Pub Date : 2023-03-01DOI: 10.1177/00274321231159558
Suzanne Hall
{"title":"Idea Bank: Children’s Books: A Great Partner in the Music Classroom","authors":"Suzanne Hall","doi":"10.1177/00274321231159558","DOIUrl":"https://doi.org/10.1177/00274321231159558","url":null,"abstract":"","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"98 1","pages":"17 - 20"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85331609","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: 10.1177/00274321231159860
David Gibson
{"title":"Link to the Library of Congress: Updates and Enhancements to the Library of Congress’s National Jukebox","authors":"David Gibson","doi":"10.1177/00274321231159860","DOIUrl":"https://doi.org/10.1177/00274321231159860","url":null,"abstract":"","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"35 1","pages":"14 - 16"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90056605","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: 10.1177/00274321231152743
Brent C. Talbot
I told my friend Melisa, “There is no way I can do that. I don’t play by ear. Plus, I have no idea how to play piano that way!” It was the summer of 2000, and I was enrolled in some general education courses at Indiana University. Melisa was the lead singer of a ten-piece Latin rock band that had gained tremendous popularity in Bloomington and the surrounding region. The band had agreed to perform at a dozen or so summer festivals and bars, and their pianist had to return to Spain for a couple of months. Convinced that this sight-based classically trained musician would be a good addition to the group, Melisa offered to teach me the basic musical concepts of salsa and merengue. She brought over a stack of cassette tapes of the band’s sets and introduced me to the pianist of the band, who gave me a fifteen-minute crash course on how to play a montuno, a kind of syncopated stylistic vamp used in many types of Latin music. It was my first experience learning by ear, and I was struggling. Melisa opened a folder full of pieces of scrap paper peppered with letters that were separated by lines. During my formal music training as a classical pianist, I had not been introduced to how chord symbols work. Melisa took the time to explain how the information on her scratch pads corresponded to my hands. Interestingly, these “new to me” musical styles and this form of notation suddenly helped synthesize and bring to light what my professors had tried to explain to me over many semesters of music theory. The first rehearsal with the band was rough—to put it mildly. My playing was like putting an awkwardly jagged and misshapen peg into a beautifully smooth and colorfully designed round hole. I was utterly embarrassed—not only because I felt like the confidence that I had in my musicianship was immediately deflated in this new setting but also because my whiteness and upper-class background was on full display in ways I had not experienced before. The interactions and discourse I had encountered throughout my musical development had led me to believe that the formal ways in which I had been trained were superior to other forms of musicianship and learning. I naïvely assumed that the codes I had learned would travel easily, translate smoothly, and serve me well in any musical setting. It was at this moment that I first came to understand not only the importance of fluency and adaptation in learning and in teaching but also the complexity involved in navigating culturally, linguistically, and musically different landscapes. It was not enough to merely acquire the codes for how to play a montuno; I also needed to acquire the linguistic and cultural codes from which the music was created and the musical codes that translate to form, style, metric pulse, and accented rhythmic feel. Those hot summer days opened a world previously unknown to me. Each rehearsal and performance revealed something new, and after many weeks of awkward struggle, I learned how to adapt my pla
{"title":"From the Guest Editor: Creating a Third Record for Music Education","authors":"Brent C. Talbot","doi":"10.1177/00274321231152743","DOIUrl":"https://doi.org/10.1177/00274321231152743","url":null,"abstract":"I told my friend Melisa, “There is no way I can do that. I don’t play by ear. Plus, I have no idea how to play piano that way!” It was the summer of 2000, and I was enrolled in some general education courses at Indiana University. Melisa was the lead singer of a ten-piece Latin rock band that had gained tremendous popularity in Bloomington and the surrounding region. The band had agreed to perform at a dozen or so summer festivals and bars, and their pianist had to return to Spain for a couple of months. Convinced that this sight-based classically trained musician would be a good addition to the group, Melisa offered to teach me the basic musical concepts of salsa and merengue. She brought over a stack of cassette tapes of the band’s sets and introduced me to the pianist of the band, who gave me a fifteen-minute crash course on how to play a montuno, a kind of syncopated stylistic vamp used in many types of Latin music. It was my first experience learning by ear, and I was struggling. Melisa opened a folder full of pieces of scrap paper peppered with letters that were separated by lines. During my formal music training as a classical pianist, I had not been introduced to how chord symbols work. Melisa took the time to explain how the information on her scratch pads corresponded to my hands. Interestingly, these “new to me” musical styles and this form of notation suddenly helped synthesize and bring to light what my professors had tried to explain to me over many semesters of music theory. The first rehearsal with the band was rough—to put it mildly. My playing was like putting an awkwardly jagged and misshapen peg into a beautifully smooth and colorfully designed round hole. I was utterly embarrassed—not only because I felt like the confidence that I had in my musicianship was immediately deflated in this new setting but also because my whiteness and upper-class background was on full display in ways I had not experienced before. The interactions and discourse I had encountered throughout my musical development had led me to believe that the formal ways in which I had been trained were superior to other forms of musicianship and learning. I naïvely assumed that the codes I had learned would travel easily, translate smoothly, and serve me well in any musical setting. It was at this moment that I first came to understand not only the importance of fluency and adaptation in learning and in teaching but also the complexity involved in navigating culturally, linguistically, and musically different landscapes. It was not enough to merely acquire the codes for how to play a montuno; I also needed to acquire the linguistic and cultural codes from which the music was created and the musical codes that translate to form, style, metric pulse, and accented rhythmic feel. Those hot summer days opened a world previously unknown to me. Each rehearsal and performance revealed something new, and after many weeks of awkward struggle, I learned how to adapt my pla","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"108 1","pages":"23 - 25"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79577332","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: 10.1177/00274321231159047
Jace Kaholokula Saplan, Jason Alexander Holmes
Civil rights advocate and law professor Kimberlé Crenshaw coined the term intersectionality, defining it in 2020 as “a lens, a prism, for seeing the way in which various forms of inequality often operate together and exacerbate each other. We tend to talk about race inequality as separate from inequality based on gender, class, sexuality or immigrant status. What’s often missing is how some people are subject to all of these, and the experience is not just the sum of its parts.” This lens has also expanded to pedagogy and practice, especially as we engage with our responsibility as educators in ensuring that through our content area, we establish equity-centered learning environments for all. In this article, we offer our personal insights as to how intersectionality interrogates our philosophy and practice within the choral arts both within our own identities and the identities of our students.
{"title":"Finding Clues at the Intersection: Reflections from Two Choral Educators","authors":"Jace Kaholokula Saplan, Jason Alexander Holmes","doi":"10.1177/00274321231159047","DOIUrl":"https://doi.org/10.1177/00274321231159047","url":null,"abstract":"Civil rights advocate and law professor Kimberlé Crenshaw coined the term intersectionality, defining it in 2020 as “a lens, a prism, for seeing the way in which various forms of inequality often operate together and exacerbate each other. We tend to talk about race inequality as separate from inequality based on gender, class, sexuality or immigrant status. What’s often missing is how some people are subject to all of these, and the experience is not just the sum of its parts.” This lens has also expanded to pedagogy and practice, especially as we engage with our responsibility as educators in ensuring that through our content area, we establish equity-centered learning environments for all. In this article, we offer our personal insights as to how intersectionality interrogates our philosophy and practice within the choral arts both within our own identities and the identities of our students.","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"22 1","pages":"34 - 37"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86311928","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: 10.1177/00274321231159926
Scott R. Sheehan
{"title":"The President’s Prose: Music Is All of Us","authors":"Scott R. Sheehan","doi":"10.1177/00274321231159926","DOIUrl":"https://doi.org/10.1177/00274321231159926","url":null,"abstract":"","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"48 1","pages":"4 - 6"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76424952","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: 10.1177/00274321231156112
Douglas C. Orzolek
{"title":"From the Academic Editor: Intersectionality and Music Education","authors":"Douglas C. Orzolek","doi":"10.1177/00274321231156112","DOIUrl":"https://doi.org/10.1177/00274321231156112","url":null,"abstract":"","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"28 1","pages":"21 - 22"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78179573","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 : 2022-12-01DOI: 10.1177/00274321221139088
Lee Ann Potter
{"title":"Link to the Library of Congress: Link to the Library All the Time!","authors":"Lee Ann Potter","doi":"10.1177/00274321221139088","DOIUrl":"https://doi.org/10.1177/00274321221139088","url":null,"abstract":"","PeriodicalId":18823,"journal":{"name":"Music Educators Journal","volume":"302 1","pages":"11 - 11"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78339413","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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