Music Commons^™

Politics, Ethics, Leadership, And Professionalism. Or: Why Should The Leadership Of Music Teacher Education Pay Attention To The Global Crises Of Economy And Climate?, Geir Johansen

Leading Music Education International Conference

This paper takes the relationship between the macro, meso and micro levels of society as its point of departure, with music teacher education as its case. The attention is directed towards how musical leadership, in this case the leadership of music teacher education faces dilemmas of an ethical, political and professional character and discusses if and how such dilemmas can possibly be dealt with. Based on a theoretical ground that affords the present social-cultural condition of our western societies to be described as one of modernity in its extremes (Giddens) we can see how the self driven dynamics of social …

Musical Integrity And The Practice Of Human Becoming, Mark Whale

Leading Music Education International Conference

It strikes me that there are just two categories of “music” and “music learning.” In the first category, each “sells out,” as it were – one may also say reduces itself or is reduced – to a particular ideology, a trend in the market, a convention, a social theory, an educational idea, an apparent reality, a research result and so on. In the second category, music and music learning, in every moment of their practice and engagement – while, on the surface, they might appear to be following a particular convention or trend – in actuality have a self-critical sense …

Music Education As Dialogue Between The Outer And The Inner, Elin Angelo

Leading Music Education International Conference

This paper is based on a study of a Norwegian jazz educators’ philosophy of work. This jazz educator is nationally and internationally recognized as a performer and educator, and is honoured for his work of bringing jazz education into the system for higher music education in Norway. The study is based on video observations, field notes, one interview and a questionnaire. Analysis of this material denotes three bipolar pivot points, which indicate a practice embodied as a constant dialogue between inner and outer aspects of music and human beings. These identified pivot points are named; ‘tradition/person’, ‘music as heard/ music …

An Immanent Pedagogy Of Music, Anders Ronningen

Leading Music Education International Conference

In this paper I will introduce a concept of pedagogy of music that I will call Immanent. I will approach it philosophically from two directions: Firstly, I will focus on the notion of Music, (or the ontology of music), and claim that within this notion there is always already a pedagogy enclosed, not to say immanent. I do for example – with Nettl - believe that the way in which a society teaches its music is a matter of enormous importance for understanding that music. Nevertheless, and quite contrary to that, in my ongoing PhD project I find that the …

High Quality Performances From “Community” Musical Groups: The Sometimes Conflicting Personal And Musical Requirements For A High Level Of Performance Combined With Sustainable Personal Satisfaction In A Long Surviving Musical Group. The Case Of The London Jazz Orchestra, Bill Skidmore

Leading Music Education International Conference

Sociological functionalist theory provides a suggestive array of ideas with which to conceptualize any social structure. Starting with the idea that a structure must perform certain functions in order to survive and fulfill its task, this sociological model sets the subject social structure in its "environment" of other social structures to which it relates, regarding the whole as a "social system." In the language of one prominent theorist of functionalism, survival of any structure in a social system requires the abstract functions of "adaptation," "goal attainment," "integration," and "pattern maintenance" all to be performed successfully. These structural level requirements provide …

“Changing The World One Song At A Time”: Interrogating Constructions Of Community In Common Thread Community Chorus Of Toronto, Deanna Yerichuk

Leading Music Education International Conference

Community choirs enact notions of community often based on the assumption that community singing bridges and celebrates cultural diversity through shared musical experiences. What makes Common Thread Community Chorus of Toronto unique among community choirs in Toronto is an explicitly political focus to its musical community-building efforts. This paper explores how the construction of community within Common Thread is predicated on the notion of cultural inclusion through musical, social, and political dimensions. Drawing from research conducted with the choir in 2010 that explored the social and musical experiences of choir members, I argue that the relationships between choral members’ socio-musical …

Maxwell's Music House And Wilfrid Laurier University's Faculty Of Music: A Study In Contrasting Commonality, Lee Willingham

Leading Music Education International Conference

Paul Maxwell is very careful to praise his formal music education in classical theory, piano, and musicology. As a business major, he minored in music at Wilfrid Laurier University and studied music all through his elementary and secondary school years. His dream for a community music centre that featured live performances and instruction was forged in his fourth year of undergraduate study. At the age of 26, Paul Maxwell is into his third year of operation. This paper explores the relationship that is being forged between a community music-for-profit enterprise and a very traditional university faculty of music. At first, …

So You Think You Can Glee? Implementation Of Popular Styles In The Secondary School Arts Programs, Jennifer Hutchison

Leading Music Education International Conference

This paper addresses the issues of popular culture, media- in particular television programmes such as Glee and So You Think You Can Dance Canada- and the effects on music and dance programs in the secondary school system. A comparison of the two performing art forms demonstrates many similarities and some significant differences in their current position within an educational context and the challenges that potentially face the two streams. A small-scale qualitative study was conducted using interview methodology seeking data from a dance teacher (secondary school and private studio) investigating this teacher’s opinions on the issues identified above and the …

"Rhythmic Music" In Danish Music Education, Peder Kaj Pedersen

Leading Music Education International Conference

In Danish state schools from elementary to upper secondary school music is part of curricula at all levels. It is widely accepted that both individuals and culture benefit from art subjects, creative activities etc. This type of motivation was sufficient support for maintaining music as a subject at all levels of the educational system from around 1960 to around 2000. This tradition dates back to the 1920s, when the first Social Democratic government in Danish history (1924-26), with Nina Bang as minister of education (probably the first female minister worldwide), in the field of music made an alliance with innovative …

The Implications Of South African Children’S Multimodal Musical Games For Music Education, Susan Harrop-Allin

Leading Music Education International Conference

My paper is based on ethnographic research into South African urban township children’s musical games. Young learners’ unsupervised, self-choreographed and designed musical games are rich music-dance practices which, I suggest, constitute important kinds of local musical knowledge. As such, I propose that these games are potential resources for music teaching and learning that may be ‘recruited’ in different ways. I am interested both in how these musical games are hybrid, mixed multimodal forms specifically located in South African township culture, and their implications for pedagogy. In this paper, I present some of the games that are particularly interesting in their …

Music For Life: Promoting Social Engagement And Well-Being In Older People Through Community Supported Participation In Musical Activities, Andrea Creech

Leading Music Education International Conference

Within our current social context where extraordinary demographic transitions are underway, where the numbers of old people suffering from depression is increasing and where there is an accepted need for initiatives that support older people’s well-being and productivity (Age concern, 2008) little attention has been paid to the potential for music-making to effect a significant contribution to the quality of life of older people. This research explored the role of music in older people’s lives and how active participation in making music, particularly in community settings can enhance their social, emotional and cognitive well-being. The specific aims were to investigate …

In Harmony (England), Richard Hallam

Leading Music Education International Conference

This short presentation will briefly cover 4 areas:

• The context
• The programme
• The evaluation
• The future

Creating Arts Curriculum For The 21st Century, John Phillips

Leading Music Education International Conference

This workshop will position the newly revised Ontario Arts curriculum document alongside contemporary issues and research in music education. The rationale for change, political impact and systematic implementation will underscore the contextual reference to this educational policy document. The session will be of immediate interest to delegates who are teaching within the Ontario context as well as those interested in music curriculum reform.

Music Lessons As A Source For Well-Being And Lifelong Involvement With Music, Marit Mõistlik, Eha Rüütel

Leading Music Education International Conference

This paper presentation is based on outcomes of two studies which were carried out in 2008 and 2010. The objectives of the first study were to analyse the experiences and memories gained in general music lessons at school in relation to the current musical activity of the person and his or her attitude towards music; how music lessons have influenced the musical behaviour of a person after graduating from general school and what is the role of the music teacher in that process. I would like to present some results from that study where the following themes were discussed ((1) …

Teachers’ Perceptions Of Elementary Music Education In Ontario, Elizabeth Anderson

Leading Music Education International Conference

It could be argued that one of the most significant constraints within which music leaders in school work is that of curriculum. In the past 18 years, the Ontario Ministry of Education has released three Arts curricula for the elementary grades. In 1995, the New Democrat Party under the leadership of Bob Rae produced The Common Curriculum: Policies and Outcomes, Grades 1-9, followed closely by a new document in 1998 under the Harris “Common Sense Revolution” government. The expectations for music in this curriculum were considered by music education advocacy groups in Ontario to be too difficult to be taught …

Music Education And Reading Education: How To Connect Them?, Andrée Lessard, Jonathan Bolduc

Leading Music Education International Conference

While many students have difficulty to read at the onset of the elementary level, music seems to be an effective way to improve their reading abilities. In fact, numerous approaches have been implemented to facilitate the development of reading abilities. Despite their pertinence and validity, complementary approaches have been put forward to limit the recurring difficulties students encounter at the beginning of the elementary level. Among these, several authors place a particular emphasis on the musical world. This could be explained by the growing number of studies discovering the numerous links between musical learning and others non-musical learning domains. Among …

Conference Program, Don Wright Faculty Of Music, The University Of Western Ontario

Leading Music Education International Conference

No abstract provided.

Tchaikovsky And The Russian Five‘S Contemporary Relevance: How Selected Works Of 19th Century Russian Composers Have Influenced Popular Culture Of The West, Cameron Carr

Senior Theses

As a culture, we often use music to accent events that would otherwise not need them. Many of these events utilize what is considered ‘classical’ music, and within the Classical Music world a select few works get copious amounts of play time, and thus get heavily imprinted in our minds’ ear. Certain correlations between these situations and musical phrases have become so ingrained in our culture that it is almost alien to not have them be together.

Many of the works that are implanted in our culture come out of a specific location and time: the Romantic era in Russia. …

Doctoral Recital, Martha L. Banks, Michelle Lee, Kimberly Anderson

Graduate Student Recitals

Program listing performers and works performed

Doctoral Recital, Frederick Umar

Graduate Student Recitals

Program listing performers and works performed

Senior Recital, Ben Lunn, Nancy Porter

Senior Recitals

Program listing performers and works performed

The Evolution Of The Modern Clarinet: 1800-1850, Audrey Rasmussen

Senior Theses

The name Heinrich Joseph Baermann (1784-1847) is not particularly well known in the general world of music history. Born in Potsdam, Germany, Baermann attended the local military music school at the age of fourteen, where he began his study of the clarinet after originally studying the oboe. After joining a military band, participating in several battles, being captured and held prisoner in France and eventually escaping, Baermann found himself appointed to an orchestral position in the court at Munich at the age of twenty.

Baermann’s career straddled the time period where the musical profession was transitioning from flourishing only in …

Chamber Winds And Brass Concert, Jonathan Ballard, Sarah Barr, Ryan Jesch, Megan Malloy, Tim Mathiesen, Eric Minar, Christopher Nario, Kyle Smith, Trevor Garcia, Ben Lambillotte, Lea Steffens, Brittany Bethurum, Iris Jackson, Bella Staav, Javier Cerna, Johnny Kimbro, Michael Rushman, Zachary Mariano, Marx Ha, Christina Cheong, Jordan Curcuruto, Molly Gard, Brietta Gregor, Andrew King, Colin Horrocks, Clayton Thomas, Dan Phung, David Stetson

Printed Performance Programs (PDF Format)

No abstract provided.

Shakers - South Union, Kentucky - Hymns (Sc 177), Manuscripts & Folklife Archives

Manuscript Collection Finding Aids

Finding aid and scan (Click on "additional files" below) for Manuscripts Small Collection 177. Manuscript hymn book and instructional manual used by the Shakers at South Union, Kentucky. Includes copied portions of Isaac N. Youngs' "Rules of Music."

Doctoral Recital, Jack D. Steiner

Graduate Student Recitals

Program listing performers and works performed

Senior Recital, Judson Holtan, Josh Garcia, Wyatt Rakich, Manny Gamazo, Mycah Krason, Rene Hagedorn

Senior Recitals

Program listing performers and works performed

Jazz Band One, Chris Merz, Director, May 12, 2011 [Program], University Of Northern Iowa. School Of Music.

Music Recital Programs

Program of a music recital given by faculty, students, or guest artists from the School of Music at the University of Northern Iowa.

Piano Showcase, Amira Fulton, Yuka Lu, Tiffany Liu, Molly Iker, Theresa Silveyra, Tamer Edlebi, Johannes Leonard Lohner, Evan Roth, Becki Jenkins, Patrick Gutman, James Higgs, Alphonso Sanchez

Printed Performance Programs (PDF Format)

No abstract provided.

Doctoral Recital, Wen Zhang, Karen J. Mccann

Graduate Student Recitals

Program listing performers and works performed

2010-2011 Class Of 2011 In Concert, Suvida Neramit-Aram, Laura Sinclair, Jeffrey Karlson, Zhou Jiang, Jayanat Wisaijorn, Kaitlin Richardson, Dongfang Zhang, Joe Adkins, Joe Goering, Andrew Angelin, Silvia Suarez, Alex Nisbet, Teng Kuan Wang, Amr Selim, Yang Shen, Marina Stojanovska, Natasa Stojanovska, Darren Matias

Other Student Recitals

No abstract provided.