Pub Date : 2024-08-21DOI: 10.1177/15366006241257805
{"title":"WITHDRAWAL-Administrative Duplicate Publication: Book Review: Mary Stakelum, ed, Developing the Musician: Contemporary Perspectives on Teaching and Learning","authors":"","doi":"10.1177/15366006241257805","DOIUrl":"https://doi.org/10.1177/15366006241257805","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142178688","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 : 2024-08-06DOI: 10.1177/15366006241247581
{"title":"Corrigendum to “Challenges and Successes During the Early Years of the Nsukka Music School”","authors":"","doi":"10.1177/15366006241247581","DOIUrl":"https://doi.org/10.1177/15366006241247581","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141969320","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 : 2024-07-24DOI: 10.1177/15366006241259378
Timothy J. Groulx
Band repertoire lists for the National Band Contests evolved from a desire to make school bands “more educational” in the 1920s. The national band contest repertoire lists (1924–1943) formed the basis for the wind band canon during the first half of the twentieth century. Many state band organizations developed their own lists when national contests ended after World War II. This study was an analysis of the pieces and composers that were on the Florida band contest lists, how the lists evolved, and who influenced them, especially compared to the national lists. Findings include greater diversity in Florida’s concert music committee membership than National, but likely only since 1991. The percentage of original wind band works on Florida’s lists maintained the final proportions of the National Band Contest lists (approximately 50%–53%). White male composer representation over the 75 years of lists remained extremely high (98.08% of all works), though the proportion of women composers and composers of color on annual additions since 2015 has increased dramatically.
{"title":"A Century of Band Contest Literature Lists: From National Origins to the State of Florida","authors":"Timothy J. Groulx","doi":"10.1177/15366006241259378","DOIUrl":"https://doi.org/10.1177/15366006241259378","url":null,"abstract":"Band repertoire lists for the National Band Contests evolved from a desire to make school bands “more educational” in the 1920s. The national band contest repertoire lists (1924–1943) formed the basis for the wind band canon during the first half of the twentieth century. Many state band organizations developed their own lists when national contests ended after World War II. This study was an analysis of the pieces and composers that were on the Florida band contest lists, how the lists evolved, and who influenced them, especially compared to the national lists. Findings include greater diversity in Florida’s concert music committee membership than National, but likely only since 1991. The percentage of original wind band works on Florida’s lists maintained the final proportions of the National Band Contest lists (approximately 50%–53%). White male composer representation over the 75 years of lists remained extremely high (98.08% of all works), though the proportion of women composers and composers of color on annual additions since 2015 has increased dramatically.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141784101","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 : 2024-07-23DOI: 10.1177/15366006241259767
Nicholas Bannan
Music from every culture throughout history is now available at the click of a mouse. Prior to the development of recording, the unfamiliar largely separated musical cultures. This paper sets out a narrative to illustrate the framework through which a universalist approach to music emerged over the period 1871–1970, derived from placing in relation to one another accounts of the influence of three historical figures. The first is Darwin, whose theories of evolution embraced speculation on the origin and purpose of music, and who himself wrote about the effect on him of encountering unfamiliar musical styles in the Southern Hemisphere. The second is Grainger, influenced by Darwin’s work and persuasively concerned to open musical contact between all cultures. The third is Blacking, a pioneer in ethnomusicology and commentator on Grainger’s ideas. Tracing the links between these authors inevitably represents an English-language historical perspective on the issues of colonization, cultural appropriation, and the educational influence of a dominant culture. In offering such a historical account of fluctuating experience of ‘the other’ in music, the aim is to illustrate these authors’ contribution towards convergence on an open, informed position consistent with viewing musical exchange from a universalist perspective.
{"title":"Charles Darwin, Percy Grainger, and John Blacking: Reflections on the Historical Emergence of Music as a Human Universal","authors":"Nicholas Bannan","doi":"10.1177/15366006241259767","DOIUrl":"https://doi.org/10.1177/15366006241259767","url":null,"abstract":"Music from every culture throughout history is now available at the click of a mouse. Prior to the development of recording, the unfamiliar largely separated musical cultures. This paper sets out a narrative to illustrate the framework through which a universalist approach to music emerged over the period 1871–1970, derived from placing in relation to one another accounts of the influence of three historical figures. The first is Darwin, whose theories of evolution embraced speculation on the origin and purpose of music, and who himself wrote about the effect on him of encountering unfamiliar musical styles in the Southern Hemisphere. The second is Grainger, influenced by Darwin’s work and persuasively concerned to open musical contact between all cultures. The third is Blacking, a pioneer in ethnomusicology and commentator on Grainger’s ideas. Tracing the links between these authors inevitably represents an English-language historical perspective on the issues of colonization, cultural appropriation, and the educational influence of a dominant culture. In offering such a historical account of fluctuating experience of ‘the other’ in music, the aim is to illustrate these authors’ contribution towards convergence on an open, informed position consistent with viewing musical exchange from a universalist perspective.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141784104","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 : 2024-03-20DOI: 10.1177/15366006241238464
Alicia Canterbury Vorel
{"title":"Book Review: Orff Schulwerk in Diverse Cultures: An Idea That Went Round the World","authors":"Alicia Canterbury Vorel","doi":"10.1177/15366006241238464","DOIUrl":"https://doi.org/10.1177/15366006241238464","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140227530","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 : 2024-02-08DOI: 10.1177/15366006231213393
Beth T. Mattingly
The Kodály Concept is known as a highly respected approach to music education, having had a great influence on the development of music education methodologies in many countries. Zoltán Kodály (1882–1967) was a Hungarian composer, ethnomusicologist, philosopher, and educator who achieved a high level of recognition and respect during his lifetime. The development of this methodology has been attributed to him when, in fact, its creation was the result of the collaboration between Kodály and several of his students, including Jenő Ádám (1896–1982), Lajos Bárdos (1899–1986), Gyula Kertész (1900–1967), György Kerényi (1902–1986), Erzsébet Szőnyi (1924–2019), and Katalin Forrai (1926–2004). Despite the political turmoil of this time (1914–1989), Kodály and his students were able to establish a very effective music education system for the entire Hungarian population. Not only was Kodály held in high regard by the people of his country, but he also had the respect of the communist party that ruled Hungary. Although he never became a communist, he managed to use the government to achieve his goals for music education. Had they won the Revolution of 1956, when the Hungarian people tried to overthrow Soviet rule of their country, many people believe Kodály would have been elected president.
众所周知，柯达伊理念是一种备受推崇的音乐教育方法，对许多国家音乐教育方法的发展产生了巨大影响。Zoltán Kodály（1882-1967 年）是匈牙利作曲家、民族音乐学家、哲学家和教育家，在他的一生中获得了高度的认可和尊重。这一方法论的发展一直归功于他，但事实上，它是柯达伊与他的几位学生合作的成果，其中包括 Jenő Ádám (1896-1982)、Lajos Bárdos（1899-1986）、Gyula Kertész（1900-1967）、György Kerényi（1902-1986）、Erzsébet Szőnyi（1924-2019）和 Katalin Forrai（1926-2004）。尽管当时（1914-1989 年）政局动荡，柯达伊和他的学生们还是为整个匈牙利人民建立了一个非常有效的音乐教育体系。柯达伊不仅受到本国人民的崇高敬仰，还得到了统治匈牙利的共产党的尊重。虽然他从未成为共产党员，但他设法利用政府来实现自己的音乐教育目标。1956 年，匈牙利人民试图推翻苏联对其国家的统治，如果他们在革命中获胜，许多人相信柯达伊会当选总统。
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Pub Date : 2024-02-08DOI: 10.1177/15366006231213393
Beth T. Mattingly
The Kodály Concept is known as a highly respected approach to music education, having had a great influence on the development of music education methodologies in many countries. Zoltán Kodály (1882–1967) was a Hungarian composer, ethnomusicologist, philosopher, and educator who achieved a high level of recognition and respect during his lifetime. The development of this methodology has been attributed to him when, in fact, its creation was the result of the collaboration between Kodály and several of his students, including Jenő Ádám (1896–1982), Lajos Bárdos (1899–1986), Gyula Kertész (1900–1967), György Kerényi (1902–1986), Erzsébet Szőnyi (1924–2019), and Katalin Forrai (1926–2004). Despite the political turmoil of this time (1914–1989), Kodály and his students were able to establish a very effective music education system for the entire Hungarian population. Not only was Kodály held in high regard by the people of his country, but he also had the respect of the communist party that ruled Hungary. Although he never became a communist, he managed to use the government to achieve his goals for music education. Had they won the Revolution of 1956, when the Hungarian people tried to overthrow Soviet rule of their country, many people believe Kodály would have been elected president.
众所周知，柯达伊理念是一种备受推崇的音乐教育方法，对许多国家音乐教育方法的发展产生了巨大影响。Zoltán Kodály（1882-1967 年）是匈牙利作曲家、民族音乐学家、哲学家和教育家，在他的一生中获得了高度的认可和尊重。这一方法论的发展一直归功于他，但事实上，它是柯达伊与他的几位学生合作的成果，其中包括 Jenő Ádám (1896-1982)、Lajos Bárdos（1899-1986）、Gyula Kertész（1900-1967）、György Kerényi（1902-1986）、Erzsébet Szőnyi（1924-2019）和 Katalin Forrai（1926-2004）。尽管当时（1914-1989 年）政局动荡，柯达伊和他的学生们还是为整个匈牙利人民建立了一个非常有效的音乐教育体系。柯达伊不仅受到本国人民的崇高敬仰，还得到了统治匈牙利的共产党的尊重。虽然他从未成为共产党员，但他设法利用政府来实现自己的音乐教育目标。1956 年，匈牙利人民试图推翻苏联对其国家的统治，如果他们在革命中获胜，许多人相信柯达伊会当选总统。
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Pub Date : 2024-01-20DOI: 10.1177/15366006231225417
Glen A. Brumbach, Andrea C. Brumbach
William Frederick (“Fred”) Cardin served as a director of instrumental music in the Reading, Pennsylvania, School District from 1930 until his retirement in June 1960. An accomplished performer and composer, Cardin studied at the Curtis School of Music and the Conservatoire Américaine in Paris, France. He is remembered as an outstanding educator and conductor both in the public schools and with community organizations. Cardin was also known as Pejawah, his Native American name. To gain further insight regarding Cardin’s musical legacy and how it reflects his heritage, interviews were conducted with former students and colleagues. Additional artifacts were collected pertaining to his education, influences, and accomplishments. Cardin pursued a focused mission through compositions and performances to promote Native American music and culture while also demonstrating aptitude in music composition, performance, and conducting. Cardin is one individual who pursued a successful career in music and music education while navigating the issues of racial discrimination.
威廉-弗雷德里克（"弗雷德"）-卡丁从 1930 年起担任宾夕法尼亚州雷丁学区器乐主任，直到 1960 年 6 月退休。作为一名出色的演奏家和作曲家，卡丁曾在柯蒂斯音乐学院（Curtis School of Music）和法国巴黎美国音乐学院（Conservatoire Américaine）学习。在公立学校和社区组织中，他都是一位杰出的教育家和指挥家。卡丁也被称为 Pejawah，这是他的美国原住民名字。为了进一步了解卡丁的音乐遗产及其如何反映他的遗产，我们对他以前的学生和同事进行了采访。此外，还收集了有关他的教育、影响和成就的其他文物。卡丁在音乐创作、表演和指挥方面也表现出了卓越的才能，他通过创作和表演弘扬了美国本土音乐和文化。卡丁是一位在音乐和音乐教育事业上取得成功的人，同时也是一位在种族歧视问题上取得成功的人。
{"title":"The Music Education Legacy of William Frederick Cardin, or Pejawah: “A Language All America Should Know”","authors":"Glen A. Brumbach, Andrea C. Brumbach","doi":"10.1177/15366006231225417","DOIUrl":"https://doi.org/10.1177/15366006231225417","url":null,"abstract":"William Frederick (“Fred”) Cardin served as a director of instrumental music in the Reading, Pennsylvania, School District from 1930 until his retirement in June 1960. An accomplished performer and composer, Cardin studied at the Curtis School of Music and the Conservatoire Américaine in Paris, France. He is remembered as an outstanding educator and conductor both in the public schools and with community organizations. Cardin was also known as Pejawah, his Native American name. To gain further insight regarding Cardin’s musical legacy and how it reflects his heritage, interviews were conducted with former students and colleagues. Additional artifacts were collected pertaining to his education, influences, and accomplishments. Cardin pursued a focused mission through compositions and performances to promote Native American music and culture while also demonstrating aptitude in music composition, performance, and conducting. Cardin is one individual who pursued a successful career in music and music education while navigating the issues of racial discrimination.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139524032","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 : 2023-09-29DOI: 10.1177/15366006231196330
Rachel M. Schuck
{"title":"Book Review: From the Tanjore Court to the Madras Music Academy: A Social History of Music in South India by Lakshmi Subramanian","authors":"Rachel M. Schuck","doi":"10.1177/15366006231196330","DOIUrl":"https://doi.org/10.1177/15366006231196330","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135247306","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 : 2023-09-29DOI: 10.1177/15366006231196333
Mara Culp
Karnatic repertoire in which some performers and pedagogues specialize (18). Here, Subramanian’s warnings could be applied to the standardization of any musical practice in a classroom setting, a trend which many ethnomusicologists and music educators have previously addressed. For example, consider the rising, yet challenging, standardization of “hip hop pedagogy” in US music classrooms. Subramanian supplies ample and detailed cultural context for Karnatic music performance and pedagogy. She successfully provides clear reminders that Karnatic music may not be separated from its moral function and the moral aims of its practitioners (19). Despite its rootedness as a socio-political study, Subramanian might supplement the key themes of the book with a centralized case study of influential Karnatic educators and their impact on the movements and policies explained therein. Discussions of privilege and access to music are essential in the context of Karnatic teaching and learning but equally essential wherever classical music is taught in a global context. Music educators in the U.S. who wish to learn about, demonstrate, or teach Karnatic music have the responsibility to become as informed as possible about the social, historical, and political context of this music. To this end, Lakshmi Subramanian’s book provides a compact and thorough background into relevant contexts of Karnatic music, offering any interested music educators a valuable “starting point” towards developing culturally situated and appropriate methodology. This book will be useful for students and teachers of South Indian music, ethnomusicology, South Asian studies, and any general reader interested in the directions and institutionalization of art music traditions. Historians of music pedagogy will also be pleased to note that Subramanian’s book includes a compact timeline of the development of Karnatic music from court practice during the reign of Serfoji II to contemporary teaching and learning taking place at theMadrasMusic Academy in Chennai. Given these considerations, this book is a valuable reference for educators preparing to teach “world music” survey courses and related activities, host guest artists and musicians, or designing immersive curricula for students of regional South Asian music.
{"title":"Book Review: Developing the Musician: Contemporary Perspectives on Teaching and Learning","authors":"Mara Culp","doi":"10.1177/15366006231196333","DOIUrl":"https://doi.org/10.1177/15366006231196333","url":null,"abstract":"Karnatic repertoire in which some performers and pedagogues specialize (18). Here, Subramanian’s warnings could be applied to the standardization of any musical practice in a classroom setting, a trend which many ethnomusicologists and music educators have previously addressed. For example, consider the rising, yet challenging, standardization of “hip hop pedagogy” in US music classrooms. Subramanian supplies ample and detailed cultural context for Karnatic music performance and pedagogy. She successfully provides clear reminders that Karnatic music may not be separated from its moral function and the moral aims of its practitioners (19). Despite its rootedness as a socio-political study, Subramanian might supplement the key themes of the book with a centralized case study of influential Karnatic educators and their impact on the movements and policies explained therein. Discussions of privilege and access to music are essential in the context of Karnatic teaching and learning but equally essential wherever classical music is taught in a global context. Music educators in the U.S. who wish to learn about, demonstrate, or teach Karnatic music have the responsibility to become as informed as possible about the social, historical, and political context of this music. To this end, Lakshmi Subramanian’s book provides a compact and thorough background into relevant contexts of Karnatic music, offering any interested music educators a valuable “starting point” towards developing culturally situated and appropriate methodology. This book will be useful for students and teachers of South Indian music, ethnomusicology, South Asian studies, and any general reader interested in the directions and institutionalization of art music traditions. Historians of music pedagogy will also be pleased to note that Subramanian’s book includes a compact timeline of the development of Karnatic music from court practice during the reign of Serfoji II to contemporary teaching and learning taking place at theMadrasMusic Academy in Chennai. Given these considerations, this book is a valuable reference for educators preparing to teach “world music” survey courses and related activities, host guest artists and musicians, or designing immersive curricula for students of regional South Asian music.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135247013","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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