Pub Date : 2023-06-01DOI: 10.1177/00274321231179736
Paul Fraunfelter
{"title":"Link to the Library of Congress: A New Digital Collection from the Library of Congress Music Division: The Gisella Selden-Goth Collection","authors":"Paul Fraunfelter","doi":"10.1177/00274321231179736","DOIUrl":"https://doi.org/10.1177/00274321231179736","url":null,"abstract":"","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"69 1","pages":"13 - 14"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83883516","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1177/00274321231180177
Scott R. Sheehan
{"title":"The President’s Prose: Connecting Curriculum and Advocacy and So Much More!","authors":"Scott R. Sheehan","doi":"10.1177/00274321231180177","DOIUrl":"https://doi.org/10.1177/00274321231180177","url":null,"abstract":"","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"43 1","pages":"7 - 9"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89798110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1177/00274321231177242
Marissa Guarriello
In 2014, the National Association for Music Education released music standards that strongly emphasized creativity, encouraging teachers to find new ways to implement creative activities into their classrooms. As such, making cross-modal associations and emphasizing divergent thinking are important priorities for teachers to consider. Synesthesia involves involuntary cognitive connections between senses (e.g., color and sound) that many people experience. The principles of this condition can be applied to all music learners, and building instructional approaches from them could help students make these unique associations and use divergent thinking to ultimately become more creative music makers.
2014年，美国全国音乐教育协会(National Association for Music Education)发布了强调创造力的音乐标准，鼓励教师寻找新的方法，在课堂上实施创造性活动。因此，建立跨模态联想和强调发散思维是教师需要优先考虑的重要问题。联觉涉及许多人经历的感觉(如颜色和声音)之间的非自愿认知联系。这个条件的原则可以适用于所有的音乐学习者，从他们那里建立教学方法可以帮助学生建立这些独特的联系，并使用发散思维，最终成为更有创造力的音乐创作者。
{"title":"The Application of Synesthetic Principles to Foster Musical Creativity","authors":"Marissa Guarriello","doi":"10.1177/00274321231177242","DOIUrl":"https://doi.org/10.1177/00274321231177242","url":null,"abstract":"In 2014, the National Association for Music Education released music standards that strongly emphasized creativity, encouraging teachers to find new ways to implement creative activities into their classrooms. As such, making cross-modal associations and emphasizing divergent thinking are important priorities for teachers to consider. Synesthesia involves involuntary cognitive connections between senses (e.g., color and sound) that many people experience. The principles of this condition can be applied to all music learners, and building instructional approaches from them could help students make these unique associations and use divergent thinking to ultimately become more creative music makers.","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"31 4","pages":"27 - 34"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72629512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1177/00274321231176683
Benjamin Bolden, Nathan Rickey, Christopher DeLuca
Assessment is one of the thorniest aspects of teaching for creativity. Nevertheless, research suggests there is tremendous potential for nurturing creativity through assessment. This article identifies how music educators can leverage assessment for learning (formative assessment) as a powerful tool for cultivating creativity within a variety of music activities. Four core strategies are described: (a) developing flexible success criteria, (b) providing and supporting engagement with feedback, (c) activating self-assessment, and (d) optimizing the classroom context for creativity-nurturing assessment.
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Pub Date : 2023-03-01DOI: 10.1177/00274321231158804
Lorelei J. Batisla-ong, Brandi Waller-Pace
We were invited to write about decolonization in music education for an issue on intersectionality and to do so in a way that demonstrates dialogic practice in action. What follows are excerpts from a conversation on decolonizing practices and our insights of being asked to speak on the subject. We both embrace the practice of dialoguing as a means for us to develop ideas not only to deal with issues of justice or practices of decolonization but also to celebrate and share parts of our lives and experiences with one another. Our collaboration began in order to do this work, but it is sustained by our ongoing relationship and friendship.
{"title":"What We Say and What We Do: Decolonizing at the Shallow End of the Pool","authors":"Lorelei J. Batisla-ong, Brandi Waller-Pace","doi":"10.1177/00274321231158804","DOIUrl":"https://doi.org/10.1177/00274321231158804","url":null,"abstract":"We were invited to write about decolonization in music education for an issue on intersectionality and to do so in a way that demonstrates dialogic practice in action. What follows are excerpts from a conversation on decolonizing practices and our insights of being asked to speak on the subject. We both embrace the practice of dialoguing as a means for us to develop ideas not only to deal with issues of justice or practices of decolonization but also to celebrate and share parts of our lives and experiences with one another. Our collaboration began in order to do this work, but it is sustained by our ongoing relationship and friendship.","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"31 1","pages":"48 - 52"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73058818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1177/00274321231180217
Mary Cohen and Stuart Duncan offer a fascinating book in Music-Making in U.S. Prisons: Listening to Incarcerated Voices. I was drawn in by book’s cover, with its bold and bright colors from the painting Jazz Band by artist Jason Chengrian. An overwhelming number of midtwentieth-century prison wardens and other officials in the United States were powerful proponents of music education programs within their facilities. For instance, at a strict reform school in Morganza, Pennsylvania, music supervisor Vetold Sporny taught choral music to prisoners under the age of twentyone. In the early 1940s, for the purpose of deciding what type of music educational opportunities could succeed in prison, Sporny asked for suggestions from various institutions across twentyfour states. Cohen and Duncan found it intriguing that Sporny prioritized vocal groups over instrumental ensembles. He also advocated for community singing as “one means for those in custody to gather as a community” (p. 50). The authors note that many of such music programs offered opportunities for prisoners to establish connections with the community, especially when they performed in public gatherings. The part of the research that most speaks to me is found in Cohen’s ins ight fu l in teract ions wi th the Oakdale Choir, called “The Insiders and Outsiders.” Using Stephen King’s memoir On Writing, Cohen developed a technique to enable choir members to create deeper and more open relations with fellow incarcerated people and their family members. He did this by using the writing prompts in King’s book for reflective writing exercises that were exchanged between the prisoners or used to introduce songs at rehearsals. I was also impressed by the program started by Duncan during his time as a teacher of an appreciation class at an adult correctional facility, where he used a unique form of assessment: He established a one-to-one grading contract with each incarcerated student, thereby empowering them through negotiation rather than conflict. This, he said, is a way to flip the power dynamic on its head. With Duncan’s approach, the students played a role in determining their grade points and took responsibility for their learning. The primary argument made by Cohen and Duncan throughout the book is that the rise of the prison industrial complex along with mass incarceration in the United States strips individuals in custodial care of their self-esteem. Current American prisons use numbers instead of names in reference to prisoners, and there are many cages inside most of these institutions, giving them the look of warehouses. Twenty-first-century prisons are a shift away from earlier ones, in which music-making was a regular practice. Early research shows how the applied music instruction of both Cohen and Duncan have been impactful on the lives of the incarcerated, although music doesn’t heal all the harms that this population suffers. I would give this book a rating of five out of five. Ideas a
{"title":"For Your Library","authors":"","doi":"10.1177/00274321231180217","DOIUrl":"https://doi.org/10.1177/00274321231180217","url":null,"abstract":"Mary Cohen and Stuart Duncan offer a fascinating book in Music-Making in U.S. Prisons: Listening to Incarcerated Voices. I was drawn in by book’s cover, with its bold and bright colors from the painting Jazz Band by artist Jason Chengrian. An overwhelming number of midtwentieth-century prison wardens and other officials in the United States were powerful proponents of music education programs within their facilities. For instance, at a strict reform school in Morganza, Pennsylvania, music supervisor Vetold Sporny taught choral music to prisoners under the age of twentyone. In the early 1940s, for the purpose of deciding what type of music educational opportunities could succeed in prison, Sporny asked for suggestions from various institutions across twentyfour states. Cohen and Duncan found it intriguing that Sporny prioritized vocal groups over instrumental ensembles. He also advocated for community singing as “one means for those in custody to gather as a community” (p. 50). The authors note that many of such music programs offered opportunities for prisoners to establish connections with the community, especially when they performed in public gatherings. The part of the research that most speaks to me is found in Cohen’s ins ight fu l in teract ions wi th the Oakdale Choir, called “The Insiders and Outsiders.” Using Stephen King’s memoir On Writing, Cohen developed a technique to enable choir members to create deeper and more open relations with fellow incarcerated people and their family members. He did this by using the writing prompts in King’s book for reflective writing exercises that were exchanged between the prisoners or used to introduce songs at rehearsals. I was also impressed by the program started by Duncan during his time as a teacher of an appreciation class at an adult correctional facility, where he used a unique form of assessment: He established a one-to-one grading contract with each incarcerated student, thereby empowering them through negotiation rather than conflict. This, he said, is a way to flip the power dynamic on its head. With Duncan’s approach, the students played a role in determining their grade points and took responsibility for their learning. The primary argument made by Cohen and Duncan throughout the book is that the rise of the prison industrial complex along with mass incarceration in the United States strips individuals in custodial care of their self-esteem. Current American prisons use numbers instead of names in reference to prisoners, and there are many cages inside most of these institutions, giving them the look of warehouses. Twenty-first-century prisons are a shift away from earlier ones, in which music-making was a regular practice. Early research shows how the applied music instruction of both Cohen and Duncan have been impactful on the lives of the incarcerated, although music doesn’t heal all the harms that this population suffers. I would give this book a rating of five out of five. Ideas a","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"5 1","pages":"10 - 12"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76518217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1177/00274321231159652
C. Bernard, Brent C. Talbot
This article describes music educators’ conceptions of diversity, equity, and inclusion (DEI). We collaborated with six music teachers to consider ways in which DEI is conceptualized and practiced in their own teaching settings. The teachers were carefully selected to encompass a multitude of identities, including race, ethnicity, gender, sexuality, location, class, ability, teaching setting, musical background, and teaching experience. Through our conversations, we learned how these teachers locate their identities through their own narratives and how these social constructions converge in their work through pedagogical and curricular strategies. It is our hope that their insights might start a conversation about the current state of DEI work being approached in music education and provide suggestions for more diverse, equitable, and inclusive practices and policies in music classrooms.
{"title":"Music Teachers’ Experiences with Implementing Diversity, Equity, and Inclusion","authors":"C. Bernard, Brent C. Talbot","doi":"10.1177/00274321231159652","DOIUrl":"https://doi.org/10.1177/00274321231159652","url":null,"abstract":"This article describes music educators’ conceptions of diversity, equity, and inclusion (DEI). We collaborated with six music teachers to consider ways in which DEI is conceptualized and practiced in their own teaching settings. The teachers were carefully selected to encompass a multitude of identities, including race, ethnicity, gender, sexuality, location, class, ability, teaching setting, musical background, and teaching experience. Through our conversations, we learned how these teachers locate their identities through their own narratives and how these social constructions converge in their work through pedagogical and curricular strategies. It is our hope that their insights might start a conversation about the current state of DEI work being approached in music education and provide suggestions for more diverse, equitable, and inclusive practices and policies in music classrooms.","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"26 1","pages":"26 - 33"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83987902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1177/00274321231158632
Alice A. Tsui, E. Williamson
Many music educators view activism through the gaze and experience of the U.S. civil rights movement and the protests of the 1960s. This article examines how two Brooklyn, New York–based music educators engage in activism in their school communities by centering student identity and cultivating joyful musical experiences. The authors share their individual identities, positionalities, and lived experiences that have inevitably shaped who they are as music educators. These two authors contextualize their school communities and the daily work that occurs in each of their music classrooms that seeks to empower students through culturally responsive and sustaining teaching. This article interrogates their current daily practice as music educators and offers suggestions for individuals who aim to take steps toward meaningful engagement in the necessary work that activism in the music classroom requires.
{"title":"Activism and Joy: Empowering Students through Affirmations","authors":"Alice A. Tsui, E. Williamson","doi":"10.1177/00274321231158632","DOIUrl":"https://doi.org/10.1177/00274321231158632","url":null,"abstract":"Many music educators view activism through the gaze and experience of the U.S. civil rights movement and the protests of the 1960s. This article examines how two Brooklyn, New York–based music educators engage in activism in their school communities by centering student identity and cultivating joyful musical experiences. The authors share their individual identities, positionalities, and lived experiences that have inevitably shaped who they are as music educators. These two authors contextualize their school communities and the daily work that occurs in each of their music classrooms that seeks to empower students through culturally responsive and sustaining teaching. This article interrogates their current daily practice as music educators and offers suggestions for individuals who aim to take steps toward meaningful engagement in the necessary work that activism in the music classroom requires.","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"47 1","pages":"38 - 42"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88602852","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1177/00274321231162303
Darrin Thornton, Juliet Hess
{"title":"Equity in Music Education: Pathways toward the Pan-Excellence: Reenvisioning Music Institutions","authors":"Darrin Thornton, Juliet Hess","doi":"10.1177/00274321231162303","DOIUrl":"https://doi.org/10.1177/00274321231162303","url":null,"abstract":"","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"15 1","pages":"53 - 55"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87267297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1177/00274321231158621
André de Quadros, Sean Evelyn
In this article, the two authors talk about their vastly different trajectories that span international geographies and contrasting circumstances. By chance, their lives intersected in a music education program in an American prison. They trace their lifeworlds and how their musical engagement was a reciprocal learning experience for both of them. The article describes the “Empowering Song” music education approach that had its genesis in American prisons. The authors also share the experiential learning that has marked their collaboration, a relationship that has benefited them socially, emotionally, and politically. As a liberation pedagogy, the Empowering Song approach has wider implications, from general music and professional settings to community music in peace-building and forced migration circumstances.
{"title":"Smuggling in Humanity: Musicking through Prison Walls","authors":"André de Quadros, Sean Evelyn","doi":"10.1177/00274321231158621","DOIUrl":"https://doi.org/10.1177/00274321231158621","url":null,"abstract":"In this article, the two authors talk about their vastly different trajectories that span international geographies and contrasting circumstances. By chance, their lives intersected in a music education program in an American prison. They trace their lifeworlds and how their musical engagement was a reciprocal learning experience for both of them. The article describes the “Empowering Song” music education approach that had its genesis in American prisons. The authors also share the experiential learning that has marked their collaboration, a relationship that has benefited them socially, emotionally, and politically. As a liberation pedagogy, the Empowering Song approach has wider implications, from general music and professional settings to community music in peace-building and forced migration circumstances.","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"20 1","pages":"43 - 47"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85669814","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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