Fray Pedro de Gante Pioneer American Music Educator

1979 ◽  
Vol 27 (1) ◽  
pp. 21-28
Author(s):  
George Heller
Keyword(s):  
United States ◽  
Music Education ◽  
Multicultural Education ◽  
General Education ◽  
Student Teaching ◽  
The United States ◽  
American Music ◽  
Western Hemisphere ◽  
European Standards ◽  
Teaching Music

Fray Pedro de Gante was an important figure in the history of American music education. His life and work in Mexico City predate similar activities in the United States by at least a century. He worked in a radically changing ethnic arld sociocultural environment and was a principal agent in the acculturation process. In teaching music he also became involved in the arts in general education, multicultural education, and student teaching. He was the first European to teach music in the Western hemisphere and taught thousands of students during his 45-year tenure. His school served as a model for later Franciscan schools in the southwestern United States. The documents show that he was not only successful by European standards, but that he was also highly respected and admired by the Indians he taught.

Swiss-German Music Books in the Mason-McConathy Collection: Accounts from Europe to the United States

2000 ◽  
Vol 48 (1) ◽  
pp. 26-38
Author(s):  
Sondra Wieland Howe
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
Music Education ◽  
School System ◽  
The United States ◽  
American Music ◽  
Cultural Center ◽  
Men And Women ◽  
Swiss German ◽  
Music Books

This article describes an examination of the Swiss-German music books in the Luther Whiting Mason—Osbourne McConathy Collection, undertaken to learn about music education in nineteenth-century Switzerland and its influence on American music education. Pfeiffer and Nägeli introduced Pestalozzi's ideas to Swiss schools, teaching the elements of music separately and introducing sounds before symbols. Swiss educators in the mid-1800s published numerous songbooks and teachers' manuals for an expanding school system. Foreign travelers praised the teaching of Schäublin in Basel. In Zurich, a cultural center with choruses for men and women, music directors continued to produce materials for schools and community choruses in the 1800s. Because travelers like Luther Whiting Mason purchased these books, Swiss ideas on music education spread to other European countries and the United States.

Prologue

2020 ◽  
pp. 13-20
Author(s):  
Billy Coleman
Keyword(s):  
United States ◽  
Social Context ◽  
Social Order ◽  
The United States ◽  
American Music ◽  
Political Life ◽  
Early American ◽  
The Social ◽  
American National Identity ◽  
European Standards

This prologue surveys the key political challenges, debates, and ideologies that animated American political life following the creation of the United States. It also gestures to the emerging political purposes of music within this context. It distinguishes Federalists from Republicans, explains their conflicting visions, and overviews the logic Federalists used to justify their desire for social control and their insistence on social order and hierarchy as preconditions for freedom and liberty. The prologue similarly outlines the social context of early American music, especially its connections to religion, morality, science, and European standards of excellence. Finally, it highlights music’s perceived capacity to help define the terms of a new, uniquely American national identity.

Administrators' Ratings of Competencies for an Undergraduate Music Education Curriculum

1978 ◽  
Vol 26 (1) ◽  
pp. 3-15 ◽  
Author(s):  
Joel R. Stegall ◽  
Jack E. Blackburn ◽  
Richard H. Coop
Keyword(s):  
Music Education ◽  
General Education ◽  
Student Teaching ◽  
Professional Education ◽  
Undergraduate Curriculum ◽  
Education Curriculum ◽  
Applied Music ◽  
Education Professional ◽  
Music Ensembles ◽  
Teaching Music

The purpose of this study was to develop ratings by National Association of Schools of Music member institutions of competencies for an undergraduate curriculum in music education. Competencies were limited to the cognitive aspects of basic musicianship, applied music, and music education methods. Competencies in general education, professional education (including student teaching), music ensembles, and competencies in the affective and psychomotor domains were excluded. Testing conditions and criteria also were excluded. A questionnaire composed of 99 competencies was mailed to each of the NASM schools believed to offer undergraduate degrees in music education. The respondents were asked to indicate their opinion of the value of each competency by rating it on a scale from one (low) to five (high). The result of the study is a list of 84 competencies with a mean rating of 3.5 or higher.

scholarly journals Educação musical e projetos sociais: discutindo a relação entre música, pertencimento e demandas sociais em dois países

2021 ◽  
pp. 1-19
Author(s):  
Elisama da Silva Goncalves Santos ◽  
Anderson Brasil
Keyword(s):  
United States ◽  
Social Context ◽  
Music Education ◽  
Sense Of Belonging ◽  
The United States ◽  
Learning And Teaching ◽  
Object Learning ◽  
The Social ◽  
Teaching Music

The social projects in music are a modern topic in the field of music education. Due to the importance of the point provided here, it is indicated the expansion of the object learning and teaching music beyond the aspects of social context in which these music social projects are inserted. Therefore, we seek to achieve an expanded look at the musical experiences offered in social projects not only in Brazil, but also in contexts with refugees originally from countries at war. In this article, we also illustrate experiences in social projects located in North Dakota, in the United States. Through dialogues with researchers of music education, we seek to reflect on the situation of refugees from countries at war, the sense of belonging, and the role of music education in communities in relation to the demands that permeate the musical aspects.

Teaching Music in Higher Education

2020 ◽  
Author(s):  
Colleen M. Conway
Keyword(s):  
Higher Education ◽  
Music Education ◽  
General Education ◽  
Student Learning ◽  
Teaching And Learning ◽  
The United States ◽  
Effective Teacher ◽  
Developmental Needs ◽  
Teaching Music ◽  
Music Education Majors

This book is designed for faculty and graduate assistants working with undergraduate music majors as well as non-majors in colleges and universities in the United States. It includes suggestions for designing and organizing music courses (applied music as well as academic classes) and strategies for meeting the developmental needs of the undergraduate student. It addresses concerns about undergraduate curricula that meet National Association of School of Music requirements as well as teacher education requirements for music education majors in most states. A common theme throughout the book is a focus on learner-centered pedagogy or trying to meet students where they are and base instruction on their individual needs. The text also maintains a constant focus on the relationship between teaching and learning and encourages innovative ways for instructors to assess student learning in music courses. Teaching is connected throughout the book to student learning and the lecture model of teaching as transmission is discouraged. Activities throughout the book ask instructors to focus on what it means to be an effective teacher for music courses. As there is limited research on teaching music in higher education, the book relies on comprehensive texts from the general education field to help provide the research base for our definition of effective teaching.

Creative Trends in Latin American Music-I

Tempo ◽  
1958 ◽  
pp. 28-34
Author(s):  
Gilbert Chase
Keyword(s):  
United States ◽  
Latin America ◽  
Latin American ◽  
The United States ◽  
American Music ◽  
Western Hemisphere ◽  
Latin American Music

Any survey of music in the area that we are accustomed to call Latin America should begin with certain basic distinctions intended to dissipate the superficial notion of cultural homogeneity. Let us agree at the outset to regard the term “Latin America” as a loose geographical designation for those portions of the Western Hemisphere that lie outside of Canada and the United States. It is better to resort to such circumlocution than to risk the misleading assumption of a fundamental similarity in the twenty countries with which we are concerned.

Failure to Accelerate

2017 ◽  
Author(s):  
Peter Scott
Keyword(s):  
United States ◽  
The United States ◽  
International Perspective ◽  
Production Costs ◽  
Car Ownership ◽  
Success Story ◽  
Car Industry ◽  
Fundamental Reason ◽  
European Standards ◽  
Market Diffusion

From an international perspective, the inter-war car industry was a British success story. Britain ranked only second to the United States as the world’s leading producer of, and market for, automobiles, owing to a relatively strong domestic market by European standards. However, while consumers’ expenditure was high, it was not deep—car ownership per capita in 1938 being around a third of US levels. This chapter examines why the British automobile sector failed to take off into mass market diffusion. A number of important factors are highlighted, including lower British wages relative to the United States; punitive vehicle and petrol taxation; and the high unit production costs incurred in serving a market too small to justify Fordist mass production. However, a more fundamental reason was the low priority given to car ownership in a relatively small, densely populated, and highly urbanized island nation with well-developed public transport networks.

Diversifying Musical Experiences in Schools and Music Teacher Preparation Programs

2019 ◽  
pp. 891-901
Author(s):  
Robert H. Woody ◽  
Mark C. Adams
Keyword(s):  
United States ◽  
Music Education ◽  
Popular Music ◽  
The United States ◽  
Music Teacher ◽  
Education Programs ◽  
Preparation Programs ◽  
Music Making ◽  
Large Ensembles ◽  
Classical Traditions

This chapter discusses the innate differences between vernacular music-making cultures and those oriented in Western classical traditions, and suggests students in traditional school music education programs in the United States are not typically afforded opportunities to learn skills used in vernacular and popular music-making cultures. The chapter emphasizes a need to diversify music-making experiences in schools and describes how vernacular musicianship may benefit students’ musical development. It suggests that, in order for substantive change to occur in music education in the United States, teachers will need to advance beyond simply considering how to integrate popular music into their traditional large ensembles—and how preservice music teacher education programs may be the key to help better prepare teachers to be more versatile and philosophically open to teaching a more musically diverse experience in their future classrooms.

The Oxford Handbook of Preservice Music Teacher Education in the United States

2019 ◽  
Keyword(s):  
United States ◽  
Teacher Education ◽  
Music Education ◽  
State Level ◽  
The United States ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Education Faculty ◽  
Song Writing ◽  
Faculty And Administrators

The Oxford Handbook of Preservice Music Teacher Education in the United States aims to work from within the profession of music teacher education to push the boundaries of P-12 music education. In this book, we will provide all of those working in music teacher education—music education faculty and administrators, music researchers, graduate students, department of education faculty and administrators, and state-level certification agencies—with research and promising practices for all areas of traditional preservice music teacher preparation. We define the areas of music teacher education as encompassing the more traditional structures, such as band, jazz band, marching band, orchestra, choir, musical theater, and elementary and secondary general music, as well as less common or newer areas: alternative string ensembles, guitar and song-writing, vernacular and popular music, early childhood music, and adult learners

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