DOCSLIB.ORG

Online Doctor of Musical Arts in Music Education You’Re Eager to Develop Your Scholarship, Keep Your Musicianship Sharp, and Continue Your Teaching Career

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Online Doctor of Musical Arts in Music Education You’Re Eager to Develop Your Scholarship, Keep Your Musicianship Sharp, and Continue Your Teaching Career Online Doctor of Musical Arts in Music Education You’re eager to develop your scholarship, keep your musicianship sharp, and continue your teaching career. This is where online learning comes in. We’ve designed this program for you to be an important member of a small, academically rigorous online doctoral program without uprooting your family or leaving the work that fulfills you. Leading. A respected leader in music education for generations, Choose the Doctor of Musical Arts in Music Education BU pioneered the online Doctor of Musical Arts degree. at BU, and: The program is designed for 21st century music educators • Learn new techniques and strategies that can be who teach within and beyond the traditionally conceived applied in your classrooms. school day, with populations that include early childhood, • Collaborate with influential leaders in the music K–12, college, life-long learners, and in a variety of com- education profession. munity settings. We encourage students to think • Participate in a week-long residency on campus with creatively and critically, to be dedicated collaborators, faculty and other students. and to work in multilingual and multicultural classrooms with students from across the socioeconomic spectrum • Pursue your scholarly interests and connect them to and with a range of ability. We model and encourage music education theories and your teaching practice. self-reflection and an openness to continual growth. • Advance your career and discover new opportunities. Here’s your opportunity to study with many of the We are a student-centered program committed to equity nation’s most innovative thought leaders, policy makers, and justice. Graduate students may concentrate their and researchers in music education. Immerse yourself degree with multiple electives in areas including diversity, in subjects that offer the potential to transform music equity, and inclusion; antiracist pedagogy; early child- education for you and your students. Engage with fellow hood; musicology/ethnomusicology; music technology; music educators from around the world who will become popular music; and wellbeing. Our students benefit from valued friends and colleagues. pursuing their teacher preparation in the rich context of a research university. Why BU Music Education? • The rigors of a top-notch program designed to fit your busy schedule. • Work with a diverse faculty of accomplished musicians, scholars, researchers, and educators. • Immerse yourself in subjects that offer the potential to transform music education for you and your students. • Study the history, philosophy, psychology, sociology, and technology of music education. • Engage with fellow music educators from around the world who will become colleagues and life-long friends. • Access Boston University’s extensive, world-class resources. • Develop and hone research and communication skills and produce a dissertation that can become the basis for a scholarly article, series of articles, or book. • No GRE requirement. Enter the ranks of scholars redefining music education for the 21st century. Join us. Let’s get started. The degree consists of three components: coursework, qualifying examinations, and dissertation. You will prepare for advancement in the field of music education by develop- ing and honing scholarly expertise, sharpening proficiency in theoretical and historical analysis, developing a research specialization, and producing a dissertation of publishable quality that adds new knowledge, moving the field of music education forward. Your dissertation can become the basis for a scholarly article, series of articles, or book. Many of our doctoral students and their faculty mentors have co-pre- sented at national and international conferences. Below is a selection of completed dissertations from recent graduates of the online Doctor of Musical Arts in Music Education at Boston University that demonstrate the breadth and scope of topics and research methods used by our DMA candidates: • Heather Katz Cote (CFA’16), Village of Nagog Woods, • Michael Sundblad (CFA’20), Norfolk, VA: Credibility, MA: A Matrix of Music Supervisors’ Stories in the Community College, and the Closet: How Students Midst of School Reform Perceive a Gay Music Instructor • James Ray (CFA’17), Port Angeles, WA: Collective • Jorim Reid (CFA’20), Durham, NC: Marching Sound Efficacy Belief, Within-Group Agreement, and Machines: An Autoethnography of a Director of Bands Performance Quality Among String Chamber at an Historically Black College and University Ensembles: An Exploratory Study • Darryl Singleton (CFA ’20), Katy, TX: Black Band for • Kenneth Dale Disney (CFA’18), Knoxville, TN: Brown Students: A Culturally Relevant Pedagogy? Understructures, Gender Roles, and Performativity in a High School Percussion Section • Troy Davis (CFA’20), Santa Clara, CA: Self-Assessment in Jazz Improvisation: An Instrumental Case Study of • Amira Ehrlich (CFA’18), Israel: Pray Play Teach: Professional Jazz Musicians in a Jazz Combo Setting Conversations with Three Jewish Israeli Music Educators Curriculum | Major Area Courses Problems, Theories, and Literature: Making Quantitative Research Methods in Music Qualitative Research Methods in Music a Contribution to the Field Education Education This course introduces graduate students In this course students begin the process Quantitative research methods and their to key issues and concepts in qualitative of transitioning from their roles as graduate application to educational research con- research. Students develop skills in conduct- students to their lifelong roles as scholars. texts; quantitative research design, sampling ing interviews, and observations; they gain Topics and activities include scholarly reading techniques, reliability and validity, descriptive experience with ethnographic and narrative and writing; theories and conceptual frame- and inferential statistics, quantitative studies techniques including transcribing, coding, works; constructing a research problem, ra- in music education, and using software to interpreting data and presenting results of tionale, and research questions; and creating conduct statistical analysis. 4 cr analysis. 4 cr an outline for a scholarly literature review. 4 cr Introduction to Music Education Research and often influence policy. Students in this ment of policy. Topics include public policy, In this course, students become acquainted course should develop the knowledge and politics, advocacy, diversity, evaluation, and with a variety of research that informs music expertise in understanding needs for change curriculum. 4 cr education, learn both to critique and apply and developing plans for advocacy. 4 cr that research, and develop their scholarly Crossroads: Traditions in African-American writing skills. 4 cr American Music Vernacular Music Overview of early music in the colonies. The course addresses elements and aspects History & Philosophy in Music Education: Various attempts to create an individual of African-American music which extend Perspectives and Practice “American” musical style. Diversity of influ- beyond the confines of blues, including early The purpose of this course is to examine and ences: European, African-American, Indian, rock’n roll, hip-hop, 1940s big band jazz, and discuss historical and contemporary philo- Spanish-Mexican, religious, jazz, folk song, beyond. Additionally, the course incorporates sophical ideas and problems in music and minstrel, etc. Music of Billings, Lowell, Mason, a variety of intertextual elements, including music education. A goal is for students to Gottschalk, MacDowell, Ives, Gershwin, Cop- literary cross-currents in African-American develop a sharpened sensitivity to past and land, and others. 4 cr linguistic theory (as relevant to music), present thought (primarily, but not limited to including Henry Louis Gates’ seminal text historical and philosophical thought) in the Analytical Techniques I Signifying Monkey and more. 4 cr field of music education in order to better Investigations (systemic and empirical) into inform their own curricular and instructional formal and compositional procedures of se- Introduction to Early Childhood Music choices. 4 cr lected masterworks from the tonal repertoire. Education Lectures lead to individual analytical projects. This course will provide an overview of Psychology & Sociology in Music Education: 4 cr early childhood development and education. Perspectives and Applications Students will then investigate the musical The purpose of this course is to critically An Ethnographic Exploration of African development of very young children, and examine psychological and sociological Musical Cultures explore the components of research-based, concepts as they relate to music and educa- This course explores a selection of music from developmentally appropriate early childhood tion. Topics include key issues and concepts sub-Saharan Africa in ethnographic context, music education. Special attention will be in psychology and sociology; psychology as with a particular focus on their practical paid to the role of play in childhood and de- related to music education processes; prob- application in the Western classroom or en- signing and implementing play-based musical lems encountered in the sociology of music semble. The course aims to provide you with experiences. 4 cr education; and cultural influences that affect a sense of the intensity of African musical both the psychology of the individual and the creativity, its
Load more

Recommended publications
  • Characteristics of Online Music Courses: a Survey Of
    CHARACTERISTICS OF ONLINE MUSIC COURSES: A SURVEY OF MUSIC FACULTY _________________ A Dissertation Presented to The Faculty of the Moores School of Music University of Houston _____________________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Musical Arts _______________________ By Dan M. Littles August 2014 CHARACTERISTICS OF ONLINE MUSIC COURSES: A SURVEY OF MUSIC FACULTY _________________ An Abstract of A Dissertation Presented to The Faculty of the Moores School of Music University of Houston _____________________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Musical Arts _______________________ By Dan M. Littles August 2014 CHARACTERISTICS OF ONLINE MUSIC COURSES: A SURVEY OF MUSIC FACULTY ABSTRACT The purpose of this study was to determine the perceptions of music faculty toward course suitability for online delivery, the pedagogical practices of online music faculty, and the current predominate characteristics of online music courses. A review of the literature found no studies that surveyed music faculty to find the current characteristics of online music courses. A researcher-designed survey was completed by participants (N = 230) from 160 randomly selected institutions accredited by the National Association of Schools of Music (NASM). The majority of participants were from large universities (10,000 or more students) and did not have previous experience teaching music online. Most universities offering undergraduate and graduate courses online have done so for 4 or fewer years. Music history, music appreciation, and religious studies in music were the most commonly offered online undergraduate courses, and music education, music research, and music technology were the most common graduate courses.
    [Show full text]
  • Multicultural Considerations in Music Therapy Research Seung-A Kim Ph.D., L.C.A.T., MT-BC Molloy College, [email protected]
    Molloy College DigitalCommons@Molloy Faculty Works: Music Therapy Music Therapy 2016 Multicultural Considerations in Music Therapy Research Seung-A Kim Ph.D., L.C.A.T., MT-BC Molloy College, [email protected] Cochavit Elefant Follow this and additional works at: https://digitalcommons.molloy.edu/mustherapy_fac Part of the Music Therapy Commons DigitalCommons@Molloy Feedback Recommended Citation Kim, Seung-A Ph.D., L.C.A.T., MT-BC and Elefant, Cochavit, "Multicultural Considerations in Music Therapy Research" (2016). Faculty Works: Music Therapy. 8. https://digitalcommons.molloy.edu/mustherapy_fac/8 This Book Chapter is brought to you for free and open access by the Music Therapy at DigitalCommons@Molloy. It has been accepted for inclusion in Faculty Works: Music Therapy by an authorized administrator of DigitalCommons@Molloy. For more information, please contact [email protected],[email protected]. Chapter 8 MULTICULTURAL CONSIDERATIONS IN MUSIC THERAPY RESEARCH Seung-A Kim • Cochavit Elefant Our society has become more diverse in the past decade, as evidenced by the influx of immigrants, multiracial and minority groups, and the increasing age gap between generations (Population Reference Bureau, 2015). Consequently, culture has been regarded as a significant construct among researchers. By proposing Culture-Centered Music Therapy, Stige (2002) encourages “all music therapists [to be] more culture-centered in their work and thinking, not by labeling their work as such but integrating cultural perspectives in their thinking” (p. 5). As our own worldviews influence all aspects of music therapy (Dileo, 2000; Wheeler & Baker, 2010), cultural factors provide a significant foundation to all music therapy research. With this perspective, music therapy researchers are essentially multicultural researchers.
    [Show full text]
  • Defining Ethnomusicology
    10 1. THE HARMLESS DRUDGE : DEFINING ETHNOMUSICOLOGY DEFINITIONS. For years, people have been asking me the question: "You're an ethnomusicologist?" Shortly after 1950 it was likely to be accompanied by expressions of wonder and of the belief that I was somehow involved with "folk" music, with "primitive music," and particularly with "ancient music," and also that I must have a great deal of companionship with a tape recorder. By 1960 the questioner would likely bring up participation in an Indonesian gamelan, or perhaps an ability to "play" many of the world's odd instruments. In the 1970s, the conversation might well include the term "ethnic" music or even the etymologically outrageous "ethnomusic," and in the eighties and nineties, free association might lead to “diversity” and “world music.” I have always found it difficult to come to a precise, concise, and readily intelligible definition. Dictionaries differ considerably but espouse limited views. In the 120 years in which modern ethnomusicology can be said to have existed, since pioneer works such as those of Ellis (1885), Baker (1882), and Stumpf (1886), attitudes and orientations have changed greatly, and so has the name, from something very briefly called “Musikologie” (in the 1880s), to “comparative musicology” (through about 1950), then to “ethno- musicology” (1950–ca. 1956), quickly to “ethnomusicology” (removing the hyphen actually was an ideological move trying to signal disciplinary independence), with suggestions such as “cultural musicology” (Kerman 1985) and “socio-musicology” (Feld 1984) occasionally thrown in. The changes in name paralleled changes in intellectual orientation and emphasis. It is difficult to find a single, simple definition, to which most people in this field would subscribe, and thus ethnomusicologists have been perhaps excessively concerned with defining themselves.
    [Show full text]
  • ABSTRACT Title of Thesis: RESEARCH ON
    ABSTRACT Title of Thesis: RESEARCH ON MUSIC AND HEALING IN ETHNOMUSICOLOGY AND MUSIC THERAPY May May Chiang, Master of Arts, 2008 Directed By: Professor J. Lawrence Witzleben Department of Musicology and Ethnomusicology, Chair. This thesis examines current developments in the research and discourse on music and healing. Ethnomusicology has involved extensive work on documenting traditional music and healing traditions; however, ethnomusicologists have neglected to contribute their knowledge and effort to healthcare-oriented research. Music therapy, on the other hand, has been focusing on the benefit of the patient, but rarely relates its practices to traditional music and healing traditions or non-Western music. Despite the recent establishment of the Medical Ethnomusicology Special Interest Group in the Society for Ethnomusicology and increasing awareness of world music and cultural diversity in music therapy, scholars in the two fields have not yet collaborated with each other extensively. The motivations for this thesis are: to review previous developments in research on music and healing, to find out the reasons for the changes in the research trends of the past decade, and to see possible research directions in the future. RESEARCH ON MUSIC AND HEALING IN ETHNOMUSICOLOGY AND MUSIC THERAPY By May May Chiang Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Professor J. Lawrence Witzleben, Chair Professor Robert Provine Professor Jonathan Dueck © Copyright by May May Chiang 2008 Acknowledgements I would like to show my appreciation to the ethnomusicologists and music therapists with whom I have communicated, especially to Dr.
    [Show full text]
  • 7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
    7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field.
    [Show full text]
  • Interdisciplinary Collaboration Between Music Therapy and Medical Ethnomusicology Purpose Statement of the Problem Methods Refer
    Interdisciplinary Collaboration Between Music Therapy and Medical Ethnomusicology And the Perceived Impact on Individuals Recovering From Traumatic Brain Injuries Sidney Johnson ([email protected]) Creative Arts Therapies Georgia College and State University Statement of the Problem Delimitations • A plethora of possible positive effects and benefits exist in the interdisciplinary • Due to the current COVID-19 pandemic, it is imperative the research study is conducted after the situation subsides globally. collaboration between music therapy and medical ethnomusicology (1). • The study is to occur abroad Spain at a music therapy and/or medical ethnomusicology clinic; thus funding to conduct the • Combining and utilizing techniques from both fields to help clients more efficiently research is a significant and necessary consideration. reach a specific goal will likely become more commonplace and desirable for future • I am not yet fully fluent in Spanish. therapeutic treatment plans (1). • By expanding, utilizing, and fusing various music therapy and medical ethnomusicology techniques, music therapists, medical ethnomusicologists, and clients alike are sure to Methods gain and benefit from such interaction, cooperation, and synergy between the two healthcare fields (1). • Little to no observational, interview-based, or evidence-based research study has been Assumptions/Conceptual Framework completed focusing on interdisciplinary collaboration between music therapy and • I am pursing a qualitative research study due to the continually evolving, fluctuating nature of the medical ethnomusicology (1). two healthcare fields and overall topics discussed. • Furthermore, no healthcare field interdisciplinary collaboration study has been • completed focusing specifically on participants recovering from traumatic brain injuries During summer 2019, I worked at Adam’s Camp in Winter Park, Colorado – a week-long therapy (2).
    [Show full text]
  • SEM Student News Vol. 7
    SEM{STUDENTNEWS} The Society for Ethnomusicology’s only publication run by students, for students. IN THIS ISSUE Ethnomusicology + Inter/disciplinarity Letter from the President 1 Student Union Update 3 The State of the Field 4 Dear SEM 6 Job Seeking Outside Academia 8 Volume 7 | Fall/Winter 2013 Volume Ethnomusicology, Jazz Education + Record Production 9 Conceptualizing Global Music Education 11 Expanding the Reach of Ethnomusicology 12 Join your peers by Ethnomusicology ++ : A Bibliography 13 ‘liking’ us on Facebook and get Our Staff 17 the latest updates and calls for submissions! Disciplinarity and Interdisciplinarity in Ethnomusicology a letter from the president of sem The choice of interdisciplinarity as anthropologists concerned with study of a set of natural-kind the theme of this issue of SEM music as a cultural phenomenon things-in-the-world (such as Student News usefully returns a were an important driving force in invertebrates or stars or minds) but longstanding concern of our field the foundation of our field. But rather as a group of people to the spotlight of critical ethnomusicology’s history has working in concord or conflict to attention. From ethnomusicology’s always been more complex and far try to grapple with some facet of founding in the early twentieth ranging than that, with scholars existence. Why, for example, are century through the nineteen- from a wide array of backgrounds sociology (the study, perhaps, of eighties at least, it had been a making contributions to our society) and anthropology (the truism that our field operates at literature, and that is even more study of humanity) different the intersection of anthropology true today.
    [Show full text]
  • Elements of Sociology of Music in Today's Historical
    AD ALTA JOURNAL OF INTERDISCIPLINARY RESEARCH ELEMENTS OF SOCIOLOGY OF MUSIC IN TODAY’S HISTORICAL MUSICOLOGY AND MUSIC ANALYSIS aKAROLINA KIZIŃSKA national identity, and is not limited to ethnographic methods. Rather, sociomusicologists use a wide range of research methods Adam Mickiewicz University, ul. Szamarzewskiego 89A Poznań, and take a strong interest in observable behavior and musical Poland interactions within the constraints of social structure. e-mail: [email protected] Sociomusicologists are more likely than ethnomusicologists to make use of surveys and economic data, for example, and tend to focus on musical practices in contemporary industrialized Abstract: In this article I try to show the incorporation of the elements of sociology of 6 societies”. Classical musicology, and it’s way of emphasizing music by such disciplines as historical musicology and music analysis. For that explain how sociology of music is understood, and how it is connected to critical historiographic and analytical rather than sociological theory, criticism or aesthetic autonomy. I cite some of the musicologists that wrote approaches to research, is the reason why sociomusicology was about doing analysis in context and broadening the research of musicology (e.g. Jim regarded as a small subdiscipline for a long time. But the Samson, Joseph Kerman). I also present examples of the inclusion of sociology of music into historical musicology and music analysis – the approach of Richard increasing popularity of ethnomusicology and new musicology Taruskin in and Suzanne Cusick. The aim was to clarify some of the recent changes in (as well as the emergence of interdisciplinary field of cultural writing about music, that seem to be closer today to cultural studies than classical studies), created a situation in which sociomusicology is not only musicology.
    [Show full text]
  • Ethnomusicology a Very Short Introduction
    ETHNOMUSICOLOGY A VERY SHORT INTRODUCTION Thimoty Rice Sumário Chapter 1 – Defining ethnomusicology...........................................................................................4 Ethnos..........................................................................................................................................5 Mousikē.......................................................................................................................................5 Logos...........................................................................................................................................7 Chapter 2 A bit of history.................................................................................................................9 Ancient and medieval precursors................................................................................................9 Exploration and enlightenment.................................................................................................10 Nationalism, musical folklore, and ethnology..........................................................................10 Early ethnomusicology.............................................................................................................13 “Mature” ethnomusicology.......................................................................................................15 Chapter 3........................................................................................................................................17 Conducting
    [Show full text]
  • Béla Bartók: the Father of Ethnomusicology
    Musical Offerings Volume 3 Number 2 Fall 2012 Article 2 12-2012 Béla Bartók: The Father of Ethnomusicology David Taylor Nelson Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Ethnomusicology Commons, European Languages and Societies Commons, Fine Arts Commons, and the Musicology Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Nelson, David Taylor (2012) "Béla Bartók: The Father of Ethnomusicology," Musical Offerings: Vol. 3 : No. 2 , Article 2. DOI: 10.15385/jmo.2012.3.2.2 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol3/iss2/2 Béla Bartók: The Father of Ethnomusicology Document Type Article Abstract Béla Bartók birthed the field of ethnomusicology as an academic discipline through his tireless pursuits of folk music, his exposition of the sound of the rural people, and his incorporation of folk-style into his own personal compositions. His work revealed to the world that folk music exists, is important, and stands as an independent academic discipline. I argue that Bartók’s efforts established the field of ethnomusicology because he was one of the first musicians to branch into the study of ethnic music by travelling to collect samples of music, by aurally recording and transcribing folk-tunes, by re-writing these songs into understandable notation with new harmonization, and by then employing this folk-style in his own original compositions.
    [Show full text]
  • Historical Sources in the History of Ethnomusicology – a Critical Review1
    15 Historical Sources in the History of Ethnomusicology – A Critical Review1 Susanne Ziegler, Berlin Introduction The Study Group on Historical Sources has been in existence for more than 40 years. It is time now to review the past aims and purposes of the group, to summarize what has been achieved in the past 40 years and to suggest what should be done in the future. Since its first official meeting in 1967, when the Study Group was designated “Studiengruppe zur Erforschung und Edition älterer Volksmusikquellen” within the International Folk Music Council (IFMC), the subject matter as well as the background and interest of the membership has changed substantially. Today the Study Group is confronted with diverse stand- points. On one side, there is the opinion that there is no special need for a Study Group on historical sources, since historical studies are meanwhile a substantial part of the daily work of ethnomusicologists. On the other side, we can observe a growing interest in historical studies, which is most obvious to those colleagues working in music archives with historical recordings, for example, in Berlin and in Vienna. Within the Society for Ethnomusicology (SEM) a group of scholars interested in history has been founded recently (Historical Ethnomusicology), which is organising meetings and round-tables.2 This introduction is intended as an overview on the history as well as the ideas and thoughts expressed in and about the Study Group. Since most of the conference proceedings, reports and discussions were published in the German language only,3 it is necessary to summarize these publications here and at the same time to open a forum for further international discussion.
    [Show full text]
  • Sem{Studentnews}
    SEM{STUDENTNEWS} An official publication of the Society for Ethnomusicology MUSIC EDUCATION AND ETHNOMUSICOLOGY Welcome! A Letter from the Editor 1 SEM Reports 2 The State of the Field 4 Dear SEM 6 Diverging Paths, Common Goals 8 An Ethnomusicologist from Mars? 9 Legitimizing Culture-Specific Learner Practices 11 Disrupting the Paradigm 13 The Renewed Challenges to “Bi-Musicality” 14 Tools of the Trade 16 Volume 11 | Fall/Winter 2015 Volume World Music and Cultural Knowledge 17 Growing the Next Generation of Tango Musicians 19 Harmonizing Ethnomusicology and Music Education: A Conversation with Patricia Shehan Campbell 20 Join your peers by ‘liking’ us on Music Education and Ethnomusicology: A Resource List 23 Facebook, and get Our Staff 26 the latest updates and calls for submission! cover image provided by kozzi.com Ethnomusicology through Teaching Greetings again from the SEM education and ethnomusicology— with Patricia Shehan Campbell Student News staff. This volume two historically divided career and (University of Washington) who brings together the old and new in research paths in most music suggests a combination of trainings our staff. We have had a few programs. As many of us build —ethnomusicology and music “retirements” from the newsletter, student careers around novel education together—is a valuable with more to come shortly. We are research foci and developing new and attainable solution. The other pleased to introduce four new staff concepts for the study of music, side of the coin—music education contributors— Eugenia
    [Show full text]