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FIVE CHALLENGES and SOLUTIONS in ONLINE MUSIC TEACHER EDUCATION Page 1 of 10
FIVE CHALLENGES AND SOLUTIONS IN ONLINE MUSIC TEACHER EDUCATION Page 1 of 10 Volume 5, No. 1 September 2007 FIVE CHALLENGES AND SOLUTIONS IN ONLINE MUSIC TEACHER EDUCATION David G. Hebert Boston University [email protected] “Nearly 600 graduate students?”1 As remarkable as it may sound, that is the projected student population for the online graduate programs in music education at Boston University School of Music by the end of 2007. With the rapid proliferation of online courses among mainstream universities in recent years, it is likely that more online music education programs will continue to emerge in the near future, which begs the question of what effects this new development will have on the profession. Can online education truly be of the same quality as a traditional face-to-face program? How is it possible to effectively manage such large programs, particularly at the doctoral level? For some experienced music educators, it may be quite difficult to set aside firmly entrenched reservations and objectively consider the new possibilities for teaching and research afforded by recent technology. Yet the future is already here, and nearly 600 music educators have seized the opportunity. Through online programs, the internet has become the latest tool for offering professional development to practicing educators who otherwise would not have access, particularly those currently engaged in full-time employment or residing in rural areas. Recognizing the new opportunities afforded by recent technological developments, Director of the Boston University School of Music, Professor Andre De Quadros and colleagues launched the nation’s first online doctoral program in music education in 2005. -
An Introduction to Music Studies Pdf, Epub, Ebook
AN INTRODUCTION TO MUSIC STUDIES PDF, EPUB, EBOOK Jim Samson,J. P. E. Harper-Scott | 310 pages | 31 Jan 2009 | CAMBRIDGE UNIVERSITY PRESS | 9780521603805 | English | Cambridge, United Kingdom An Introduction to Music Studies PDF Book To see what your friends thought of this book, please sign up. An analysis of sociomusicology, its issues; and the music and society in Hong Kong. Critical Entertainments: Music Old and New. Other Editions 6. The examination measures knowledge of facts and terminology, an understanding of concepts and forms related to music theory for example: pitch, dynamics, rhythm, melody , types of voices, instruments, and ensembles, characteristics, forms, and representative composers from the Middle Ages to the present, elements of contemporary and non-Western music, and the ability to apply this knowledge and understanding in audio excerpts from musical compositions. An Introduction to Music Studies by J. She has been described by the Harvard Gazette as "one of the world's most accomplished and admired music historians". The job market for tenure track professor positions is very competitive. You should have a passion for music and a strong interest in developing your understanding of music and ability to create it. D is the standard minimum credential for tenure track professor positions. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres, e. Mus or a B. For other uses, see Musicology disambiguation. More Details Refresh and try again. Goodreads helps you keep track of books you want to read. These models were established not only in the field of physical anthropology , but also cultural anthropology. -
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. -
Toward a New Comparative Musicology
Analytical Approaches To World Music 2.2 (2013) 148-197 Toward a New Comparative Musicology Patrick E. Savage1 and Steven Brown2 1Department of Musicology, Tokyo University of the Arts 2Department of Psychology, Neuroscience & Behaviour, McMaster University We propose a return to the forgotten agenda of comparative musicology, one that is updated with the paradigms of modern evolutionary theory and scientific methodology. Ever since the field of comparative musicology became redefined as ethnomusicology in the mid-20th century, its original research agenda has been all but abandoned by musicologists, not least the overarching goal of cross-cultural musical comparison. We outline here five major themes that underlie the re-establishment of comparative musicology: (1) classification, (2) cultural evolution, (3) human history, (4) universals, and (5) biological evolution. Throughout the article, we clarify key ideological, methodological and terminological objections that have been levied against musical comparison. Ultimately, we argue for an inclusive, constructive, and multidisciplinary field that analyzes the world’s musical diversity, from the broadest of generalities to the most culture-specific particulars, with the aim of synthesizing the full range of theoretical perspectives and research methodologies available. Keywords: music, comparative musicology, ethnomusicology, classification, cultural evolution, human history, universals, biological evolution This is a single-spaced version of the article. The official version with page numbers 148-197 can be viewed at http://aawmjournal.com/articles/2013b/Savage_Brown_AAWM_Vol_2_2.pdf. omparative musicology is the academic comparative musicology and its modern-day discipline devoted to the comparative study successor, ethnomusicology, is too complex to of music. It looks at music (broadly defined) review here. -
Proceedings, the 57Th Annual Meeting, 1981
PROCEEDINGS THE FIFTY-SEVENTH ANNUAL MEETING National Association of Schools of Music NUMBER 70 APRIL 1982 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC PROCEEDINGS OF THE 57th ANNUAL MEETING Dallas, Texas I98I COPYRIGHT © 1982 ISSN 0190-6615 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC 11250 ROGER BACON DRIVE, NO. 5, RESTON, VA. 22090 All rights reserved including the right to reproduce this book or parts thereof in any form. CONTENTS Speeches Presented Music, Education, and Music Education Samuel Lipman 1 The Preparation of Professional Musicians—Articulation between Elementary/Secondary and Postsecondary Training: The Role of Competitions Robert Freeman 11 Issues in the Articulation between Elementary/Secondary and Postsecondary Training Kenneth Wendrich 19 Trends and Projections in Music Teacher Placement Charles Lutton 23 Mechanisms for Assisting Young Professionals to Organize Their Approach to the Job Market: What Techniques Should Be Imparted to Graduating Students? Brandon Mehrle 27 The Academy and the Marketplace: Cooperation or Conflict? Joseph W.Polisi 30 "Apples and Oranges:" Office Applications of the Micro Computer." Lowell M. Creitz 34 Microcomputers and Music Learning: The Development of the Illinois State University - Fine Arts Instruction Center, 1977-1981. David L. Shrader and David B. Williams 40 Reaganomics and Arts Legislation Donald Harris 48 Reaganomics and Art Education: Realities, Implications, and Strategies for Survival Frank Tirro 52 Creative Use of Institutional Resources: Summer Programs, Interim Programs, Preparatory Divisions, Radio and Television Programs, and Recordings Ray Robinson 56 Performance Competitions: Relationships to Professional Training and Career Entry Eileen T. Cline 63 Teaching Aesthetics of Music Through Performance Group Experiences David M.Smith 78 An Array of Course Topics for Music in General Education Robert R. -
Utopian Ecomusicologies and Musicking Hornby Island
WHAT IS MUSIC FOR?: UTOPIAN ECOMUSICOLOGIES AND MUSICKING HORNBY ISLAND ANDREW MARK A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ENVIRONMENTAL STUDIES YORK UNIVERSITY TORONTO, CANADA August, 2015 © Andrew Mark 2015 Abstract This dissertation concerns making music as a utopian ecological practice, skill, or method of associative communication where participants temporarily move towards idealized relationships between themselves and their environment. Live music making can bring people together in the collective present, creating limited states of unification. We are “taken” by music when utopia is performed and brought to the present. From rehearsal to rehearsal, band to band, year to year, musicking binds entire communities more closely together. I locate strategies for community solidarity like turn-taking, trust-building, gift-exchange, communication, fundraising, partying, education, and conflict resolution as plentiful within musical ensembles in any socially environmentally conscious community. Based upon 10 months of fieldwork and 40 extended interviews, my theoretical assertions are grounded in immersive ethnographic research on Hornby Island, a 12-square-mile Gulf Island between mainland British Columbia and Vancouver Island, Canada. I describe how roughly 1000 Islanders struggle to achieve environmental resilience in a uniquely biodiverse region where fisheries collapsed, logging declined, and second-generation settler farms were replaced with vacation homes in the 20th century. Today, extreme gentrification complicates housing for the island’s vulnerable populations as more than half of island residents live below the poverty line. With demographics that reflect a median age of 62, young individuals, families, and children are squeezed out of the community, unable to reproduce Hornby’s alternative society. -
Full Volume 22
Ethnomusicology Review 22(1) From the Editors Samuel Lamontagne and Tyler Yamin Welcome to Volume 22, issue 1 of Ethnomusicology Review! This issue features an invited essay along with three peer-reviewed articles that cover a wide range of topics, geographical areas, methodological and theoretical approaches. As it seems to be a characteristic of ethnomusicology at large, this variety, even if it has become an object of critical inquiry itself (Rice, 1987, 2007; Laborde, 1997), has allowed the discipline, by grounding itself in reference to the context of study, to not take “music” for granted. It is in this perspective that we’d like to present this volume, and the variety of its contributions. In his invited essay, Jim Sykes asks what ramifications of the Anthropocece, understood as a socio-ecological crisis, hold for the field of music studies and the politics of its internal disciplinary divisions. Drawing upon scholars who assert that the Anthropocene demands not only concern about our planet’s future but also critical attention towards the particular, historically situated ontological commitments that engendered this crisis, Sykes argues that music studies both depends on and reproduces a normative model of the world in which music itself occupies an unproblematized metaphysical status—one that, furthermore, occludes the possibility of “reframe[ing] music history as a tale about the maintenance of the Earth system” (14, this issue) urgently necessary as anthropogenic climate change threatens the continuation of life as usual. By taking seriously the material and discursive aspects of musical practice often encountered ethnographically, yet either explained away by “the worldview embedded in our disciplinary divisions or . -
Music Education for Changing Times Landscapes: the Arts, Aesthetics, and Education
Music Education for Changing Times Landscapes: the Arts, Aesthetics, and Education VOLUME 7 SERIES EDITOR Liora Bresler, University of Illinois at Urbana-Champaign, U.S.A. EDITORIAL BOARD Eeva Antilla, Theatre Academy, Helsinki, Finland Magne Espeland, Stord University, Norway Samuel Leong, Hong Kong Institute of Education, Hong Kong Minette Mans, International Consultant, Windhoek, Namibia Gary McPherson, University of Illinois at Urbana-Champaign, U.S.A. Jonothan Neelands, University of Warwick, UK Mike Parsons, The Ohio State University, U.S.A. Shifra Schonmann, University of Haifa, Israel Julian Sefton-Green, University of Nottingham, UK Susan W. Stinson, University of North Carolina at Greensboro, U.S.A. Christine Thompson, Pennsylvania State University, U.S.A. SCOPE This series aims to provide conceptual and empirical research in arts education, (including music, visual arts, drama, dance, media, and poetry), in a variety of areas related to the post- modern paradigm shift. The changing cultural, historical, and political contexts of arts edu- cation are recognized to be central to learning, experience, and knowledge. The books in this series present theories and methodological approaches used in arts education research as well as related disciplines - including philosophy, sociology, anthropology and psychology of arts education. For further volumes: http://www.springer.com/series/6199 Thomas A. Regelski · J. Terry Gates Editors Music Education for Changing Times Guiding Visions for Practice 123 Editors Prof. Thomas A. Regelski Prof. J. Terry Gates 8486 Route 380 9053 Saranac Drive Brocton NY 14716 Saint Louis MO 63117 USA USA tom.regelski@helsinki.fi [email protected] ISBN 978-90-481-2699-6 e-ISBN 978-90-481-2700-9 DOI 10.1007/978-90-481-2700-9 Springer Dordrecht Heidelberg London New York Library of Congress Control Number: 2009926824 © Springer Science+Business Media B.V. -
Introduction to Ethnomusicology
Syllabus Introduction to Ethnomusicology Department of Music, University of Pittsburgh Music 2121 Spring 2018 Thursdays, 9:30-11:50 Music Building, Room 302 Instructor: Andrew Weintraub Office: Music Building Phone: 624-4184 or 624-4126 E-mail: [email protected] Office Consultation: Thursdays 1230-2, or by appointment Music 2121: Introduction to Ethnomusicology Introduction to Ethnomusicology is one of four core courses for graduate study at the University of Pittsburgh, required of all entering candidates for graduate degrees in Music. The course examines the formation of ethnomusicology through a survey of its intellectual history, theories, methodologies, and research practices. We will read and discuss the works of major scholars in the field, and review their intellectual contributions. We will also examine the interdisciplinary nature of ethnomusicology, particularly its relationship with historical musicology, anthropology, folklore, linguistics, communication, and cultural studies. A few special projects will complement theoretical discussions, and technical aspects of research activities commonly associated with the history of the field— such as fieldwork and transcription—will be briefly covered. Students will be expected to: --listen critically. --read all weekly assigned readings during the week they are assigned. --participate actively in class discussion. --write critical reviews of selected readings and present them orally in class. --deliver oral responses to selected readings in class. --complete additional assignments. Required Books (recommended for purchase, but also online through Pittcat) Chavez, Alex E. 2017. Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeño. Durham, NC: Duke University Press. [ebook through Pittcat] Gill, Denise. 2017. Melancholic Modalities: Affect, Islam, and Turkish Classical Musicians.New York: Oxford University Press. -
Current Directions in Ecomusicology
Current Directions in Ecomusicology This volume is the first sustained examination of the complex perspectives that comprise ecomusicology—the study of the intersections of music/sound, culture/society, and nature/environment. Twenty-two authors provide a range of theoretical, methodological, and empirical chapters representing disciplines such as anthropology, biology, ecology, environmental studies, ethnomusicology, history, literature, musicology, performance studies, and psychology. They bring their specialized training to bear on interdisciplin- ary topics, both individually and in collaboration. Emerging from the whole is a view of ecomusicology as a field, a place where many disciplines come together. The topics addressed in this volume—contemporary composers and traditional musics, acoustic ecology and politicized soundscapes, mate- rial sustainability and environmental crisis, familiar and unfamiliar sounds, local places and global warming, birds and mice, hearing and listening, bio- music and soundscape ecology, and more—engage with conversations in the various realms of music study as well as in environmental studies and cultural studies. As with any healthy ecosystem, the field of ecomusicol- ogy is dynamic, but this edited collection provides a snapshot of it in a formative period. Each chapter is short, designed to be accessible to the non- specialist, and includes extensive bibliographies; some chapters also provide further materials on a companion website. An introduction and interspersed editorial summaries help guide readers through four current directions— ecological, fieldwork, critical, and textual—in the field of ecomusicology. Aaron S. Allen is Associate Professor of Musicology at the University of North Carolina at Greensboro, USA, where he is also director of the Envi- ronmental and Sustainability Studies Program. -
Book of Abstracts Performing
Book of Abstracts Grieg Research School in Interdisciplinary Music Studies Nov. 28 – Dec. 1, 2011 University of Bergen Performing Sound and Sentiment, Self and Society 1 Content Keynotes Trygve Aasgaard page 3 Hans Knut Sveen page 4 Tiri Bergesen Schei page 5 Jill Halstead page 7 Senior researcher David Gabriel Hebert page 9 Senior lecturer Berit Norberg page 10 PhD candidates Ingrid Eriksen Hagen (Artistic research fellow) page 11 Anna Helle-Valle page 12 Kari Holdhus page 13 Rika Ikuno page 14 Tom Eide Osa page 15 Zoltan Paulinyi page 16 Steinar Sætre page 17 Lars Tuastad page 18 2 Keynote I Performance in music therapy: from “ugly duckling” to (nearly) a member of the family Trygve Aasgaard Trygve Aasgaard, PhD (Muisc Therapy, Aalborg university, Denmark), Associate professor Oslo and Akershus University College of Applied Sciences and The Norwegian Academy of Music. Forthcoming publications 2011/2012: • O’Callaghan, C. & Aasgaard, T. (in press). Arts Therapies. In: A. Längler, P. Mansky, G. Seifert (ed.) Integrative Pediatric Oncology . Wien/NewYork: Springer Verlag. • Aasgaard, T. & Edwards, M. (in press). Children Expressing Themselves. In: A. Goldman, R. Hain, S. Lieben (ed.) Oxford Textbook of Palliative Care for Children . 2nd edition. Oxford: OUP. Abstract While focus on performance is self-evident for musicians and music educators, this has not always been the case with music therapists. This paper gives an incomplete overview of the changing state and status of performance in music therapy history. It also endeavors to unveil some reasons for the explicit or implicit lack of interest for this amongst music therapists and in music therapy research, and suggests why performance slowly has moved to the forefront on some contemporary stages for music therapy. -
2019 International Symposium Sociology of Music Education
_________________________________ 2019 INTERNATIONAL SYMPOSIUM ON THE SOCIOLOGY OF MUSIC EDUCATION _________________________________ Milestones in the Sociology of Music Education: Thinking sociologically about music teaching and learning from the past to the present and beyond. June 9–12, 2019 University of North Texas 2019 Symposium Planning Committee Carol Frierson-Campbell Clare Hall Edward McClellan Sean Powell (Conference Convener) Danielle Sirek Janice Waldron With a special thank you to our guiding light, Hildegard Froehlich The planning committee would sincerely like to thank the following individuals for their support of the Symposium: UNT Student Assistants Samuel Escalante Candace Mahaffey Claire Majerus Kelsey Nussbaum UNT Division of Music Education Faculty UNT College of Music, John Richmond, Dean Vickie Napier, Administrative Assistant for Budget and Purchasing, UNT Congo Square Trio (Terence Bradford, Daniel Pinilla, & Hans Blichert) Emergency Contacts The Gateway Center: +1 (940) 565-8334 UNT Police Department: +1 (940) 565-3000; [email protected] *As a courtesy to our guests, a lactation room is available in Gateway room C058A. Access is provided by the front reception desk. Cover graphic by Samuel Escalante. Inspired by the infographics of W.E.B. Du Bois for the Exposition des Nègres d'Amérique, Paris Exposition, 1900. 2 Program All Symposium events will take place at the Gateway Center University of North Texas Campus 801 N Texas Blvd, Denton, TX 76201 Sunday, June 9, 2019 4:45 p.m. Shuttle vans pickup attendees at conference hotels Gateway Center Ballroom (Room 34) 5:00 p.m. Registration, opening reception, music by Congo Square Trio 6:00 p.m. Welcome from Sean Powell, Conference Host, John Richmond, Dean of UNT College of Music, and Carol Frierson-Campbell Keynote Address: Ruth Wright Anomie and Alienation: Music Education as Life-hack 7:30 p.m.