Music education for all: 1900s–1930s

Author(s):  
Stephanie Pitts
FORUM ◽  
2018 ◽  
Vol 60 (1) ◽  
pp. 111 ◽  
Author(s):  
JONATHAN SAVAGE

2019 ◽  
Vol 42 (1) ◽  
pp. 29-45
Author(s):  
Jane Southcott

In the 1840s, massed singing classes led by charismatic pioneer music educators such as Joseph Mainzer (1801–1851) sprang up across the United Kingdom. Mainzer was a much respected composer, music journalist, and music educator. Born in Trèves (Prussia), he traveled across Europe and settled in Paris, where he was part of the revolutionary Association Polytechnique that offered free education to the working classes. His mass singing classes were a remarkable success but aroused the suspicions of authorities. Mainzer left Paris for political reasons and moved to England, and after teaching across the United Kingdom, settled in Edinburgh. His arrival in Scotland was greeted with a degree of adulation reserved for celebrities. Across Scotland classes were established to disseminate his new system that was taught in larger centers and most small towns. Although Mainzer’s fixed-doh system did not long survive him and the subsequent arrival of the tonic sol-fa method in the 1850s, his work (and that of others) created an environment in which popular singing classes in schools, churches and the community could flourish. Mainzer was a skilled and charismatic educator. He advocated tirelessly for lifelong music education for all. Mainzer has been overlooked and deserves recognition.


2015 ◽  
Vol 102 (2) ◽  
pp. 54-61 ◽  
Author(s):  
Matthew D. Thibeault

2018 ◽  
Vol 8 (2) ◽  
pp. 66
Author(s):  
Baikune De Alba ◽  
Maravillas Díaz-Gómez

2020 ◽  
Vol 107 (2) ◽  
pp. 66-69
Author(s):  
Kurt Thumlert ◽  
Daniel Harley ◽  
Jason Nolan

The ongoing work by educators responding to calls for equity, diversity, and inclusion in music education shows the breadth of difficult work that has been accomplished as well as the challenging work that lies ahead. Our work explores efforts to rethink music education—for all—from the ground up, which requires disrupting many of the norms through which music education has been conventionally understood. In this article, we bring together lessons learned to offer five recommendations for music pedagogy and sound-based inquiry that support a more inclusive understanding of music—one that situates aural/sound/music learning experiences as actively critical and collaborative practices. We suggest that by developing a contextualized, community-based, learner-oriented model, we might be better equipped to create opportunities for all learners.


2020 ◽  
Vol 106 (4) ◽  
pp. 43-49
Author(s):  
Mara E. Culp ◽  
Matthew Clauhs

Students often enter secondary schools with increased autonomy over course selection and how they meet graduation requirements. Those who once participated in school music may discontinue music studies for a variety of reasons. Music teachers should be mindful of factors that may affect a student’s ability or desire to participate in school music. This article discusses these factors and suggests practices to increase access to music education for all students. By examining practices and considering ways they can be altered or expanded to provide more options and be more inclusive, music educators may be able to provide more opportunities for all students.


2014 ◽  
Vol 28 (2) ◽  
pp. 18-22 ◽  
Author(s):  
Ryan N. Bledsoe

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