Elsie Shawe, Music Supervisor in St. Paul, Minnesota (1898–1933)

2004 ◽  
Vol 52 (4) ◽  
pp. 328-342
Author(s):  
Sondra Wieland Howe
Keyword(s):  
Public Schools ◽  
Music Education ◽  
Music Teachers ◽  
National Level ◽  
The United States ◽  
National Accounts ◽  
Music Curriculum ◽  
School Music ◽  
The Board Of Directors ◽  
Music Supervisor

Elsie Shawe (1866–1962), supervisor of music in St. Paul, Minnesota, for thirty-five years, is an example of a music supervisor in the United States who was active in the formative years of the Music Supervisors National Conference (MSNC). Although she is cited only briefly in national accounts, there is a substantial amount of material on her career in local archives. In the St. Paul Public Schools, Shawe supervised classroom teachers, organized the school music curriculum, and conducted performances in the community. She served as a church organist and choir director in St. Paul and was president of the Minnesota Music Teachers Association. At the national level, Shawe was an officer of the NEA Department of Music Education and a member of the board of directors of the MSNC. Through her committee work, Shawe promoted the standardization of patriotic national songs.May 5, 2004November 10, 2004.

scholarly journals Effect of Christian Related Music on Choice of Music as a Study Subject by Muslim Students in Mombasa County, Kenya

2021 ◽  
Vol 2 (3) ◽  
Author(s):  
Sumba B. Shitambasi
Keyword(s):  
Quantitative Methods ◽  
Music Teachers ◽  
Group Discussion ◽  
National Level ◽  
Sample Population ◽  
Music Curriculum ◽  
Muslim Students ◽  
Qualitative And Quantitative Methods ◽  
School Music ◽  
The Subject

The purpose of this study was to evaluate the content of the secondary school music curriculum to establish the effect of the presence of Christian related music in the curriculum on the choice of Music as a study subject by Muslim students in Mombasa County, Kenya. The study used a survey research design. The sample population consisted of 27 participants as follows: 2 music teachers, 8 students, 8 parents, 1 Kenya Institute Curriculum Development Officer at the national level, 1 Quality Assurance and Standard Officer and 7 career masters. Data was collected through questionnaires, interviews and focus group discussion, which was analysed using both qualitative and quantitative methods. Findings show that Christian beliefs compete with Islamic beliefs thus Muslim students find it offensive to pursue the subject and learn Christian related music and values therein. In conclusion, Christianity and Islamic beliefs are two dominant religions that are competing rather than complementing religions; Muslim students find it hard to pursue music subject due to the elements of Christian related music in the curriculum. The study recommends that the choice of music subject by Muslim students is dependent on the provision of Islamic music in the music curriculum and must be incorporated to attract their enrolment.

George F. Root’s Normal Musical Institute, 1853–1885

2012 ◽  
Vol 60 (3) ◽  
pp. 267-293
Author(s):  
Phillip M. Hash
Keyword(s):  
New York ◽  
Music Education ◽  
Music Teachers ◽  
The United States ◽  
Private Lessons ◽  
Secondary Sources ◽  
Education Data ◽  
School Music ◽  
History Of ◽  
Pedagogy And Curriculum

George F. Root, Lowell Mason, and William B. Bradbury opened the New York Normal Musical Institute in April of 1853 in New York City. Each term lasted about three months and provided the first long-term preparation program for singing-school masters, church choir directors, private instructors, and school music teachers in the United States. Students at the institute studied pedagogy, voice culture, music theory, and choral literature and had the opportunity to take private lessons with prominent musicians and teachers. The Normal Musical Institute relocated to North Reading, Massachusetts, in 1856 and, in 1860, began meeting in various cities throughout the country. In 1872, the school became the National Normal Musical Institute and continued under this name until its final season in Elmira, New York, in 1885. This study was designed to examine the history of this institution in relation to its origin, details of operation, pedagogy and curriculum, prominent students and faculty, and influence on music education. Data included articles from music periodicals and newspapers, pamphlets and catalogs from the institution, biographies of prominent participants, and other primary and secondary sources.

scholarly journals Music Teachers’ Perception of Music Teaching at the Stage of Early Adolescence

2021 ◽  
Vol 11 (3) ◽  
pp. 97-118
Author(s):  
Petra Brdnik Juhart ◽  
Barbara Sicherl Kafol
Keyword(s):  
Music Education ◽  
Early Adolescence ◽  
Music Teachers ◽  
Professional Competence ◽  
Music Teaching ◽  
Music Curriculum ◽  
Factors Affecting ◽  
School Music ◽  
Research Findings ◽  
General School

Based on the descriptive method of qualitative educational research, the present study explores music teaching at the stage of early adolescence in terms of general-school music teachers’ viewpoints on factors defining the planning and implementation of music teaching. The study was based on qualitative analysis of data gathered in interviews with 18 teachers from nine countries (Slovenia, Argentina, Australia, USA, Turkey, Poland, Russia, Italy and Germany). The research found that music teaching based on authentic musical communication through the activities of playing, creating and listening to music was favoured by the interviewees. Among the factors affecting the presentation of music teaching at the stage of early adolescence, the quality of curricular bases and the professional competence of music teachers were emphasised. In this context, the research findings showed that music curricula in the international context do not provide a suitable curricular base for the implementation of music teaching. The problem becomes especially salient when the competences of music teachers are insufficient for the transference of the curricular platform to musical praxis through authentic ways of musical teaching. The research findings provide an insight into the complexity of the factors involved, including authentic music teaching, the music curriculum and teachers’ competences, which determine the planning and implementation of music teaching at the stage of early adolescence. In addition, the findings provide a basis for further research in a broader context and for the development of guidelines for curricular updates and the modernisation of music education in general schools.

The integration of music technology into popular music ensembles: Perspectives of modern band teachers

2019 ◽  
Vol 12 (3) ◽  
pp. 297-310 ◽  
Author(s):  
Bryan Powell
Keyword(s):  
New York ◽  
Music Education ◽  
Popular Music ◽  
Music Teachers ◽  
The United States ◽  
Music Technology ◽  
Student Agency ◽  
Music Ensembles ◽  
School Music ◽  
K 12

The increased presence of technology into music education classrooms has coincided to some extent with the increased presence of popular music into school music spaces, especially in the United States. This study examined the integration of music technologies into K-12 (ages 5‐18) popular music programmes in New York City (NYC). One hundred sixty-eight music teachers responded to a survey, all of whom had previously participated in a modern band workshop as part of the Amp Up NYC initiative. Results of the study found that many of the challenges of incorporating music technology into modern bands, including lack of access to technology or faulty hardware, are not unique to popular music ensembles. Some of the successes mentioned by the teachers, including songwriting, beat-making and increased student agency, provide a glimpse into the benefits that integrating music technology into modern band classrooms can offer.

Music Education and Educators in Missouri, Iowa, and Illinois

2020 ◽  
pp. 002242942096150
Author(s):  
Jocelyn Stevens Prendergast
Keyword(s):  
Public School ◽  
Music Education ◽  
Music Teachers ◽  
Response Rate ◽  
Demographic Data ◽  
The United States ◽  
Survey Study ◽  
Phone Call ◽  
School Music ◽  
Music Class

The purpose of this survey study was to provide a demographic profile of PK-12 public school music teachers and details about the public school music teaching positions in Missouri, Iowa, and Illinois. An invitation to complete a questionnaire was emailed to all PK-12 public school music teachers in these three states whose email addresses could be gathered via a school district website search or phone call to the district, yielding a 26.1% response rate in Missouri, a 35.1% response rate in Iowa, and a 31.7% response rate in Illinois. The questionnaire contained items used to gather demographic data about the music teachers and details about their class offerings. Results indicate over 93% of music teachers in these three states identify as White and approximately two thirds identify as women. The teachers in these three states who responded to the survey travel less for their positions compared with music teachers in the United States as a whole, and findings were inconsistent between the states with respect to experience level and school location. Further, 28% to 47% of secondary-level educators in these three states teach a music class that is not band, choir, or orchestra.

Folk Musics and Increasing Diversity in American Music Education: 1900-1916

1994 ◽  
Vol 42 (4) ◽  
pp. 285-305 ◽  
Author(s):  
Terese M. Volk
Keyword(s):  
Public Schools ◽  
Native Americans ◽  
Music Education ◽  
General Education ◽  
Immigrant Students ◽  
The United States ◽  
Music Educators ◽  
Music Curriculum ◽  
Multicultural Music Education ◽  
The Impact

From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.

Reconsidering School Songbooks in the United States during the Post–Civil War Period (1865-1899)

2019 ◽  
pp. 153660061987611
Author(s):  
Paul D. Sanders
Keyword(s):  
United States ◽  
Civil War ◽  
Music Education ◽  
Music Teachers ◽  
The United States ◽  
Music Instruction ◽  
Education History ◽  
History Texts ◽  
School Music ◽  
The Individual

Many of the first public school music teachers in the United States came from the singing school tradition and taught from the same tune books that had been used in singing schools. After the war, renewed interest in education and the establishment of graded schools soon led to the introduction of music series that were designed to serve the individual needs of each grade and the classroom teachers who often assisted with music instruction. The major music education history texts in the United States claim that music series soon replaced single-volume songbooks since they better served the needs of the new graded school system. Music series represented the new progressive views of education in the years following the Civil War, and the single-volume songbooks that descended from antebellum tune books of the singing school movement are largely dismissed as relics of a bygone era. This study explores the use of these school songbooks in the years following the Civil War, extending many years beyond the introduction of the first music series.

Structure and agency in novice music teaching

2018 ◽  
Vol 41 (2) ◽  
pp. 206-218 ◽  
Author(s):  
Sean Robert Powell
Keyword(s):  
Preservice Teachers ◽  
Public Schools ◽  
Music Education ◽  
Student Teaching ◽  
Teacher Educators ◽  
Music Teachers ◽  
Structuration Theory ◽  
The United States ◽  
Music Teaching ◽  
Power Capability

Using multiple interviews and observations, I chronicled the experiences of three novice music teachers in the United States over a 2-year period, including their student teaching internships and first years of in-service teaching. I analyzed these experiences through the lens of strong structuration theory, Stones’s (2005) extension and elaboration of Giddens’s (1984) original structuration theory. My guiding research questions were: a) How do the structures of music teaching within public schools in the U.S. enable and inhibit the agency of novice music teachers? and, b) How do the practices of novice music teachers reproduce, sustain, and change the structures of music education? I discuss how teacher educators, preservice teachers, and in-service teachers can work together in dialogue to assist novice music teachers in cultivating agential resistance by developing perceptions of power/capability, adequate knowledge, and requisite reflective distance.

Frank William Westhoff (1863–1938): A Music Education Leader of the Progressive Era

2020 ◽  
pp. 153660062092922
Author(s):  
Phillip M. Hash
Keyword(s):  
Public Schools ◽  
Music Education ◽  
Progressive Era ◽  
Teacher Educator ◽  
National Level ◽  
Music Instruction ◽  
Textbook Author ◽  
School Music ◽  
Charles County ◽  
Regional Basis

The purpose of this study was to examine the life and work of Frank William Westhoff (1863–1938), a leader in music education during the progressive era (circa 1890s–1950s). Research questions focused on his work as a music supervisor, teacher educator, pedagogue, and textbook author. I also explored Westhoff’s contributions to the profession and influence on music education. Westhoff was born in St. Charles County, Missouri, in 1863. He moved to Decatur, Illinois, in 1884, and in 1893 he began supervising music in the city’s public schools. From 1901 to 1935, Westhoff served as music instructor at ISNU, where he taught methods classes, directed ensembles, and supervised music in the local public schools. He died in Normal, Illinois, in 1938. Although Westhoff was not as prominent a figure in music education as those who led the field on a national level during his time, he played an important role in sustaining, perpetuating, and expanding school music on a regional basis throughout much of the progressive era. He was a founding member of Music Supervisors’ National Conference at Keokuk, Iowa, in 1907, and published numerous compositions and didactic materials, including a statewide curriculum that helped standardize music instruction in Illinois.

The Value of Learning Collective Free Music Improvisation: Preservice Music Educators’ Perspectives

2021 ◽  
Vol 30 (3) ◽  
pp. 40-53
Author(s):  
Hoon Hong Ng
Keyword(s):  
Music Teachers ◽  
Music Educators ◽  
Music Curriculum ◽  
Group Discussions ◽  
Music Improvisation ◽  
Free Improvisation ◽  
Entrepreneurial Skills ◽  
School Music ◽  
Collaborative Skills

I conducted a case study to explore preservice music teachers’ behaviors, thoughts, and feelings when engaged in collective free music improvisation. Nine preservice music teachers were taught how to freely improvise within groups as part of a teacher education course and participated in interviews and focus group discussions. Major themes highlighted learning across three segments that emphasized communication and collaborative skills, entrepreneurial skills and risk taking, and reconciliation and transformation. I concluded that the sociomusical outcomes produced by collective free improvisation may complement those of more formal and idiomatic improvisation practices, and that by introducing preservice music teachers to free improvisation activities, they may be more willing to engage PK–12 students in free improvisation lessons that enhance the existing school music curriculum.

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