Benefits and Challenges of Large-Ensemble Instrumental Music Adjudicated Events: Insights From Experienced Music Teachers

2018 ◽  
Vol 37 (2) ◽  
pp. 46-53 ◽  
Author(s):  
Jared R. Rawlings
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Music Teachers ◽  
American Music ◽  
Important Place ◽  
Large Group ◽  
School Programs ◽  
High School Programs ◽  
History Of ◽  
Instrumental Music Programs

Adjudicated events, including music festivals, contests, and competitions, are performance opportunities for American instrumental music programs. The purpose of this study was to examine the benefits and challenges of participating in large-group instrumental adjudicated events in three Kansas high school programs. Data analysis followed cross-case procedures for coding data, as well as strategies for trustworthiness. Select findings revealed that participants (a) valued the process of preparing for adjudicated events, (b) valued and sought out additional instructional staff as a means of enriching the process of preparation for adjudicated events, (c) identified multiple logistical challenges associated with preparing for and attending adjudicated events, and (d) identified music considerations associated with attending large-group adjudicated events. These are likely pivotal factors in attending adjudicated events and thus can help us further understand how and why adjudicated events hold an important place in the history of American music education.

American Gamelan and the Ethnomusicological Imagination

2020 ◽  
Author(s):  
Elizabeth A Clendinning
Keyword(s):  
North America ◽  
Music Education ◽  
Performing Arts ◽  
Music Teachers ◽  
American Music ◽  
World Music ◽  
Music Programs ◽  
Music Ensembles ◽  
College Music

The book seeks to answer these questions: Why are there more than 150 gamelans (Indonesian percussion ensembles) in North America, and why are more than half of them associated with American colleges and universities? How and why did gamelan ensembles spark the ethnomusicological imagination? What impact have these ensembles had on college music programs, their local communities, and transnational Indonesian performing arts scenes? How does a lifetime of teaching foreign college students shape the lives of non-American music teachers? First providing an overview of gamelan and its incorporation in education in North America, this book uses the story of the career and community of one performer-teacher, I Made Lasmawan of Bali and Colorado, as a case study to examine the formation and sustenance academic world music ensembles. It examines the way students develop musical and cultural competence by learning gamelan in traditional ethnomusicology ensemble courses and analyzes the merits of including gamelan ensembles in studies in percussion, composition, and music education. More broadly, the book argues that beyond the classroom, the presence of these ensembles shapes transnational arts education and touristic performing arts scenes in Bali. Finally, it advocates for world music ensemble courses as a powerful means for teaching musical and cultural diversity and sparking transnational exchanges, both in and outside the classroom.

scholarly journals Music Teacher Rankings of Selected Core Teaching Practices

2019 ◽  
Vol 29 (1) ◽  
pp. 86-99
Author(s):  
J. Si Millican ◽  
Sommer Helweh Forrester
Keyword(s):  
Music Education ◽  
Teaching Practices ◽  
Teacher Educators ◽  
Music Teachers ◽  
Music Teacher ◽  
Music Teaching ◽  
Pedagogical Content ◽  
Technical Vocabulary ◽  
History Of ◽  
Service Music

There is a decades-long history of music education researchers examining characteristics and skills associated with effective teaching and assessing how preservice music teachers develop those competencies. Building on studies of pedagogical content knowledge and the professional opinions of experienced music educators, researchers are now attempting to identity a body of core music teaching practices. We asked experienced in-service music teachers ( N = 898) to think about the skills beginning music teachers must possess to investigate how respondents rated and ranked selected core music teaching practices in terms of their relative importance. Developing appropriate relationships with students, modeling music concepts, and sequencing instruction were the top core teaching practices identified by the group. Results provide insights into knowing, naming, and framing a set of core teaching practices and offer a common technical vocabulary that music teacher educators might use as they design curricula and activities to develop these foundational skills.

scholarly journals A Return to Amateurism in Music Education

2019 ◽  
Vol 106 (1) ◽  
pp. 31-37
Author(s):  
John Kratus
Keyword(s):  
High School ◽  
Teacher Education ◽  
Twentieth Century ◽  
Music Education ◽  
Music Teachers ◽  
American Music ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Music Making ◽  
Large Ensembles

The future of American music education may be found in its past—a time when music teachers instilled lifelong amateur music-making in their students. There are differences between amateur and professional musicianship, and the focus of American music education shifted from amateurism to semiprofessionalism in the mid-twentieth century. An orientation toward semiprofessionalism makes little sense given the limited performance opportunities in large ensembles after high school and college. This article suggests a way back to nurturing amateurism and highlights two obstacles to this goal: the inflexibility of music teacher education and the profession’s reluctance to accept popular music. The article concludes with a narrative of what a world of amateur musicianship looks like.

The National High School Orchestra 1926—1938

2009 ◽  
Vol 57 (1) ◽  
pp. 50-72
Author(s):  
Phillip M. Hash
Keyword(s):  
High School ◽  
Music Education ◽  
Instrumental Music ◽  
National Conference ◽  
Instrumental Music Education ◽  
The Arts ◽  
History Of ◽  
Research Questions ◽  
School Orchestra ◽  
High School Musicians

The purpose of this study was to document the history of the National High School Orchestra (NHSO), a select ensemble organized by Joseph E. Maddy under the auspices of the Music Supervisors' National Conference during the 1920s and 1930s. Research questions examined the orchestra's (1) origin, performances, and operation; (2) instrumentation and repertoire; (3) influence on music education; and (4) implications for modern practice. The first NHSO was assembled for the 1926 meeting of the Music Supervisors' National Conference in Detroit, Michigan. Initially led by Maddy, this ensemble was reorganized in 1927, 1928, 1930, 1932, and 1938. The NHSO helped promote instrumental music education through conference performances, radio broadcasts, and concerts presented throughout the country. This organization also demonstrated the potential of high school musicians and served as a basis for the NHSO Camp—the institution known today as the Interlochen Center for the Arts.

A History of American Music Education (review)

2008 ◽  
Vol 42 (4) ◽  
pp. 115-120
Author(s):  
Sondra Wieland Howe
Keyword(s):  
Music Education ◽  
American Music ◽  
History Of

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.

A History of American Music Education

Notes ◽  
1993 ◽  
Vol 49 (3) ◽  
pp. 1085
Author(s):  
Carolyn Livingston ◽  
Michael L. Mark ◽  
Charles L. Gary
Keyword(s):  
Music Education ◽  
American Music ◽  
History Of

Adolescents' Expressed Meanings of Music in and out of School

2007 ◽  
Vol 55 (3) ◽  
pp. 220-236 ◽  
Author(s):  
Patricia Shehan Campbell ◽  
Claire Connell ◽  
Amy Beegle
Keyword(s):  
High School ◽  
Secondary School ◽  
Music Education ◽  
Identity Formation ◽  
Music Teachers ◽  
Music Programs ◽  
School Programs ◽  
School Music ◽  
Character Building ◽  
Out Of School

This study aimed to determine the significance of music and music education to middle and high school adolescents, including those enrolled and not enrolled in school music programs. Of particular interest were their expressed meanings of music both in and out of school, with attention to adolescent views on the role of music in identity formation, the musical and nonmusical benefits for adolescents of their engagement with music, the curricular content of secondary school music programs, and the qualities of music teachers in facilitating music-learning experiences in middle and high school classes. An examination of essays, statements, and reflections in response to a national essay content was undertaken using an inductive approach to analyze content through the triangulation of interpretations by the investigators. Five principal themes were identified within the expressed meanings of music by adolescents: (a) identity formation in and through music, (b) emotional benefits, (c) music's life benefits, including character-building and life skills, (d) social benefits, and (e) positive and negative impressions of school music programs and their teachers. Overwhelming support was expressed for music as a necessary component of adolescent life, with support for and comments to probe concerning the work of music educators in secondary school programs.

scholarly journals Classification of Mode Archetypes and Modern Problems of Music Education

2019 ◽  
Vol 7 (2) ◽  
pp. 77-95
Author(s):  
Elena M. Alkon
Keyword(s):  
Music Education ◽  
Folk Music ◽  
Modern Human ◽  
New Classification ◽  
Important Place ◽  
The World ◽  
History Of ◽  
History Of Culture ◽  
Musical Mode

Modern problems of musical education are connected with the search for new and more efficient approaches considering the challenges of our time. One of such challenges is unprecedented in history of culture music stream falling upon the modern human. The relict musical mode archetypes, on the basis of which the music of the peoples of the world has been formed for centuries, and which nourish the creativity of the professionals, could be considered as ecologically friendly “musical products”. In this article, following a number of the range of previous publications, the author offers a new classification of mode archetypes based on previously designed principle of asymmetry/symmetry supplemented with several novel approaches. This classification obviously cannot cover all existing mode archetypes of music of people of the world, but definitely addresses their considerable part. Several tables with index-based ordering the most common mode archetypes are considered to be especially significant result of this paper. The author hopes that this method of designation will contribute to the development of a methodology for the analysis of the behavior of mode archetypes in various melodic contexts. The “Solveig’s Song” by E. Grieg is regarded as one of the most famous melodies, in which the musical mode archetype of Norwegian folk music occupies an important place.

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