DOCSLIB.ORG

27Th World Conference of the International Society for Music Education 16-21 July, 2006 Kuala Lumpur, Malaysia Sentuhan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
27Th World Conference of the International Society for Music Education 16-21 July, 2006 Kuala Lumpur, Malaysia Sentuhan Established in 1953 PROCEEDINGS 27th World Conference of the International Society for Music Education 16-21 July, 2006 Kuala Lumpur, Malaysia Sentuhan Editors: Dr. Wendy L. Sims Dr. Ramona Tahir, Ph.D. Proceedings 27th World Conference of the International Society for Music Education Sentuhan 16-21 July, 2006 Kuala Lumpur, Malaysia All presentations for the 27th International Society for Music Education (ISME) World Conference were selected through peer review by a committee of international experts and authorities in music education. The Editors and Editorial Board who compiled the Conference Proceedings comprise members of the Publications Committee of the International Society for Music Education, the ISME Board of Directors, and the 2006 World Conference Organizing Committee. All hold senior academic appointments at major universities, as listed below. Editors Dr. Wendy L. Sims Professor and Director of Music Education University of Missouri-Columbia U.S.A. Dr. Ramona Tahir, Ph.D. Head of the Department of Music Education Universiti Teknologi MARA Malaysia Editorial Board Dr. Chan Cheong Jan Senior Lecturer, Music Department Universiti Putra Malaysia Dr. C. Victor Fung Professor and Coordinator of Ph.D. Program in Music Education University of South Florida U.S.A. Dr. Minette Mans Associate Professor, Performing Arts Department University of Namibia Namibia Dr. Valerie Ross Senior Lecturer, Music Education University Teknology MARA Malaysia Shahanum Mohd Shah Associate Professor of Music Education and Coordinator of the Masters Program Universiti Teknologi MARA Malaysia Dr. Patricia Martin Shand Professor, Music Education Division University of Toronto Canada ISBN 0-9752063-6-2 © 2006 - International Society for Music Education, Perth, Western Australia. Proceedings of the 27th World Conference of the International Society for Music Education 16-21 July, 2006, Kuala Lumpur, Malaysia Bringing up a teaching musician with broad background Eduard Abdullin, PhD, Moscow State Pedagogical University, Music Faculty, Chair of Methodology and Methods Teaching Music, Chairman, Professor. Elena Nikolaeva, PhD, Moscow State Pedagogical University, Music Faculty, Professor At present prospects of developing music pedagogical education in Russia are being discussed generally and at times critically. The country is switching to a new system of higher education in accordance with Bologna convention. Many people are worried that this process is going to cause the loss of those great traditions that have been accumulated during the past 200 years. Among other things this concerns music teachers’ training. What is meant by it? Let us dwell upon the major issues here. Today in Russia there is a wide network of so-called additional music education taking place at children’s music schools or children’s art schools. Such schools exist virtually in every part of Russia. They are established not only in cities (Moscow, for instance, boasts over a hundred such schools), but almost in every township. Children study there for seven or eight years. They get to choose the instrument they are going to play (piano, violin, accordion, wind instrument, etc) which they learn to play twice a week under a teacher’s supervision for one school period. Besides, every student has one sol-fa and basic music reading class per week. From the third year students begin to study history of music (in the form of “Music listening”). Throughout their school years students sing in a choir. Those who learn to play strings, brass or percussions perform as an orchestra. Learning to play a musical instrument consists of obligatory studies of classical, modern and folk music and includes students’ gradual mastering of more and more complex samples of polyphonic music, works composed in the form of sonata (in senior school) and pieces of many different styles and genres. High emphasis is also placed on teaching students 1 © 2006 International Society for Music Education Proceedings of the 27th World Conference of the International Society for Music Education 16-21 July, 2006, Kuala Lumpur, Malaysia the technique of playing instruments with the help of etudes, sight reading and performing in an ensemble with a teacher. Those who wish to continue their music education after leaving children’s music school in order to prepare themselves for future professional musical activities are given an opportunity to have one more (the eighth) year of deeper studies. The next level of systemic mastery of musical art connected with professional education is made up of music pedagogical colleges (four years studies) and regular colleges (five year studies). The contents of education in such specialized institutions are in many aspects the continuation of the system used in children’s music schools. At the same time certain theoretical subjects are introduced, such as harmony, polyphony, analysis of music works; studying Russian and foreign music as part of history class. Performing classes include studying solo singing, conducting and other classes. Pedagogical classes include studying music education methods and teaching practice in schools. Thus students entering Russian institutes of higher education in order to obtain professional skills of a music teacher have quite solid music and music pedagogical background. We consider this fact to be an invaluable advantage of Russian educational system. It allows us to set and achieve fundamental goals of training future music teachers of high qualification and competence from the very moment of students’ entering an institute of higher education. Next thing to consider is great volume of musical art studies including performing art while attending an institute of higher education. During the four years of studies, beginning with the first year, undergraduates have main musical instrument classes twice a week (as a rule it is piano, bayan or accordion) and learn to conduct. One hour a week is dedicated to solo singing class. The contents of education include multiple music pedagogical practical training (working as a choirmaster, managing music listening, pedagogical management of moving to music activities, managing children’s orchestra of elementary instruments, 2 © 2006 International Society for Music Education Proceedings of the 27th World Conference of the International Society for Music Education 16-21 July, 2006, Kuala Lumpur, Malaysia improvisation and music composition). Great deal of time is spent on studying theory and history of music. All of this does not include a number of non-musical classes, such as philosophy, aesthetics, law, physical training, physiology, general psychology and others. They are all part of the learning process and are not covered in this publication. Getting to know foreign systems of higher education on the Bachelor of Arts level has shown us that unlike Russian educational system undergraduates in many countries do not have music classes during the first two years of studies. We believe that such approach is impossible if we are to train a teaching musician, including a music teacher, since it leads students to losing their professional skills. That is why when switching to a new system of music pedagogical education it is so important for Russia to preserve the traditions of systemic and uninterrupted training of musicians that goes on from the beginning of basic education to its end. We would also like to note that training a music teacher at an institute of higher education includes mastery of the so-called ‘specialization’ (major) which an undergraduate chooses for himself. This may be deeper studies of one or several subjects concerned with history and theory of music, music performance, as well as theoretical and methodic subjects. Such studies are aimed at preparing a graduate for teaching this class or several similar classes in institutes of additional music education, as well as professional music pedagogical colleges. As a result of changed situation on labor market in this country we have surplus of musicians specializing in performing or theoretical subjects. At the same time we have lack of qualified music teachers and teaching musicians working in the system of additional music education. We also have extremely large volume of musical training proper that students receive as a result of 16 to 17-year-long uninterrupted purposeful music studies starting at an early age. Now there is a need and chance to address the issue of training teaching musicians of broad background within the framework of professional education. By this we mean 3 © 2006 International Society for Music Education Proceedings of the 27th World Conference of the International Society for Music Education 16-21 July, 2006, Kuala Lumpur, Malaysia training such musicians who would be able not only to skillfully conduct music lessons upon graduating from an institute of higher education, but also to teach most music classes that they have attended in the framework of additional education. This task seems to be quite feasible if we consider one important condition. Studying each musical subject must include mastering the methods of teaching it (before that it was true only for one or several related subjects of one and the same major). This fact radically changes our view on the essence of competence, since from the point of view of its contents it should be based not only on the need to master a certain musical subject, but also on the need to master the principles and methods of teaching it. As a result the level of significance
Load more

Recommended publications
  • Black US Army Bands and Their Bandmasters in World War I
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of Fall 8-21-2012 Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Black US Army Bands and Their Bandmasters in World War I" (2012). Faculty Publications: School of Music. 25. https://digitalcommons.unl.edu/musicfacpub/25 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 Version of 08/21/2012 This essay is a work in progress. It was uploaded for the first time in August 2012, and the present document is the first version. The author welcomes comments, additions, and corrections ([email protected]). Black US Army bands and their bandmasters in World War I Peter M. Lefferts This essay sketches the story of the bands and bandmasters of the twenty seven new black army regiments which served in the U.S. Army in World War I. They underwent rapid mobilization and demobilization over 1917-1919, and were for the most part unconnected by personnel or traditions to the long-established bands of the four black regular U.S. Army regiments that preceded them and continued to serve after them. Pressed to find sufficient numbers of willing and able black band leaders, the army turned to schools and the entertainment industry for the necessary talent.
    [Show full text]
  • TOSHIKO AKIYOSHI NEA Jazz Master (2007)
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOSHIKO AKIYOSHI NEA Jazz Master (2007) Interviewee: Toshiko Akiyoshi 穐吉敏子 (December 12, 1929 - ) Interviewer: Dr. Anthony Brown with recording engineer Ken Kimery Dates: June 29, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript 97 pp. Brown: Today is June 29th, 2008, and this is the oral history interview conducted with Toshiko Akiyoshi in her house on 38 W. 94th Street in Manhattan, New York. Good afternoon, Toshiko-san! Akiyoshi: Good afternoon! Brown: At long last, I‟m so honored to be able to conduct this oral history interview with you. It‟s been about ten years since we last saw each other—we had a chance to talk at the Monterey Jazz Festival—but this interview we want you to tell your life history, so we want to start at the very beginning, starting [with] as much information as you can tell us about your family. First, if you can give us your birth name, your complete birth name. Akiyoshi: To-shi-ko. Brown: Akiyoshi. Akiyoshi: Just the way you pronounced. Brown: Oh, okay [laughs]. So, Toshiko Akiyoshi. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Akiyoshi: Yes. Brown: And does “Toshiko” mean anything special in Japanese? Akiyoshi: Well, I think,…all names, as you know, Japanese names depends on the kanji [Chinese ideographs]. Different kanji means different [things], pronounce it the same way. And mine is “Toshiko,” [which means] something like “sensitive,” “susceptible,” something to do with a dark sort of nature.
    [Show full text]
  • Brass Bands of the World a Historical Directory
    Brass Bands of the World a historical directory Kurow Haka Brass Band, New Zealand, 1901 Gavin Holman January 2019 Introduction Contents Introduction ........................................................................................................................ 6 Angola................................................................................................................................ 12 Australia – Australian Capital Territory ......................................................................... 13 Australia – New South Wales .......................................................................................... 14 Australia – Northern Territory ....................................................................................... 42 Australia – Queensland ................................................................................................... 43 Australia – South Australia ............................................................................................. 58 Australia – Tasmania ....................................................................................................... 68 Australia – Victoria .......................................................................................................... 73 Australia – Western Australia ....................................................................................... 101 Australia – other ............................................................................................................. 105 Austria ............................................................................................................................
    [Show full text]
  • 4-28-18 Jazz Ensemble
    Williams Jazz Ensemble Kris Allen, director Program Long Yellow Road – Toshiko Akiyoshi I Ain’t Gonna Ask No More – Toshiko Akiyoshi Kogun – Toshiko Akiyoshi Mobile – Toshiko Akiyoshi Mount Harissa – Duke Ellington Haitian Fight Song – Charles Mingus, arr. Sy Johnson Leilani’s Mirror – Geoff Keezer Bad Dream – Earl Macdonald Williams Jazz Ensemble Jonah Levy ’18, alto and soprano saxophone Jimmy Miotto ’18, trumpet Richard Jin ’18, alto saxophone Daniel Fisher ’18, trumpet David Azzara ’19, tenor and alto saxophone Stuart Mack, trumpet Jeff Pullano ’19, tenor and soprano saxophone Jared Berger ’21, trumpet Kris Allen, director, baritone saxophone Vijay Kadiyala ’20, trumpet Ananth Shastri ’21, flute Will Doyle ’19, trombone and tuba Andrew Aramini ’19, piano Jared Bathen ’20, trombone Peter Duke ’21, piano Kiersten Campbell ’21, trombone Jeff Pearson ’20, guitar Andrew Rule ’21, trombone Rachel Porter ’20, bass Sammy Rososky ’19, trombone Josh Greenzeig ’20, drumset Nick Patino ’21, drumset Saturday, April 28, 2018 8:00 p.m. Chapin Hall Williamstown, Massachusetts Please turn off cell phones. No photography or recording is permitted. See music.williams.edu for full details and additional happenings as well as to sign up for the weekly e- newsletters. Upcoming Events Kurt Pfrommer ’18, tenor Sun Apr 29 | Brooks-Rogers Recital Hall | 3:00 PM | free Calvin Ludwig ’18, flute Sun Apr 29 | Brooks-Rogers Recital Hall | 5:00 PM | free Violin Studio Recital Sun Apr 29 | Brooks-Rogers Recital Hall | 7:00 PM | free Sitar and Tabla Studio Recital
    [Show full text]
  • IX. Surviving Free Jazz 1962-1974
    IX. Surviving Free Jazz (1962-1974) And so it came to pass that, when jazz finally reached a level of complexity on a par with classical music, many people were unhappy—not only listeners in the audience, but record com- panies who couldn’t sell the stuff and musicians who either didn’t get it or didn’t want to play it if they did. It was just too bizarre to them, yet the jazz critics almost universally fell over them- selves promoting it and, by the mid-1960s, jazz as an art form was thriving (sort of) while jazz as a commercial music was all but dead. Theodor Adorno, teaching his elitist bile out in California, was probably ecstatic. Classical music, which had also entered a new and even more convoluted phrase of development as well, was similarly struggling to find audiences, but in this case the decision-making was relatively easy. The Boards of Directors of major symphonies and opera houses simply enforced a policy of allowing only a small number of contemporary works (and, in their judgment, “contemporary” went back to Schoenberg’s and Stravinsky’s work of the 1910s) per year on their programs. You either played the accepted standard repertoire, which they would now expand to include Gustav Mahler (who had formerly been verboten), or your contract would be nullified and a new music director would be hired. From this point on, I will unfortunately have to point out the weaknesses in the aesthetics of certain musicians in certain styles in order to elucidate the forward growth of the music.
    [Show full text]
  • The History and Context of Chinese-Western Intercultural Marriage in Modern and Contemporary China (From 1840 to the 21St Century)
    The History And Context Of Chinese-Western Intercultural Marriage In Modern And Contemporary China (From 1840 To The 21st Century) Australian wife Margaret and her Chinese husband Quong Tart and their three eldest children, 1894. Source: Tart McEvoy papers, Society of Australian Genealogists 1.1 Brief Introduction It is now becoming more and more common to see Chinese-Western intercultural couples in China and other countries. In the era of the global village, intercultural marriage between different races and nationalities is frequent. It brings happiness, but also sorrow, as there are both understandings and misunderstandings, as well as conflicts and integrations. With the reform of China and the continuous development, and improvement of China’s reputation internationally, many aspects of intercultural marriage have changed from ancient to contemporary times in China. Although marriage is a very private affair for the individuals who participate in it, it also reflects and connects with many complex factors such as economic development, culture differences, political backgrounds and transition of traditions, in both China and the Western world. As a result, an ordinary marriage between a Chinese person and a Westerner is actually an episode in a sociological grand narrative. This paper reviews the history of Chinese-Western marriage in modern China from 1840 to 1949, and it reveals the history of the earliest Chinese marriages to Westerners at the beginning of China’s opening up. More Chinese men married Western wives at first, while later unions between Chinese wives and Western husbands outnumbered these. Four types of CWIMs in modern China were studied. Both Western and Chinese governments’ policies and attitudes towards Chinese-Western marriages in this period were also studied.
    [Show full text]
  • An Investigation of Dalcroze-Inspired Embodied Movement
    AN INVESTIGATION OF DALCROZE-INSPIRED EMBODIED MOVEMENT WITHIN UNDERGRADUATE CONDUCTING COURSEWORK by NICHOLAS J. MARZUOLA Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Nathan B. Kruse Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2019 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Nicholas J. Marzuola, candidate for the degree of Doctor of Philosophy*. (signed) Dr. Nathan B. Kruse (chair of the committee) Dr. Lisa Huisman Koops Dr. Matthew L. Garrett Dr. Anthony Jack (date) March 25, 2019 *We also certify that written approval has been obtained for any proprietary material contained therein. 2 Copyright © 2019 by Nicholas J. Marzuola All rights reserved 3 DEDICATION To Allison, my loving wife and best friend. 4 TABLE OF CONTENTS TABLE OF CONTENTS .................................................................................................... 5 LIST OF FIGURES .......................................................................................................... 10 ACKNOWLEDGEMENTS .............................................................................................. 11 ABSTRACT ...................................................................................................................... 13 CHAPTER ONE, INTRODUCTION ............................................................................... 15 History of Conducting ..................................................................................................
    [Show full text]
  • Memory, Music, Epistemology, and the Emergence of Gregorian Chant As Corporate Knowledge
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2012 "Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge Jordan Timothy Ray Baker [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Epistemology Commons, Medieval Studies Commons, and the Musicology Commons Recommended Citation Baker, Jordan Timothy Ray, ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge. " Master's Thesis, University of Tennessee, 2012. https://trace.tennessee.edu/utk_gradthes/1360 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jordan Timothy Ray Baker entitled ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance:
    [Show full text]
  • American Mavericks Festival
    VISIONARIES PIONEERS ICONOCLASTS A LOOK AT 20TH-CENTURY MUSIC IN THE UNITED STATES, FROM THE SAN FRANCISCO SYMPHONY EDITED BY SUSAN KEY AND LARRY ROTHE PUBLISHED IN COOPERATION WITH THE UNIVERSITY OF CaLIFORNIA PRESS The San Francisco Symphony TO PHYLLIS WAttIs— San Francisco, California FRIEND OF THE SAN FRANCISCO SYMPHONY, CHAMPION OF NEW AND UNUSUAL MUSIC, All inquiries about the sales and distribution of this volume should be directed to the University of California Press. BENEFACTOR OF THE AMERICAN MAVERICKS FESTIVAL, FREE SPIRIT, CATALYST, AND MUSE. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England ©2001 by The San Francisco Symphony ISBN 0-520-23304-2 (cloth) Cataloging-in-Publication Data is on file with the Library of Congress. The paper used in this publication meets the minimum requirements of ANSI / NISO Z390.48-1992 (R 1997) (Permanence of Paper). Printed in Canada Designed by i4 Design, Sausalito, California Back cover: Detail from score of Earle Brown’s Cross Sections and Color Fields. 10 09 08 07 06 05 04 03 02 01 10 9 8 7 6 5 4 3 2 1 v Contents vii From the Editors When Michael Tilson Thomas announced that he intended to devote three weeks in June 2000 to a survey of some of the 20th century’s most radical American composers, those of us associated with the San Francisco Symphony held our breaths. The Symphony has never apologized for its commitment to new music, but American orchestras have to deal with economic realities. For the San Francisco Symphony, as for its siblings across the country, the guiding principle of programming has always been balance.
    [Show full text]
  • Open Drane Dissertation.Pdf
    The Pennsylvania State University The Graduate School AN ORAL HISTORY OF THE NAVY BAND B-1: THE FIRST ALL-BLACK NAVY BAND OF WORLD WAR II A Dissertation in Music Education by Gregory Abdul Drane © 2020 Gregory Abdul Drane Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2020 ii The dissertation of Gregory Abdul Drane was reviewed and approved* by the following: O. Richard Bundy, Jr. Professor of Music Education, Emeritus Dissertation Advisor Chair of Committee Robert Gardner Associate Professor of Music Education David McBride Professor of African American Studies and African American History Ann Clements Professor of Music Education Linda Thornton Professor of Music Education Chair of the Graduate Program iii ABSTRACT This study investigates the service of the Navy Band B-1, the first all-black Navy band to serve during World War II. For many years it was believed that the black musicians of the Great Lakes Camp held the distinction as the first all-black Navy band to serve during World War II. However, prior to the opening of the Navy’s Negro School of Music at the Great Lakes Camps, the Navy Band B-1 had already completed its training and was in full service. This study documents the historical timeline of events associated with the formation of the Navy Band B-1, the recruitment of the bandsmen, their service in the United States Navy, and their valuable contributions to the country. Surviving members of the Navy Band B-1 were interviewed to share their stories and reflections of their service during World War II.
    [Show full text]
  • The Penguin Book of Zen Poetry Received the Islands and Continents Translation Award and the Society of Midland Authors Poetry Award
    INTERLUDE BOOKS 3 : PENGUIN POETS The Penguin Book ofZen Poetry Lucien Stryk's most recent of eight books of verse are Selected Poems (1976), The Duckpond (1978) and Zen Poems (1980). His Encounter with Zen: Writings on Poetry and Zen is forthcoming, as is a recording of Zen poems (original poems and translations) from Folkways Records. He has received awards for poetry, held a National Endowment for the Arts Poetry Fellowship and a National Translation Center Grant, along with Takashi Ikemoto, to work on Zen poetry. He is editor of World of the Buddha and the anthologies Heartland: Poets of the Midwest (I and II), and translator, with Takashi Ikemoto, of, among other volumes, Afterimages: Zen Poems of Shinkichi Takahashi and Zen Poems of China and Japan The Crane's Bill. In 1978 The Penguin Book of Zen Poetry received the Islands and Continents Translation Award and the Society of Midland Authors Poetry Award. He has given poetry readings and lectured throughout the United States and England and held a Fulbright Lectureship in Iran and a Fulbright Travel/ Research grant and two visiting lectureships in Japan. He teaches Oriental literature and poetry at Northern Illinois University. Takashi Ikemoto, educated in English Literature at Kyushu Univer- sity, was Emeritus Professor of Yamaguchi University and taught English literature at Otemongakuin University in Ibaraki City. He was a Zen follower of long standing and co-translator into Japan- ese of a volume of Thomas Merton's essays on Zen and Enomiya- Lasalle's Zen: Weg iur Erleuchtung. His major concern was for many years the introduction of Zen literature to the West, and he collaborated with Lucien Stryk on a number of Zen works.
    [Show full text]
  • The History of the Conducting Gesture Is
    he history of the conducting gesture is evolution of the conducting gesture over the as old as recorded history itself. While years encourages conducting students to de- Tthe modern “professional” conductor velop new solutions to modern conducing did not invade the popular consciousness un- problems and inspire them to be innova- til the middle of the nineteenth century, de- tors rather than imitators. Finally, studying pictions of conducting gestures were etched conducting holistically within a historical in hieroglyphics and Pharaonic friezes, re- framework helps students consider diff erent corded in Greek and Roman literature, and leadership styles to achieve the best possible encoded above Jewish and Gregorian texts as performance, whether that requires conduct- cheironomic neumes. Conductors in the an- ing or giving direction in other ways. cient world were so revered, in fact, that the The purpose of this article is to review ancient Egyptians dedicated images of the the literature on conducting history, particu- hand and arm in art exclusively to refer to larly as it pertains to choral conducting and music, musicians, and especially conductors.1 to argue the pedagogical value of history for Yet for some reason, conducting history conducting students. First, I summarize cur- has been overlooked by instructional pro- rent literature on existing instructional con- grams for choral music educators in Ameri- tent related to history in conducting course ca. Studying the development of conducting syllabi. Then, I overview the current under- gestures emphasizes that conducting gestures standings of the development of kinesthetic have an array of meanings and contexts be- musical practices from ancient times to the yond “keeping time.” Analyzing the histori- present day.
    [Show full text]