Music technologist paradigms in music technology educationMüzik teknolojisi eğitiminde müzik teknoloğu paradigması

AimThe aim of this study is to inform the individuals who will prefer career steps for the departments because of the fact that music technology education in our country is not yet widespread on license basis and to give information about the field and to explain what career stages can be after graduating from department. In addition, a subordinate purpose of the study is to determine the qualities of the technologist candidate prepared for the music technology and to help him to prepare the appropriate qualities.MethodIt is one of the biggest misconceptions encountered today that music technology education is only concerned with dealing with voice recordings or with tone. As a result of this study, it is tried to be explained that the related education is divided not only into these two fields but also to more than one subfield. For this reason, discussions were held on what should be the career orientations of the music technology that benefited from the ideas of Phillips (2013), Middleton (2008), Wells (2001), Hosken (2011) and D'Escriv'an (2012). The method used in this study contains qualitative research methods as well as literature review.ResultAs a result of this research, music technology education has been seen as an indispensable element in today's music industry and it has resulted in a wide range of fan business opportunities from music supervisor, music composer, foley artist to music technologist who is not only on voice recording and tone recording. As a result of the study, it is concluded that preliminary studies have been completed that individuals who plan career in the field of music technology education will have more knowledge about their fields of study.Extended English abstract is in the end of Full Text PDF (TURKISH) file. ÖzetAmaçBu çalışmanın amacı, ülkemizde müzik teknolojisi eğitimi lisans bazında henüz yaygın olmaması nedeniyle bölümlerle ilgili kariyer basamaklarını tercih edecek bireylere alan ile ilgili bilgi vermek, bölümünden mezun olduktan sonra hangi kariyer basamaklarında olabileceklerini açıklamaktır. Ayrıca çalışmanın bir alt amacı müzik teknolojisine hazırlanan teknolog adayının sahip olması gereken niteliklerin belirlenmesi ve bu niteliklere uygun hazırlığını sağlamasına yardımcı olmaktır.YöntemGünümüzde müzik teknolojisi eğitiminin yalnız ses kayıt işiyle uğraşmak ya da tonmaystır olmakla ilgili olduğu sorunsalı karşılaşılan en büyük yanlış anlaşılmalardan biridir. Bu çalışma sonucunda ilgili eğitimin sadece bu iki alanla değil birden fazla alt alana ayrıldığı anlatılmaya çalışılmıştır. Bu nedenle Phillips (2013), Middleton (2008), Wells (2001), Hosken (2011), D’Escriv´an’ın (2012) fikirlerinden yararlanılmış ve müzik teknolojisi eğitimi gören müzik teknoloğunun kariyer yönelimlerinin ne olması gerektiğiyle ilgili tartışmalar yapılmıştır. İlgili bu çalışmada kullanılan yöntem Literatür taramasının yanısıra nitel araştırma yöntemlerini içerisinde barındırmaktadır.SonuçYapılan bu araştırma sonucunda müzik teknolojisi eğitiminin günümüz müzik endüstrisi içerisinde vazgeçilmez bir unsur olduğu görülmüş, müzik teknoloğunun işinin sadece ses kayıt ve tonmaysterlik üzerine olmadığı müzik süpervizörlüğünden, besteciliğe, foley artistine kadar çok geniş yelpazade iş olanaklarının olduğu sonucuna varılmış, müzik teknolojisi eğitimi alanında kariyer planlayan bireylerin çalışma alanları hakkında daha çok bilgi sahip olacağı öngürüsüyle çalışma tamamlanmıştır.

Alice Carey Inskeep (1875-1942): A Pioneering Iowa Music Educator and MENC Founding Member

The purpose of this study was to examine the professional contributions of Alice Carey Inskeep (1875-1942), who contributed significantly to music education through her positive and effective teaching, supervising, community service, and leadership in music education. Inskeep was born in Ottumwa, Iowa, and taught for five years in that city's school system after graduating from high school. She served as music supervisor in Cedar Rapids, Iowa, for most of the remainder of her career, where she provided progressive leadership to the schools and community. She was one of three people appointed to plan the initial meeting in Keokuk, Iowa, for what eventually became MENC: The National Association for Music Education, and she was one of sixty-nine founding members of the organization in 1907. The Keokuk meeting served as an impetus for Inskeep to travel to Chicago, where she studied with several notable music educators. Later, she sat on the organization's nominating committee, the first Educational Council (precursor to the Music Education Research Council) board of directors, and provided leadership to two of the organization's affiliates, the North Central Division and the Iowa Music Educators Association. She served as a part-time or summer faculty member at Iowa State Normal School and Coe College in Cedar Falls and Cedar Rapids, Iowa, respectively, and the American Institute of Normal Methods in Evanston, Illinois, and Auburndale, Massachusetts.

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

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.

Selected Indexes of the Academic and Professional Preparation of Music Supervisors in Canada

The purpose of this baseline study was to describe indexes of the academic and professional preparation of music supervisors in Canada, with particular emphasis given to the effects of geographic region in Canada, music supervisor type, and jurisdiction size type on these indexes. The study constitutes a first step toward the generation of a theoretical model and subsequently, of a competency-based model of the academic and professional preparation of music supervisors. The study is based on descriptive data derived from a national questionnaire survey of music supervisors in Canada.