The Public Music Theory of George Bernard Shaw

2021 ◽  
Author(s):  
Nicole Biamonte
Keyword(s):  
Music Education ◽  
Music Theory ◽  
George Bernard Shaw ◽  
Late Nineteenth Century ◽  
Music Criticism ◽  
The Public ◽  
Musical Knowledge ◽  
Musical Understanding ◽  
Bernard Shaw ◽  
Technical Terms

George Bernard Shaw is best known today for his plays, but he first exercised his incisive wit as a drama and music critic in London, intermittently from 1876, regularly from 1888 to 1894, and intermittently again to the end of his life. Shaw explicitly intended to make his reviews both educational and accessible to the general public, combining performance critiques with broader considerations, including aspects of music theory and music education, and avoiding technical terms to the extent possible. Thus, his music criticism serves as an example of public music theory. This chapter surveys Shaw’s music-theoretic comments through this lens, analyzing what they demonstrate about his own musical understanding and underlying ideologies, the educational purpose of his reviews, and the level of musical knowledge he assumed on the part of his late nineteenth-century London readership.

International Perspectives on Assessment in Music Education

2019 ◽  
pp. 511-527
Author(s):  
Alexandra Kertz-Welzel
Keyword(s):  
Public School ◽  
Music Education ◽  
School Curriculum ◽  
Education Assessment ◽  
Teaching Philosophies ◽  
The Public ◽  
Assessment Culture ◽  
International Perspectives ◽  
Musical Knowledge ◽  
Music Education Policy

Music education is part of the public school curriculum in many countries, as either a compulsory or an elective subject. While it offers many young people an opportunity to acquire musical knowledge and skills, it also has its challenges. Being part of the public school curriculum results in a need for assessment in music education. While some problems related to assessment are similar internationally (e.g., concerning music as art), assessment in different countries varies. It depends on various factors such as the general assessment culture, the goals of education, music education policy, individual teaching philosophies, and school culture. By utilizing approaches from comparative music education, philosophy, and sociology of music education, this chapter analyzes music education assessment policies and practices in different countries. By scrutinizing global similarities and differences, it proposes new approaches to assessment that may help address some of the challenges the global music education community faces today.

scholarly journals Kitarske šole slovenskih avtorjev od Adolfa Gröbminga do Stanka Preka / Guitar Schools by Slovenian Authors from Adolf Gröbming to Stanko Prek

2021 ◽  
Vol 16 (33) ◽  
pp. 109-130
Author(s):  
Branislav Rauter
Keyword(s):  
Music Education ◽  
Music Theory ◽  
Musical Notation ◽  
Musical Knowledge ◽  
The 1960S ◽  
Guitar Technique

The main purpose of the article is to present textbooks for guitar written by Slovenian authors and published between 1925 and 1950. With basic instructions for playing in Slovenian and mostly domestic musical examples they satisfied the needs of selftaught people for the basics of guitar technique and chordal accompaniment to singing. The first textbooks were entitled Kitarska šola (Guitar School), the basic problems of the guitar playing were treated comprehensively and as such did not envisage continuation. In addition to the basics of the guitar playing, they also included music theory, which was essential for self-taught people without prior musical knowledge, as this was the only way they could follow the practical instructions for playing according to the musical notation. With the reintroduction of guitar teaching into public music education, textbooks were created from the end of the 1960s, entitled Začetnica za kitaro (The Textbook for Beginners) with sequels, and followed the guidelines and development of public music education.

Shaw's Contributions to Music Criticism

PMLA ◽  
1957 ◽  
Vol 72 (5) ◽  
pp. 1005-1017
Author(s):  
George S. Barber
Keyword(s):  
Life Span ◽  
George Bernard Shaw ◽  
Music Criticism ◽  
Routine Treatment ◽  
The Mind ◽  
Bernard Shaw ◽  
Critical Literature

The years 1856–1950 represent the life span of George Bernard Shaw, one of the most pungent, witty, and versatile geniuses to be absorbed into the mind of the thinking world. The years 1888–94 represent the six years which he devoted to the concentrated effort of writing music criticism, first for the Star (1888–89) and then for the World (1890–94). Yet, despite their value as important contributions to critical literature, and notwithstanding their worth as patently clear statements and applications of Shaw's theories of art and criticism, these works have received little more than routine treatment from even the best of Shavian scholars.

The Oxford Handbook of Critical Concepts in Music Theory

2015 ◽  
Keyword(s):  
Music Theory ◽  
Contemporary Music ◽  
Panoramic View ◽  
Teaching And Research ◽  
New Concepts ◽  
English Speaking ◽  
English Speaking World ◽  
Technical Terms ◽  
Guiding Questions

Music Theory operates with a host of technical terms for concepts that appear straightforward but that conceal layers of complexity. This collection uncovers some of the richness and intricacy of these terms. Using a range of methods, from philosophical and historical contextualizations to cognitive and systematic approaches, and across a range of repertories, these essays aim to convey a fuller understanding of the terms music theorists employ every day in teaching and research. In so doing, the collection provides a panoramic view of the contemporary music-theoretical landscape, offering new perspectives on established concepts, seeking to expanding their purview to new repertories, and adding new concepts to the theorist’s toolkit. Taken as a whole, the concepts collected in this volume spotlight some of the guiding questions of music theory as it is currently practiced in the English-speaking world; they seek to broaden its foundational conversations to underline the ways in which music theory itself is evolving.

Improving music teaching and learning through online service: A case study of a synchronous online teaching internship

2016 ◽  
Vol 35 (1) ◽  
pp. 107-117 ◽  
Author(s):  
Pamela D. Pike
Keyword(s):  
Service Learning ◽  
Music Education ◽  
Online Teaching ◽  
Teaching And Learning ◽  
Underserved Populations ◽  
Distance Teaching ◽  
Service Learning Projects ◽  
Musical Understanding ◽  
Synchronous Online

This case study explored the potential for using a synchronous online piano teaching internship as a service-learning project for graduate pedagogy interns. In partnership with the university, a local music retailer, and a local middle school, three pedagogy interns taught beginning piano to underprivileged teenaged students for 8 weeks. All instruction took place in the synchronous online environment using acoustic Disklavier pianos, Internet MIDI, Facetime, and traditional method books. As a result of the experience, the students demonstrated musical understanding and the pedagogy interns developed teaching techniques, displayed improved comprehension of course content, learned about current distance teaching technology, and considered the role of music education in society. Based on these results, it might be feasible to provide piano lessons to underserved populations in remote locations while offering meaningful internship experiences to pedagogy students through distance service-learning projects.

Chinese toms in the making of the drum kit: Localization and exoticism

2021 ◽  
Vol 5 (2) ◽  
pp. 227-242 ◽  
Author(s):  
Henry Johnson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Music Education ◽  
Popular Music ◽  
Musical Instruments ◽  
New Music ◽  
Late Nineteenth Century ◽  
The Future ◽  
Late Nineteenth

The late nineteenth century and early decades of the twentieth century saw the drum kit emerge as an assemblage of musical instruments that was central to much new music of the time and especially to the rise of jazz. This article is a study of Chinese drums in the making of the drum kit. The notions of localization and exoticism are applied as conceptual tools for interpreting the place of Chinese drums in the early drum kit. Why were distinctly Chinese drums used in the early drum kit? How did the Chinese drums shape the future of the drum kit? The drum kit has been at the heart of most popular music throughout the twentieth century to the present day, and, as such, this article will be beneficial to educators, practitioners and scholars of popular music education.

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