I suppose, philosophically, this book is a waste of time because no teacher can teach like another. We’re all musicians and any musical terms I used are regular words in our personal standard English dictionaries. A musicologist told me that it is most proper to italicize on first usage any foreign language word that cannot be found in a standard English dictionary. I didn’t italicize foreign language musical terms like basso or ossia. In using past tense it at least gives the impression this book will still be around when I’m gone (retired or dead, whichever comes first). That didn’t seem quite right either so I simply flipped a coin and past tense won. So, I changed to past tense especially in cases where I talked about my own teaching. At first I tried writing in the present tense. Most of the time my stream of consciousness can get the grammar and syntax correct, but don’t bet on a perfect score. I threw the rules out the window and simply talked to you as I wrote. I read enough dissertations during my teaching career. Introduction, Explanations, and Excuses You will quickly notice that this book is not written in Turabian or MLA format. 110 Brass Research Bibliography- 110 Brass History Bibliography- 110 Brass Literature Bibliography- 117 Brass Pedagogy Bibliography- 123 Brass Periodicals- 131 Trombone Websites - 133Ībout the Author. 107 Bibliographies to Accompany Literature and Pedagogy Courses. 97 Undergraduate Trombone Literature Course. 94 Undergraduate Trombone Pedagogy Course.
90 Undergraduate and Graduate Level Trombone Literature and Pedagogy Courses. 86 Quick Index to Annotated Trombone Ensemble Literature by Number of Parts.
45 Annotated List of Trombone Ensemble Music. 7 Introduction, Explanations, and Excuses. All three traits were crucial in the pursuit of this career.Īcknowledgements Special thanks to Mississippi native, Will Jayroe, for his wonderful cover art and to Jon Lindsey of The University of Louisiana – Monroe, for his meticulous proofreading. I am thankful that my mother passed on to me her dogged determination and tenacity, and my father, his sense of humor. Of course, this book would not have been compiled without the lifelong support of my parents who were so refreshingly naïve that they never even imagined a trombonist of the feminine gender would have difficulty getting a job in the 1970s.
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These people kept assuring me I knew how to teach and often showcased the results of that teaching on their ensemble concerts. It could not have been as happily compiled without the support of my colleagues, Jay Dean (Director of Orchestral Activities), Tom Fraschillo (Director of Bands), Steven Moser (Associate Director of Bands), Gary Adam (Assistant Director of Bands), and Larry Panella (Jazz Program Director). It could not have been compiled without the support of The University of Southern Mississippi (USM), which gambled on a twenty-six year old and kept me while I learned to teach. It could not have been compiled without the guidance of my own teachers who exemplified the art of teaching and were my role models (Carl Goudy, Lloyd Ringley, David Glasmire, Glenn Smith, and especially Irvin Wagner and his philosophies). It could not have been compiled without the help of all the teachers and/or performers who, in master classes, clinic sessions, and performances I attended gave me ideas and materials. © 2002 Marta Jean Hofacre Hattiesburg, MS 39406 USA All Rights Reservedĭedication This book could not have been compiled without the help of my students that have taught me how to teach over the years. Teaching Collegiate Trombone Or, what I did anyway… By Marta Jean Hofacre Teaching Collegiate Trombone Or, what I did anyway…
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