Browsing by Author "Gebrian, Molly"

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    CLASS RECITAL featuring viola students of James Dunham Saturday, October 15, 2011 8:00 p.m. Lillian H. Duncan Recital Hall
    (Shepherd School of Music, Rice University, 2011-10-15) Pelton, Ashley; Ching, Eliza (piano); Smith, Yvonne; Schneider, Andrew (piano); Gebrian, Molly; Dunham, James; Goodman, Allyson; Kovach, Leah; Rothfuss, Maya
    PROGRAM: Sonata in F Minor, Op. 120 No. 1 / Johannes Brahms -- Aria Furioso / Ross Griffey -- Viola Spaces / Garth Knox -- Concerto No. 1 in C for Four Violas / Georg Telemann
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    Music and early language acquisition
    (2012-09-11) Brandt, Anthony; Gebrian, Molly; Slevc, L. Robert; Frontiers Media
    Language is typically viewed as fundamental to human intelligence. Music, while recognized as a human universal, is often treated as an ancillary ability – one dependent on or derivative of language. In contrast, we argue that it is more productive from a developmental perspective to describe spoken language as a special type of music. A review of existing studies presents a compelling case that musical hearing and ability is essential to language acquisition. In addition, we challenge the prevailing view that music cognition matures more slowly than language and is more difficult; instead, we argue that music learning matches the speed and effort of language acquisition. We conclude that music merits a central place in our understanding of human development.
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    Rethinking Viola Pedagogy: Preparing Violists for the Challenges of Twentieth-Century Music
    (2013-07-24) Gebrian, Molly; Lavenda, Richard; Bailey, Walter B.; Dunham, James; Martin, Randi C.
    The majority of standard solo repertoire that violists perform was written in the twentieth century, but the pedagogical materials violists study are largely transcriptions of violin etudes, studies, and scales, which were all written in the nineteenth century or earlier. Music written in the twentieth century uses a language and techniques that are quite different from those found in older, tonal music. Because of this, violists are often unprepared for the challenges of their standard solo repertoire, and the pedagogical materials they study do not fulfill their purpose: to educate students in the skills necessary for successful musical performance. The first part of this document is historical, attempting to explain how the viola has arrived in the early twenty-first century without its own unique body of pedagogical materials suited its repertoire. The second part of this document is practical: it proposes a pedagogy for the viola that will help to better prepare students to play our standard repertoire. This part of the document uses an extensive number of musical examples from the standard twentieth-century repertoire to illustrate how the various etudes, studies, exercises, and scales presented can be used to help students in tackling the challenges of twentieth-century music more successfully.