). Scales and exercises are essential for all string players. The Strad. View Website
Schon, D. A. (1991). Educating the Reflective Practitioner: Toward a New Design for Teaching and Learning in the Professions (1st edition). Jossey-Bass.
Sheeba. (2017, January 20). Music Through Light: Double Bass Instrumentalist Lauren Pierce. Sheeba Magazine. View Website
Silveira, J. M. (2013). Idea Bank: Portfolios and Assessment in Music Classes. Music Educators Journal, 99(3), 15–24.
String Technique (Director). (2017, October 3). Double Bass Detaché Bow Stroke Characteristics. View Video
Taylor, J., Dunbar-Hall, P., & Rowley, J. L. (2012). The e-portfolio continuum: Discovering variables for e-portfolio adoption within music education. Australasian Journal of Educational Technology, 28(8). View Website
Team, S. (n.d.). Double Bass Practice Do's And Don'ts. Retrieved August 1, 2022, from View Website
Thomsen, L. (2016, January). 6 Ways to Improve Your Détaché Bow Stroke. Strings, 30(6), 22–23.
Townsend, K. (2003). String-playing skills to enhance student and audience perception. Music Educators Journal, 89(3), 69–70.
The Penn State School of Music Undergraduate e-Portfolios. (2022) Retrieved August 3, 2022, from View Website
University of Utah (2015). Learning Portfolios; Teaching and Learning Technologies. View Website
University of Wyoming (2022). Undergraduate Sophomore Barrier Exam (Double Bass). Retrieved August 8, 2022 from Download PDF
van der Schaaf, M., Donkers, J., Slof, B., Moonen-van Loon, J., van Tartwijk, J., Driessen, E., Badii, A., Serban, O., & Cate, O. T. (2017). Improving workplace-based assessment and feedback by an E-portfolio enhanced with learning analytics. Educational Technology Research and Development, 65(2), 359–380.
Willard, C. (2019). Reconsidering the Value. Journal for Learning through the Arts, 15(1). View Website
Witzel, B. (2015). Scales for the Double Bass. CreateSpace Independent Publishing Platform.
Zlata. (2013, October 16). What is a Scale and Why Should You Study Them? Violin Lounge. View Website
|
|