History Of Music Education Research Articles

Charles Faulkner Bryan: His Life and Music (review)

Reviewed by: Charles Faulkner Bryan: His Life and Music Terese M. Volk Carolyn Livingston , Charles Faulkner Bryan: His Life and Music ( Knoxville, TN: University of Tennessee Press, 2003) There are many biographical studies in music education history.1 Indeed, it seems one of the easiest fields in historical research to mine—that is, until the researcher finds him or herself in the midst of what could be a years-long endeavor. Then the choice is to commit to the research or quit. Carolyn Livingston did not quit. Her research began in 1981, continued through twenty years of investigations, interviews, library searches, and analyses, and has culminated in Charles Faulkner Bryan: His Life and Music. This book is not just the usual sequence of events in the life of a musician. Rather, it is more like becoming acquainted with someone you have never met before, yet feel comfortable with immediately. Charles Faulkner Bryan is genuinely likeable, and Livingston brings the person of Bryan to the fore and lets his humanity shine through his life and his music. Charles Faulkner Bryan: His life and Music is divided into two sections (pre- and post-WWII), each with four chapters. Livingston looks at this musician from several perspectives: the composer, the educator, the researcher, and the man. Appalachian folk music is the theme that connects the chapters, as it connected the events in Bryan's life. [End Page 211] Chapter 1 focuses on Bryan's youth, during which he and his family discovered his musical abilities. From performing at school, to building his own "turtle uke,"2 to his studies at the Nashville Conservatory of Music, Livingston describes the family support behind his developing musicality. Chapter 2 shows the reader his humanity even more clearly. Livingston tells of his early career as a music educator at the Tennessee Polytechnic institute; his marriage; and his mentorship of a young Black singer, J. Robert Bradley. That Bryan, a white Southerner, gave voice lessons to Bradley was not only generally unheard of with segregation as it was in the United States during the 1930s, but was dangerous to his career as well. Bryan moved on to teach at Peabody College in Nashville and then worked for the Works Progress Administration (WPA) Music Program on the Tennessee Music Project. Later he became the assistant state coordinator for the Tennessee State Defense Council. During both of these service positions, he called for music education improvements in Tennessee. Commenting on his work during this period, Livingston says, "Bryan was both of his time and ahead of his time . . . grounded in reality and yet visionary."3 In Chapter 3, Livingston gives the reader a review of the "status of folk music scholarship and performance" as it existed in the 1930s.4 She takes pains to introduce the folk music researchers and musicians who influenced Bryan in his work with Appalachian folk music: Lucien L. McDowell and Flora Lassiter McDowell, George Pullen Jackson, Charles Seeger, and John Jacob Niles. These connections and friendships were to influence his awareness of Appalachian folk music and would continue for the rest of his life. By 1945 he had come to be considered an authority on folk music in his own right and his vision of this music came to encompass "the ultimate meaning in representing America itself."5 Chapter 4 traces Bryan's development as a composer. It is in this chapter that Livingston begins to incorporate analyses of Bryan's most popular compositions. Her reviews of these compositions are clear and detailed without being overly theoretical. Some of the selections she analyzes include "Charlottown," "The Ballad of the Harp Weaver," and the White Spiritual Symphony. The Symphony in particular shows his respect for the folk songs he incorporated in this composition. Indeed, as Livingston points out several times, he maintained the integrity of these songs in all his compositions and performances. Chapter 4 concludes with Bryan's academic achievements: a Guggenheim Fellowship for music composition and his acceptance at Yale University to study composition under Hindemith. Livingston continues the discussion and analyses of Bryan's compositions in Chapter 5, detailing his time at Yale. His completed choral works from this period include the "Bell...

An Approach to the History of Music Education in Latin America: Part II: Music Education 16th–18th Centuries

This article follows up on research published in the Bulletin of Historical Research in Music Education in September 1997, on the subject of music education in Argentina from the sixteenth the eighteenth century. (1) purpose of this second study is provide a general panorama of music teaching in the rest of Latin America during the same period, applying the same methodology and categorization of data. Because the colonizing movement began in the Caribbean Islands and extended across Latin America, examples have been selected give punctual data from different countries that may serve as a basis introduce the tendencies in music education in Latin America. Some similarities and differences between music education in Argentina and in other Latin American countries will be discussed. Institutionalized Music Education previous article on Argentina and a diachronic study on music training Institutions (2) both noted that the Catholic Church exercised an outstanding role in music education during the colonial period. Almost every important ecclesiastical see sustained music training, through chapel masters' action. Different sources provide data refering the insular region, especially in the present Dominican Republic: Since 1512 there were two bishoprics, one of la Vega and the other of Saint Domingo de Guzman, that had chapel masters, organists and choruses. (3) The archdiocese of Santo Domingo was created in 1504 by Julio II's papal bull. Cathedral was finished in 1540. When its construction was authorized in 1512, a chapel master and an organist were included. (4) Similar information has been obtained regarding Cuba. In the decree establishing the music chapel of the Santiago de Cuba Cathedral dated February 10, 1682, Bishop Juan Garcia de Palacios was appointed, to entrust Domingo de Flores, city neighbor, the music in organ chant for the Saint Cathedral. (5) This musician was asked conduct the music activity and teach children and priests, or anyone else who expressed interest, the organ chant in order celebrate Mass in a decent way especially on solemn or festival days. In his contract he was granted seventy-five pesos per year and, ... was obliged by himself and by all the chapel members attend Church and sing vespers and masses on the most solemn days as those of first class, Palm Sundays, Holy Maundy, Good Friday, Easter Saturday, November twenty-nine, Saint Sacrament Fetes and any other celebrations held in such Church as well as those of brotherhoods but at private ones performed by devoted people at which he will have no obligation assist unless he receives a payment according his work. same is understood for fetes performed at convents and hermits. named Domingo Flores will have the duty compose at least one complete mass per year, plus Christmas carols and songs be sung at Church in vespers and in Christmas celebrations. He also has compose for less solemn occasions. (6) In South American territories there were similar situations. It is known that Juan Perez Materano was chapel master in Cartagena de Indias, Colombia, from 1534 1552. (7) In the Brazilian colony, governed by the Portuguese Crown, the positions of chapel master and two chorus singers were created on December 4, 1551 at the Salvador see by royal letter. On August 17, 1552 the bishop of Salvador had already appointed musicians for the charge. (8) In the Captaincy General of Chile, in the city of Santiago de Chile: In 1725 the Ecclesiastical Cabildo [cathedral chapter] determined the budget create several musician positions for the metropolitan chanting house, including one of chapel master, that will receive a payment of 350 pesos per year, that were increased 408 two months later by Bishop Don Francisco Salcedo, 'with the duty teach music the chorus children and provide lessons all singers, because it was necessary that all clergymen could skillfully sing the plain chant and the organ or polyphonic one, as we have the experience that natives became pious by hearing music and chant. …

Response to Masafumi Ogawa, "Music Teacher Education in Japan: Structure, Problems, and Perspectives"

Response to Masafumi Ogawa, “Music Teacher Education in Japan: Structure, Problems, and Perspectives” Peggy Wheeler Masafumi Ogawa's paper presents challenge after challenge facing the teacher and the teacher educator in Japan. One has the sense that a lifetime of frustrations with the national curriculum, the set-up of student teaching, and the definition of music as a school subject each made its way into the paper. Even choosing to focus on teacher training still leaves a very broad topic for a relatively short paper. The central challenge seems to be the curriculum. How does the curriculum impact the teacher and the teacher training process? How does the underlying definition of music as well as the purpose that definition implies affect the curriculum? His paper also identifies a series of dualities or tensions that exist between two important components: the curriculum or teacher education. The fact that Japanese and American music education systems seem to be at opposite ends of some of these dualities is a compelling reason for exploring and discussing them. In the arena of teacher preparation, the dualities as they appear in their relative proportion of the teacher education curriculum are (1) performance versus academic music courses, such as history, theory, and composition, and (2) education versus music courses—a familiar lament among music education students. In student teaching, modeling in the classroom by the cooperating teacher is contrasted with providing opportunities for the student teacher to experiment with the teaching process. Evaluation of student teaching is a three-way tension involving the student teacher, the cooperating teacher, and the university professor. In his discussion of the school curriculum, Ogawa deplores the triumph of attitude over skill, and pleads for discernment in the application of national standards to meet the needs of the community and students. He returns to the nature of music and music education at several points in his paper, expanding the meaning and function of music beyond music as art. His dissatisfaction with the seemingly teacher-proof curriculum peaks when he advocates for the autonomy of the teacher in the classroom. Giving teachers the opportunity to devise their own curriculum seems to go to the other extreme. Having taught with colleagues who had virtually no training in music, a standard curriculum at the district or national level provides some essential boundaries. Ogawa's discussion of the impact of the national Course of Study on Japanese music education was particularly intriguing. As teacher certification in the United [End Page 205] States has begun to promote and reward National Board Certification, it is striking to consider the restrictions and disempowerment that Ogawa describes and credits to the omnipresent Course of Study. For someone unfamiliar with the Japanese system of education, some of the descriptions were enticing but brief. Other descriptions were a bit confusing, but after visiting the MEXT website, I think most of this confusion is due to translation. It is difficult to take any phrase that is packed with meaning in one culture and find a suitable phrase in another culture that will convey the associations that are connected with it. I would recommend quoting complete descriptions or including an appendix. A reference to the history of Japanese music education on Kensho Takeshi's website would also provide more context, particularly for the connection between emotion, music, and ethics. I want to thank Ogawa for stimulating me to consider issues of curriculum including how I have changed my views of curriculum since I returned to school teaching. First, I will describe my change of perspective. Then I would like to close by describing an aspect of curriculum and teacher education that has surfaced this past year. I would call this the meta-curriculum, and I wonder how we can prepare new teachers for this part of teaching. It seems to me that the world of philosophy is the quintessential and perhaps the only appropriate arena for this preparation. Beyond Curriculum in the Classroom Like the first spring rain on newly cut grass, music education has a fresh and vital look to me. I returned to public school teaching this year after a hiatus of seventeen years. After focusing on viola performance and liberal arts...

Looking Back in Time: On Being a Music Education Historian

Introduction In educational research today there is certainly more acceptance of both qualitative and quantitative methods than ever before. In 1990 these were known as the and social-scientific methods. paradigms behind these two methodologies are diametrically opposed. Where the humanist seeks document unique experiences, the social scientist is problem oriented, looking for uniformity of behaviors across a population in order predict the solution the problem. humanist tends prefer small-scale, individualized interpretation the social scientist's documentation of variations from the norm of a population of individuals. humanist writes in a flowing, narrative style, while the social scientist uses the structure and language of an experimental report. These same polarities occur in music education research. Although the first publications of Journal of Research in Music Education were heavily historical, research in music education developed primarily through the methodologies of the social sciences. Today researchers have breached the quantitative world of The Effect of __ on __, and opted for the direct observation and narrative writing style of qualitative methods. There are even a few working in that middle ground who employ both methodologies for a more balanced view of the research problem. Some researchers even recommend methods from other disciplines help better understand what happens in music education classrooms. (1) Like the historical disciplines of other subjects, historical studies in music education have always been predominantly a qualitative field. Indeed, most of the literature about historical music education research solidly defends the humanistic approach. George Heller and Bruce Wilson emphasized the need for the narrative form. (2) They stated that music education history does not seek isolate causes but to complex relationships. (3) However, there are various way try explain complex relationships and qualitative methods are only one of them. While not many in number, there are quantitative research articles in music education history. (4) This change in methodology parallels the research of historians across the country. To help understand the methodological possibilities, this research paper compares the approaches described in Charles Tilly's article How (and What) are Historians Doing? (5) with applications in historical music education research. Some of the examples Tilly cited do not have exact parallels in music education research. In those cases, I found studies that employed a similar approach, or otherwise fit into Tilly's categorical descriptions. To further develop this comparison, I also describe various methodologies for historical research (immersion/saturation, oral history, content analysis, collective biography, and the use of genealogical and government sources) and apply them music education research, as ways document music education history--to look back in time. Approaches Historical Investigation In 1990 Charles Tilly described various types of investigative modes available the historical researcher, each of which represented a valid, but alternative, view of history. To help clarify his ideas of alternative histories, he divided research into four areas or quadrants, one for each approach uncovering history. These are: small-scale, humanistic; large-scale, humanistic; large-scale, social-scientific; and small-scale, social-scientific. (6) To better understand these quadrants, Figure 1 is a comparison of research in historical music education with the examples in Tilly's article. Tilly first addressed the small-scale, humanistic approach, represented by Carlo Ginsberg's Cheese and the Worms: Cosmos of a Sixteenth-Century Miller. (7) This is essentially a study of one man, a miller named Dominco Scandella, in one place and time, an Italian village of the sixteenth century. …

Book Review: Living Music in Schools 1923-1999: Studies in the History of Music Education in England

Book Review: Living Music in Schools 1923-1999: Studies in the History of Music Education in England

Living Music in Schools 1923–1999: Studies in the History of Music Education in England by Gordon Cox. Aldershot: Ashgate Publishing Limited, 2002. 159 pp, £35, hardback.

Living Music in Schools 1923–1999: Studies in the History of Music Education in England by Gordon Cox. Aldershot: Ashgate Publishing Limited, 2002. 159 pp, £35, hardback.

Living Music in Schools 1923-1999: Studies in the History of Music Education in England

Music in schools 1923-1999 - an educational debate: 1923-1924 1947-1948 1973-1974 1998-1999. 'Changing the face of school music' - Walford Davies and the development of BBC school music broadcasts 1924-1947: Walford Davies The Gramophone Company and Walford Davies The BBC Conclusion. Musical education of the under-twelves 1949-1983: Music in Primary Schools 1949-1972 Musical education of the under-twelves (MEUT) The progressive ideal and musical creativity Traditional concerns Conclusion. 'A house divided' - music education during the schools council era of the 1970S: The Schools Council and its Music Projects 'Music education of young children' 1970-1976 'Music in the Secondary School Curriculum' 1973-1980 Discussion Conclusion. Talking about music teaching - recollections and realities: Student music teachers talking Secondary music teachers talking Conclusion. Conclusion - Rhetorical discourse about the place of music in the curriculum Stages of curriculum change in music Living music in schools in the future. Afterword - towards a usable past for music educators: Issues in the history of education Bernarr Rainbow and 'The land without music' Broadening horizons Towards a usable past for music educators.

Book Review: Living Music in Schools 1923–1999: Studies in the History of Music Education in England

Book Review: Living Music in Schools 1923–1999: Studies in the History of Music Education in England

The Aztec Empire and the Spanish Missions: Early Music Education in North America

While the largest record on North American music is found in the northeastern colonies, early North American hymnody can be traced from the sixteenth century in the southwestern region of what is now the Unites States, and even farther, into what is now Mexico City. In the study of the history of music education in the United States, some researchers assume that the music of American Indians was completely neglected by British colonists, and that it did not figure in the establishment of the new musical culture. According to Abeles, Hoffer, and Klotman, early colonists brought their own traditions and ideas about music to the New World. Furthermore, the first colonists are said to have been too preoccupied with building a new country to be concerned about indigenous music. Consequently, little of the Native American music found its way into the formal music of the early colonies.1 The extent to which Native-American music found its way into the music of the early colonies is a matter for further study. However, some researchers have found that native North Americans were producing music and engaging in music education long before the establishment of the British settlements.2

A History of Music Education at Michigan State University

Music educators and college music teacher educators have long been interested in the improvement of music teaching. However, change has been difficult, since college music education is a hybrid of the liberal arts tradition, the conservatory tradition, and the teachers college tradition, instead of the result of programs designed specifically for music education.1 Change in music education may best be effected by changes in teacher training. These changes can be helped by attention to history, but unfortunately, historical research does not occupy a major place in music education, according to Allen Britton. He states that to know the teaching methodologies of the past is to avoid reinventing them.2 This study investigates the history of music teacher education at Michigan State University. Michigan State University (MSU) currently covers more than five thousand acres and serves more than 44,000 students.3 Located in East Lansing, Michigan, MSU began as Michigan Agricultural College (MAC) in 1855 and the first sixty-three students arrived in 1857. The School of Music is part of the College of Arts and Letters and currently has about six hundred students.

Reasons to teach music: establishing a place in the contemporary curriculum

Studies in the history of music education reveal much about the place and purpose of music in the changing curriculum. In this article, the ideas of some significant British music educators of the twentieth century are considered, in an evaluation of the apparent goals of music teaching that have been articulated over the decades. The connections between rationale and practice are discussed, with published ideas placed alongside the views of contemporary teachers in a small-scale questionnaire survey. The conclusion is proposed that school music, as a small part of the child's musical identity, must be modest in its intentions but ambitious in its provision.

The Vocal Teacher of Ten Thousand: E. Azalia Hackley as Community Music Educator, 1910–22

Known as “the vocal teacher often thousand, ”Emma Azalia Hackley (1867-1922) dedicated much of her career to the promotion of music activities in black communities. She organized dozens of community gatherings at which she taught music reading fundamentals, techniques of singing, and appreciation of the classics to huge groups of amateur musicians and the general public. This essay introduces aspects of the late nineteenth-century musical landscape in the United States that preceded Hackley's entry into music education, and recounts her career as a community music educator. The article concludes with the identification of more recent manifestations of the philosophical underpinnings that informed her teaching, thereby establishing connections between her work and contemporary educational thought. Hackley's own writings serve as the primary source material for this discussion whenever possible, supplemented by first-hand accounts of her activities that appeared in the black press and those written by her associates. Her accomplishments add an important chapter to the history of community music education which has thus far received little scholarly attention.

Historical panorama of music education in Latin America: Music training institutions/ Panorama histórico de la educación musical en Latinoamérica: las instituciones de formación musical

This article reports on ongoing research project concerned with the history of music education, both institutionalised and non-institutionalised, in Latin America. It describes the application of a data collecting framework for the analysis of printed sources as a means of obtaining information on the aims, methods, outcomes and personnel of a range of music teaching and learning situations. A general panorama on music teaching institutions in Latin America from the sixteenth up to the twentieth century is presented.

Calvin Brainerd Cady: Thought and Feeling in the Study of Music

Calvin Brainerd Cady (1851-1928) was an influential American music educator who developed a theory of music education that emphasized the unification of children's thoughts and feelings. Focusing on the development of artistic music-conception (the ability to hear music in the mind), Cady taught music's intellectual and emotional aspects simultaneously. Cady demonstrated the effectiveness of his theory through successful music education practices at John Dewey's laboratory school and at his own Music-Education School. Cady was a significant reformer who pioneered several new activities and principles that became standard practices. His practical theories and effective practice influenced many music educators and the course of American music education history. His unification of thought and feeling in the music curriculum is still relevant to current and future music education practices.

The History of Music and Music Education in Rhode Island

The History of Music and Music Education in Rhode Island

The Public Policy Roots of Music Education History

The roots of music education historical trends and events are usually found in societal conditions that create certain needs of the public, or of particular groups within a society. Public policy in the form of statutory law, official regulations and policies, and judicial decisions often develops to meet these needs. The Legislative Branch of the United States government creates statutory law, and the Executive Branch regulations and policies. Judicial decisions are the province of the Judicial Branch. Public policy shaped in response to societal need is not only one of the strongest influences on music education history, but it also guides much of what music educators do on a daily basis in their work. It is unusual, however, for music education historians to refer to public policy, and the professional literature only occasionally contains references to it. Yet, it is relatively simple to identify the relationship between public policy and such music education trends as multicultural education, special education, teacher education, youth music, technology, urban education, low student achievement, children-at-risk, gender equity, and other special interests. This article examines how societal need has engendered public policy, which in turn has guided the course of the music education profession toward multiculturalism in its programs and practices.

Musical Education of the Under-Twelves (MEUT) 1949-1983: Some aspects of the history of post-war primary music education

This article traces the history of Musical Education of the Under-Twelves (MEUT) from its birth in 1949 to its demise in 1983. Because it arose from a coalition of pre-war societies and associations it provides a valuable historical link, as well as an example of a later alliance with progressive ideas in education. The paper considers the following questions: What were the historical roots of MEUT? Why was MEUT formed? What new ideas were developed and debated, and how did these relate to traditional concerns? What accounted for the demise of MEUT? Through the investigation of such an association we can better understand how music as a curriculum subject changes over time.

Music Education History Sources at the MENC Historical Center

Music Education History Sources at the MENC Historical Center

The Göteborg connection: lessons in the history and politics of popular music education and research

BothPopular Musicand the International Association for the Study of Popular Music (IASPM) have been in existence for almost a generation. Given the radical social and political changes affecting the general spheres of work, education and research since the establishment of those two institutions in 1981, it is perhaps time for popular music scholars to review their own historical position and to work out strategies for the brave new world of monetarism facing those who will hopefully survive another generation after we quinquagenarian baby boomers of the rock era have disappeared from the academic scene. Of course, such a process of intellectual and ideological stocktaking requires detailed discussion of a wide range of political, economic and social issues that cannot be covered in a single article. I will therefore restrict the account that follows to a discussion of one particular set of historical strands affecting the development of popular music studies. This part of our history is virtually unknown in the anglophone quarters that have, for obvious reasons of language and music media hegemony, dominated the international field of popular music studies. It is, however, as I hope to show, a story of considerable relevance to more general problems of music education and research at the turn of the millennium. I shall return to these broader issues at the end of the article.

Music Education History Sources at the MENC Historical Center

Music Education History Sources at the MENC Historical Center