Includes bibliographical references and index.
Examines the reasons why music education should be transformed and suggests alternative educational modles and strategies__
"Brilliant... important reading for those who teach music, who write the curricular plans for teaching it, and who guide prospective teachers to the profession.... It is a must-read, for it awakens thoughts about why we teach and how." -- Patricia Shehan Campbell This quintet of essays examines the reasons why music education should be transformed, investigates the nature of education and musical transformation, and suggests alternative educational models and strategies. Estelle Jorgensen frames her argument for new approaches against the backdrop of historical musical and educational practice and draws on literature from various fields. Transforming Music Education is addressed to current and future music teachers, those who train them, and all who are interested in revolutionizing music education.
Sociology and Music Education addresses a pressing need to provide a sociological foundation for understanding music education. The music education community, academic and professional, has become increasingly aware of the need to locate the issues facing music educators within a broader sociological context. This is required both as a means to deeper understanding of the issues themselves and as a means to raising professional consciousness of the macro issues of power and politics by which education is often constrained. The book outlines some introductory concepts in sociology and music education and then draws together seminal theoretical insights with examples from practice with innovative applications of sociological theory to the field of music education. The book concludes with an Afterword by Christopher Small.
This collection of previously published articles, chapters and keynotes traces both the theoretical contribution of Lucy Green to the emergent field of the sociology of music education, and her radical ?hands-on? practical work in classrooms and instrumental studios. The selection contains a mixture of material, from essays that have appeared in major journals and books, to some harder-to-find publications. It spans issues from musical meaning, ideology, identity and gender in relation to music education, to changes and challenges in music curricula and pedagogy, and includes Green?s highly influential work on bringing informal learning into formal music education settings. A newly-written introduction considers the relationship between theory and practice, and situates each essay in relation to some of the major influences, within and beyond the field of music education, which affected Green?s own intellectual journey from the 1970s to the present day.
In other disciplines within the arts and humanities, 'men's studies' is a well-established field. Musicology has only recently begun to address music's engagement with masculinity and as a result has sometimes thereby failed to recognise its own discursive misogyny. This book does not seek to cover the field comprehensively but, rather, to explore in detail some of the ways in which musical practices do the cultural work of masculinity.
This book places music education in context and then goes on to examine a range of issues linked to the teaching and learning of music. The latter half of the book concentrates on music education within the classroom
What type of practice makes a musician perfect? What sort of child is most likely to succeed on a musical instrument? What practice strategies yield the fastest improvement in skills such as sight-reading, memorization, and intonation? Scientific and psychological research can offer answers to these and other questions that musicians face every day. In The Science and Psychology of Music Performance, Richard Parncutt and Gary McPherson assemble relevant current research findings and make them accessible to musicians and music educators. This book describes new approaches to teaching music, learning music, and making music at all educational and skill levels. Each chapter represents the collaboration between a music researcher (usually a music psychologist) and a performer or music educator. This combination of expertise results in excellent practical advice. Readers will learn, for example, that they are in the majority (57%) if they experience rapid heartbeat before performances; the chapter devoted to performance anxiety will help them decide whether beta-blocker medication, hypnotherapy, or the Alexander Technique of relaxation might alleviate their stage fright. Another chapter outlines a step-by-step method for introducing children to musical notation, firmly based on research in cognitive development. Altogether, the 21 chapters cover the personal, environmental, and acoustical influences that shape the learning and performance of music.
Aspects of Teaching Secondary Music provides a practical illustration of the skills, knowledge and understanding required to teach music in the secondary classroom. Musical concepts and ideas are discussed and a critical examination of key issues is given. This encourages the reader to engage with these thoughts and consider their views and beliefs in terms of how they will influence their potential to teach music in an inspired and effective manner.
Inhaltsangabe:Einleitung: „Brave Mädchen kommen deswegen in den Himmel, weil sie gelernt haben, sich selbst daran zu hindern, ein selbstbestimmtes Leben zu führen. Mädchen, die Spaß haben wollen, sind die bösen Mädchen. Böse Mädchen gehen souverän damit um, dass andere hin und wieder böse auf sie sind, weil sie nicht tun, was man von ihnen erwartet, beispielsweise nachgeben. Oder weil sie tun, was man nicht von ihnen erwartet, beispielsweise an sich selbst denken“ (Ute Ehrhardt 1994). Dieser Beginn meiner Arbeit mag recht provokativ wirken, aber genau dieses Phänomen hat mich dazu bewegt, der Unterschiedlichkeit von Jungen und Mädchen, von Männern und Frauen, näher auf den Grund zu gehen. Besonders interessant schien mir dies auf dem Gebiet des Musiklernens zu sein, da sich mir aufgrund bestimmter Phänomene verschiedene Frage stellten. Wie kommt es zur sichtbaren Dominanz von Männern in heutigen Orchestern, obwohl es keine offiziellen Restriktionen mehr gegen Frauen gibt? Wie lässt sich dies vereinbaren mit der Tatsache, dass das zahlenmäßige Verhältnis von Musikstudenten/-innen qua Geschlecht weitgehend ausgeglichen ist, an Musikschulen gar deutlich mehr Mädchen als Jungen unterrichtet werden? Abgesehen von diesen trivialen Feststellungen habe ich mir die Frage gestellt, ob geschlechtstypische Verhaltensweisen und Eigenarten einen Einfluss auf Musiklernen darstellen. Was sind sie überhaupt, diese „typisch männlichen“ und „typisch weiblichen“ Eigenschaften und worin liegen sie begründet? Lernen Jungen „anders“ als Mädchen? Unter „Geschlechtsspezifik“ versteht man im allgemeinen Sprachgebrauch Merkmale, die typisch für das eine oder andere Geschlecht sind. Da die ursprüngliche Wortbedeutung von „spezifisch“ jedoch eine andere ist, möchte ich eine Unterscheidung treffen. „Spezifisch“ ist ein Merkmal, wenn es „zum Wesen einer Person, Sache oder eines Stoffes gehört und diesen allein eigen ist“ (Brockhaus 1998). Die englische Sprache differenziert diesbezüglich, indem „gender“ für kulturelles und soziales Geschlecht und „sex“ für biologisches Geschlecht steht. Aus diesen Gründen möchte ich von Geschlechtsspezifik nur sprechen, wenn es sich um tatsächliche weibliche bzw. männliche Merkmale handelt. Konsequenterweise musste der Titel der Arbeit also um den Begriff der „Geschlechtstypik“ erweitert werden. Zum Schrifttum zählen musikpädagogische Zeitschriften und Forschungsberichte sowie Veröffentlichungen von Artikeln und Monographien aus den [...]
Evaluating Creative Practice discusses: *the function of evaluation in general *the role of formal assessment and its relation with informal evaluation *the role of the audience for the creative product *the value of making within the subject discipline *the balance within the subject paid to product and process *the role of reflection and the place of the students voice. Examples of practice from subject disciplines English, Art, Music, Drama, Media Studies, Design and Technology, Gallery Education and Digital Arts will enable those involved with primary, secondary, further, higher, gallery and community education to learn from each other and to develop a coherent approach to the range of creative work produced by young people. By focusing on questions of evaluation and containing a range of practical examples the book sets an agenda for creative work by young people in the school curriculum and beyond.
To what extent do indie masculinities challenge the historical construction of rock music as patriarchal? This key question is addressed by Matthew Bannister, involving an in-depth examination of indie guitar rock in the 1980s as the culturally and historically specific production of white men. Through textual analysis of musical and critical discourses, Bannister provides the first book-length study of masculinity and ethnicity within the context of indie guitar music within US, UK and New Zealand 'scenes'. Bannister argues that past theorisations of (rock) masculinities have tended to set up varieties of working-class deviance and physical machismo as 'straw men', oversimplifying masculinities as 'men behaving badly'. Such approaches disavow the ways that masculine power is articulated in culture not only through representation but also intellectual and theoretical discourse. By re-situating indie in a historical/cultural context of art rock, he shows how masculine power can be rearticulated through high, avant-garde, bohemian culture and aesthetic theory: canonism, negation (Adorno), passivity, voyeurism and camp (Andy Warhol and the Velvet Underground), and primitivism and infantilism (Lester Bangs, Simon Reynolds). In a related vein, he also assesses the impact of Freud on cultural theory, arguing that reversing binary conceptions of gender by associating masculinities with an essentialised passive femininity perpetuates patriarchal dualism. Drawing on his own experience as an indie musician, Bannister surveys a range of indie artists, including The Smiths, The Jesus and Mary Chain, My Bloody Valentine and The Go-Betweens; from the US, R.E.M., The Replacements, Dinosaur Jr, Hüsker Dü, Nirvana and hardcore; and from NZ, Flying Nun acts, including The Chills, The Clean, the Verlaines, Chris Knox, Bailter Space, and The Bats, demonstrating broad continuities between these apparently disparate scenes, in terms of gender, aesthetic theory and approaches to popular musical history. The result is a book which raises some important questions about how gender is studied in popular culture and the degree to which alternative cultures can critique dominant representations of gender.
For a full list of entries and contributors, sample entries, and more, visit the Routledge International Encyclopedia of Women website. Featuring comprehensive global coverage of women's issues and concerns, from violence and sexuality to feminist theory, the Routledge International Encyclopedia of Women brings the field into the new millennium. In over 900 signed A-Z entries from US and Europe, Asia, the Americas, Oceania, and the Middle East, the women who pioneered the field from its inception collaborate with the new scholars who are shaping the future of women's studies to create the new standard work for anyone who needs information on women-related subjects.
Twenty-three contributors turn a critical lens on the dominant music education paradigm to examine how we teach, what we teach, for what we teach, what is expected of teachers and how we teach them, whom we should be teaching, and the very assumptions and structures of which we base our practice.
Noted music educator Bennett Reimer has selected 24 of his previously published articles from a variety of professional journals spanning the past 50 years. During that time, he's tackled: -generating core values for the field of music education; -the core in larger societal and educational contexts; -what to teach and how to teach it effectively; -how we need to educate our teachers; -the role of research in our profession; and -how to improve our future status. Reimer precedes each essay with background reflections and his position, both professional and personal, on effectively addressing the issue at hand. The opening 'Letter to the Reader' presents a valuable overview based on his deeply grounded viewpoint. The entire music education profession will benefit from Reimer's perspective on past, present, and future concerns central to the functioning of music education in Seeking the Significance of Music Education: Essays and Reflections.
Drawing upon a wide range of scholarly enquiry into early music, queer musicology, ethnomusicology, performance practice, music education and technology, Aesthetics and Experience in Music Performance provides a lively forum for the articulation of varied perspectives on the role of music, its interpretation and function in contexts supported by those who practice or experience it. The formal and shorter discussion papers included in this scholarly collection were presented at the National Workshop of the Musicological Society of Australia, held at the University of Queensland, Brisbane in October 2003. The themes of aesthetics and experience are central to this publication and each paper engages in a scholarly dialogue on the technical, expressive and embodied aspects of performance. The papers included in this publication bring together the research of a wide community of scholars (e.g., musicologists, anthropologists, ethnomusicologists and linguists) working in the field of performance studies and collectively reflect the musicological issues being debated in Australia today.

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