Music Section Research Articles

Handbook of Research on Music Teaching and Learning. A Project of the Music Educators National Conference

SECTION ONE: ISSUES AND RESEARCH 1. Policy Frameworks, Research and K-12 Schooling 2. MENC: A Case in Point 3. Recent Trends and Issue in Policy-making 4. Law Research and Music Education INTRODUCTION: TOWARD AN UNDERSTANDING OF THE 'AIMS OF MUSIC EDUCATION' 1. Contemporary Curriculum Practices and Their Theoretical Bases 2. Theory, Research, and the Improvement of Music Education 3. A Comparative Review of Human Ability Theory: Context, Structure, and Development 4. Critical Thinking 5. Improvisation 6. Improvisation and Curriculum Reform 7. Adult Education 8. Music and Early Childhood Education 9. Systematic Research in Studio Instruction in Music 10. Philosophical Issues in Curriculum 11. Educating Musically 12. Distance Learning and Collaboration in Music Education SECTION THREE: MUSICAL DEVELOPMENT AND LEARNING Introduction: Issues in Perception, Cognition, and Development 1. Learning Theories as Roots of Current Musical Practice and Research 2. Systematic Instruction 3. Behavioural Research on Direct Music Instruction 4. Self-Regulation of Musical Learning: A Social Cognitive Perspective 5. Motivation and Achievement 6. Developmental Characteristics of Music Learners 7. Creative Research in Music, Visual Arts, Theater, and Dance 8. Computer-based Technology and Music Teaching and Learning SECTION FOUR: MUSICAL COGNITION 1. The Neurobiology of Music Cognition and Learning 2. Cognitive Constraints on Music Listening 3. The Development of Musical Abilities 4. Making Music and Making Sense of Music: Expressive Performance and Communication 5. Taking an Acquired Skills Perspective on Music Performance SECTION FIVE: SOCIAL AND CULTURAL CONTEXTS 1. The Sociology of Education and Connections to Music Education Research 2. Sociology of Music 3. Social Psychology and Music Education 4. Music, Culture, Curriculum and Instruction 5. Feminism, Feminist Research and Gender Research in Music Education 6. The Social Construction of Music Teacher Identity in Undergraduate Music Education Majors 7. Transforming Research in Music Education History 8. Music Transmission and Learning: A Conspectus of Ethnographic Research in Ethnomusicology and Music Education 9. Community Music: Toward an International Overview SECTION SIX: TEACHER EDUCATION Introduction: Fuzzy Teacher Education 1. Reform-minded Music Teachers: A More Comprehensive Image of Teaching for Music Teacher Education 2. Teaching as a Profession: Two Variations on a Theme 3. Changing Concepts of Teacher Education 4. Strengthening the Teaching of Music Educators in Higher Education 5. Research by Teachers on Teacher Education 6. Research in Music Student Teaching 7. Professional Development SECTION SEVEN: MUSIC EDUCATION CONNECTIONS Introduction: The Growing Impact of Partnerships: A Reason for Research 1. Policy Issues Connecting Music Education and Arts Education 2. The Evaluation of Arts Partnerships and Learning Through the Arts 3. The 'Use and Abuse' of Arts Advocacy and its Consequences for Music Education 4. Research in Visual Arts Education: Implications for Music Education 5. A Review of Research in Theater, Dance, and Other Performing Arts Education: Implications for Music SECTION EIGHT: NEUROSCIENCE, MEDICINE, AND MUSIC 1. Music and Neuroscience 2. Performing arts Medicine 3. Musicians' Health MIRIAM HENOCH, AND JOHN HIPPLE SECTION NINE: INSTRUMENTAL OUTCOMES 1. Nonmusical Outcomes of Music Education: Historical Considerations 2. Teaching Other Subjects Through Music 3. Research: A Foundation for Arts Education Advocacy SECTION TEN: RESEARCH DESIGN, CRITICISM, AND ASSESSMENT IN MUSIC EDUCATION 1. Philosophical Perspectives on Research 2. Maintaining Quality in Research and Reporting 3. Trends in Data Acquisition and Knowledge Development 4. Assessment's Potential in Music Education 5. Contemporary Issues in Qualitative Research and Music Education

Formal and Tonal Organization in a 17th-Century Ritornello/Ripieno Structure

Length, as such, is hardly criterion of aesthetic assessment. (The last movement of Schubert's Great C major symphony, for example, is not heavenly merely by virtue of the 145 number of bars it contains.) The question nonetheless arises: how does seventeenth-century composer deal with the more extended length of composition based on motetor madrigal text? While the sixteenth-century composer generally adhered to paratactical procedure, that is, technique of linking textual and musical phrases according to syntax and semantics, the composer of the early Baroque period discovered reiteration of textual and/or musical sections as one of the fruitful possibilities for expanding and structuring work. Michael Praetorius is the only theorist/composer of the seventeenth century to address the topic of musical repeats at some length. In his discussion of musical terminology, volume III of Syntagma musicum, he acknowledges the Italian origin of ritornello and ripieno.l As one might expect, the entry ritornello in an etymological dictionary refers the reader to the infinitive ritornare, return or repeat, and identifies the term's primary usage as: a verse or groups of verses that are repeated within poetic structure. Only secondarily does the dictionary allude to the musical usage that emerges at the end of the sixteenth century: musical strand that repeats. Three

Alerts

Because sets of music are not held by the British Library Document Supply Centre they can only be borrowed from other libraries by direct application to the library which holds a particular set. This is by no means as straightforward as locating and handling other material so the United Kingdom Branch of the International Association of Music Libraries, Archives and Documentation Centres (IAML:UK) decided that there was a real need for a guide to help library staff (including those with no specialist musical knowledge) to obtain and supply sets of vocal music to their users as efficiently and effectively as possible. This guide, prepared by a team of specialist music librarians from public and academic libraries, has now been published as Sets of Vocal Music. A Librarian's Guide to Interlending Practice, Malcolm Lewis (Ed.), ISBN 0 9502339 6 X, at £7.50 and is available from the Music Section, British Library Document Supply Centre, Boston Spa, Wetherby, Yorkshire LS23 7BQ. Note that it is not a British Library publication and cheques should be made out to IAML.

Putting the Experience of the World at the Nation's Command: Music at the Library of Congress, 1800-1917

Between 1800 and 1917 the music section at the Library of Congress grew from a few items in The Gentleman's Magazine to almost a million items. The history of this development provides a unique view of the infant discipline of musicology and the central role that libraries played in its growth in the United States. Between 1800 and 1870 only 500 items were acquired by the music section at the Library of Congress. In 1870 approximately 36,000 copyright deposits (which had been accumulating at several copyright depositories since 1789) enlarged the music section by more than seventy fold. After 1870 the copyright process brought an avalanche of music items into the Library of Congress. In 1901 Herbert Putnam, Librarian of Congress, hired American-born, German-educated Oscar Sonneck to be the second Chief of the Music Division. Together Putnam and Sonneck produced an ambitious acquisitions program, a far-sighted classification, cataloging, and shelving scheme, and an extensive series of publications. They were part of Putnam's strategy to transform the Library of Congress from a legislative into a national library. Sonneck wanted to make American students of music independent of European libraries and to establish the discipline of musicology in the United States. Through easy access to comprehensive and diverse collections Putnam and Sonneck succeeded in making the Library of Congress and its music section a symbol of the free society that it served.

EATS: A Folk History of Texas Foods by Ernestine Sewell Linck, Joyce Gibson Roach

Reviews 275 He himself is an informant in the book, “an Anglo growing up in the El Paso area half a century ago.” He presents material collected over the past “twentyplus years” and lends insight into ethnic composition and development, for Mexican-American cultural elements are Indian, Spanish, Mexican, and Anglo-American. The book makes one aware that ethnicity includes not only ancestry, race, national origin, and language usage, but also group values, rules of social interaction, social customs, and perception of behavioral roles. West not only presents themes found in Mexican-American folk narra­ tives with examples of their style of presentation, such as don Cacahuate tales (trickster figure), but he addresses the issue of ethnic diversity and meaning and understanding of ethnic membership. For instance, these things reveal themselves in the anonymous mural works of a neighborhood with their themes of community, common bond, ethnic identity, and political concerns; Virgin of Guadalupe, myth of Aztlan. He recognizes that Hispanic culture is not monolithic by mentioning the difference between the northern New Mexico Hispanic ways and the border area Hispanics. And he does not go over old material nor simply present customs, beliefs, ritualsbecause they are considered exotic by Anglo-Americans. As he presents the material, what emerges is the dominance of the urban as the context for current Mexican-American folk material. Folk arts gravitate to barrio walls, to low rider cars; folk drama and dancing cease to be dominated by the country setting and “urban belief tales” arise. West’s book gives a good framework which can assist a person in attempts to fill in the gaps in Mexican-American folk knowledge. And although the Mexican-American music section lacks transcriptions of the music (the source notes contain only one) and folk clothing is hardly touched upon, the book does give a broad range of information and, more importantly, reveals a sense of Mexican-American ethnic identity and degrees of acculturation. RAMON SANCHEZ University of New Mexico EATS: A Folk History of Texas Foods. By Ernestine Sewell Linck and Joyce Gibson Roach. (Fort Worth: Texas Christian University Press, 1989. 257 pages, $23.50.) Everyone loves food. Even people who hate to cook, hate to eat, hate everything about the gastronomical process, love food. Also, almost everyone has an idea of how food should be prepared. Let’s face it, no one cooks turkey and dressing like your Grandmother Hooley did; no one bakes an apple pie like Aunt Martha’s; no one can whip up a tureen of chicken and dumplings like Cousin Bess; and absolutely no one makes anything as good as Mom used to make it. The question that burns with the intensity of dyspepsia is “Why not?” Surely the onslaught of fast-food joints, food processors, freeze-dried dinners, and the cardinal culinary sin, the cake mix (ugh!) should not com­ 276 Western American Literature pletely diminish the gourmet talents of yesteryear. But such abominations have almost ruined food; they have led to a recession in quality that makes pot likker and poke sallet antique memories along with son-of-a-gun-stew, corn dodgers, and Hoppin’John. In EATS, folklorists Sewell and Roach offer much more than mere explanations for why food tasted better twenty, forty, even a hundred years ago. They also do more than merely revive a time when counting calories and measuring cholesterol were unthinkable, when being well-fed (not just full) was as much an expectation as a right. They recall a time when eggs were measured in pounds, when heavy cream and lard were required for decent baking and frying, when “Let’s Eat” was a battle cry to signal an onslaught on vittles that had been carefully prepared for hours over a red-hot stove with utensils that would require hard scrubbing to be readied for the next bout with the demon who attacks us all:hunger. The authors have stuffed EATS with the history, lore, myth, and miscon­ ceptions surrounding this single activity shared by all humans. Centering their study in Texas, where the South met the West—at least on the supper table— and was forever changed by the experience, they catalogue compromises and innovations...

Cosimo Bartoli on music

To students of sixteenth-century music the Florentine man of letters Cosimo Bartoli (1503–72) is known chiefly for two statements made in the third dialogue of his Ragionamenti Accademici. One is a comparison of sculptors and musicians, with Donatello and Ockeghem seen as precursors of Michelangelo and Josquin. The other is an encomium of Verdelot, called the greatest composer after Josquin, to which is added the name of Arcadelt who ‘faithfully trod in the footsteps of Verdelot’. A number of musicologists have noticed that Bartoli had quite a lot more than this to say about music, and have cited other remarks from his work; but no one has to my knowledge dealt with the whole of the musical section of the Ragionamenti, and only Bartoli's recent and very excellent biographer Judith Bryce has spoken of the subject in the context of its author's career and personality.

Jerome David Kern: Innovator/Traditionalist

JEROME KERN was born on January 27, 1885, and the centennial of his birth has occasioned a spate of extended articles in the cultural sections of our newspapers. The happy coincidence that his 100th birthday fell on a Sunday and could be celebrated in the Sunday theater or music sections possibly accorded him somewhat handsomer treatment than he would otherwise have received. Few of these articles were well intentioned but

Sung Hui Tsung's Musical diplomacy and the Korean response

The introduction to the Sung shih monograph on music stresses the value of music to the ruler in the following way: ‘The second of the four mainsprings of kingly government is music, which brings the minds of the people into harmony and transforms the world.’ Music naturally played a major role in court ritual, especially in the sacrifices at the Temples of Heaven and Earth and the imperial tombs. The full complement of musicians at court in the early eleventh century was over seven hundred, and the control of music came under the Court of Imperial Sacrifices, T'ai-ch'ang-ssu, whose President had overall responsibility for all musical affairs including those to do with pitch, texts, dances and military music. One of his subordinates, the Hsüeh-lü-lang took charge of the lü-lüwhereby Yin and Yang are brought into harmony. He arranged the positions for the musicians and dancers of the palace orchestra and the special orchestra. It was he who held the flag to indicate the beginning and end of musical sections at the great sacrifices. When he raised it the trough (chu) was thumped and the music started, and when he lowered it [the back of] the tiger (yü) was scraped and the music stopped. He was in charge of all matters of musical precedence.

Judgments and dimension analyses of perceived sound quality of sound-reproducing systems.

In two experiments two or three subject groups—“listeners in general” (L), musicians (M), and “hi-fi subjects” (HF)—made evaluative ratings, similarity ratings, and verbal descriptions concerning different sound-reproductions of certain music sections. The reliabilities of the ratings were in general high. Interactions between reproductions and music sections appeared, giving different ratings/rankings of reproductions at different music sections. Some differences in ratings between the L group and the other groups were suggested. Dimension analyses revealed some dimensions as “distinctness,” “brightness,” and “loudness.” Other possible dimensions were suggested by the verbal descriptions.

Kogojeva scenska glasba »V kraljestvu palčkov«

Kogojeva scenska glasba »V kraljestvu palčkov«

Marjan Kozina. Prispevek za biografijo

Marjan Kozina. Prispevek za biografijo

Some Chinese terms for musical repeats, sections, and forms, common to T'ang, Yüan, and Tōgakuscores

Hayashi Kenzō has presented evidence of close links between the notation-signs of the Tun-huang musical MS, Pelliot No. 3808 (henceforth P), and those for biwaand shōin current Tōgaku part-books. In addition to this relationship, however, there are also extensive parallels in technical terms, not hitherto examined. In many instances, these same terms appear in the brief musical text preserved in early Yüan printings of the Shih-lin kuang-chi(henceforth SLKC), reproduced in facsimile in Pian. The Tōgaku part-books evidently reflect Chinese and indeed T'ang idiom.

Inside LC's Music Section

Inside LC's Music Section

The after-Life of Vitruvius in the Middle Ages

CLUNY III has been the subject of two articles in the Journal of the Society of Architectural Historians. In the first of these (vol. II, no. 3, July 1942, pp. 3-5) its distinguished place in the general history of architecture was defined, and in the second (vol. xvI, no. 3, October 1957, pp. 3-II) certain results of the excavations were presented. In the course of a twenty-year study of the abundant dimensions established in the excavations, it became increasingly clear that the engineering and architectural work on the church was technically of a high order. One critic of my work, who did not see the data, says (Speculum, vol. xxxvI, no. 3, July 1961, p. 472) that this building was achieved by masons, not architects in our sense of the word... precise measurements ... would have amazed the mediaeval mason. This is the conventional opinion, but it is simply not applicable to a great building of the very first category like Cluny III. In our vast ensemble of calculations we recognized a typical (and inevitable) margin of error of I 12 to 3 inches approximately, with a maximum of 4 inches. Present-day builders, using modern apparatus, are accustomed to deal with discrepancies up to 2 inches. The settingout of Cluny III, as we know from the remarkable plan at I:Ioo made by Frederic Palmer, was unusually precise for a mediaeval building. The men responsible for Cluny III were certainly not masons. Two of them are known from contemporary texts as architects, members of the cultivated elite who are known, from another contemporary text, to have been drawn from far and wide to the Cluny of Abbot Hugh. The Abbot had special ecclesiastical faculties which permitted him to receive them from other institutions. One of the architects, Gunzo, had been abbot of the important monastery of Baume in the Franche Comte, and doubtless possessed administrative gifts. He is reported as a psalmista praecipuus and supposably knew Vitruvius, who has a musical section (Lib. v, cap. Iv). The other architect, Hezelo, was a former canon of Liege who became a monk of Cluny multo tempore before his death in 1123. Liege, near the old Imperial center of Aix-la-Chapelle, had a renowned school in the early Middle Ages. Hezelo, who came of a good family, was widely known and respected, both personally and academically. He is reported as singulari scientia etpraedicabili lingua and as a mathematician. Hildebert, bishop of Le Mans (a notable contemporary figure) calls him clarissimus.'

Folklore activities of the Musep do Dundo

The Dundo Museum (Lunda) of the Angola Diamond Company is continuing, through its musical section, the defence of the traditional folklore of the native populations of the district in which it develops its mining exploitations, and of the surrounding areas. As is known, the Museum is situated at the headquarters of the mining field, the town of Dundo on the River Luachimo, an important tributary of the Cassai. Speaking generally, it may be said that this activity has two forms: the first, or direct, consists in the action of the Museum on the folklore of the inhabitants of a large area around Dundo, which is the most populous of the district; the second, in the systematic collection of musical pieces in regions situated far away, where direct action is materially impossible.

The Two Puzzle Canons in Busnois's Maintes femmes

ent. Since this work comprised two separate and distinct musical sections, Busnois had a twofold opportunity to exercise his powers of invention. The result was two highly ingenious yet utterly different permutations of musical thought, two puzzle canons, each intriguing and each unique. It is these which will engage our attention. The Seville MS faithfully carries out Busnois's intention in its suppression of the tenor part, thus allowing the performer to solve the riddles unaided. The Canti C, however, prints not only the verbal canons but their resolutiones in musical notation, as well (see illustration). Petrucci and his editor doubtless felt 1 Venice, I504. Busnois's work is found on fol. 1 I7v-Iir8. 2 Seville, Biblioteca Colombina, MS 5-1-43, fol. Io7V-Io9r. A rough translation of this text (which contains a number of scribal errors, grammatical and otherwise) might run: Many women have told me often that they would die if they should ever lose my favor -but this is merely talk. I am not dismayed by this, but-what is more-I assure you that the several who have lost it are in very good shape at the present time. Whether additional verses ever existed can no longer be determined, for, so far as we know, this work by Busnois is extant only in these two sources. s Johannis Tinctoris, Diffinitorium musicae, Scriptores de musica medii aevi, ed. E. de Coussemaker, Vol. IV, p. I79.

Half Century Highlights

from Keokuk, and several speakers gave accounts of what had taken place in that Iowa city. Next summer, after a rugged first year of teaching, I attended the annual meeting of the NEA in Cleveland. The Music Section, which met in The Old Stone Church, was presided over by Frances Elliott Clark and again we heard about the meeting at Keokuk and the founding of the Music Supervisors National Conference. The third Conference was held in Cincinnati in 1910.

The Establishment of the Music Supervisors National Conference, 1907–1910

a conference of public school music supervisors which took place in Keokuk, Iowa, on April 10-12, 1907. This conference had been called with no greater purpose in mind than to inspect and discuss a new method of teaching the reading of musical rhythms developed by Phillip C. Hayden. Hayden was the supervisor of music in Keokuk. His activities in the field of public school music were well known, for he was editor of the School Music Monthly, the first periodical devoted exclusively to this phase of education. He was also the secretary of the music section of the National Education Association, in which capacity he conducted for a number of years a large correspondence with his fellow workers in the field.' In 1905, Hayden published several articles describing his experiments in the classification and teaching of rhythm forms.2 He felt that the work was showing very good results, and

A Music Section Advocated for the A.A.W.B.

A Music Section Advocated for the A.A.W.B.

Music Librarianship

In offering the subject of Musical Librarianship to you this afternoon I have had to decide which of its several aspects I should attempt to describe, for there are several kinds of music librarians, with somewhat differing functions. The librarian of the Music Room of a great national library, such as the British Museum or the Vienna Hofbibliothek, will manage his collections differently from the librarians of private collections or teaching institutions, whose jobs again will bear only passing likeness to the librarian of an established orchestra or light music unit, while an assistant running the music and gramophone sections of a municipal or county library may scarcely be on nodding terms with any of these. There is ample matter to fill my time in describing my own job of servicing the materials of music for radio, but I have no wish to exacerbate your nerves with an essay on “a day at the B.B.C.”