Pub Date : 2022-09-22DOI: 10.1177/15366006221127496
M. Mccarthy
{"title":"Editorial","authors":"M. Mccarthy","doi":"10.1177/15366006221127496","DOIUrl":"https://doi.org/10.1177/15366006221127496","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43488321","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 : 2022-09-22DOI: 10.1177/15366006221120740
Bruce P. Gleason
{"title":"Book Reviews Marching to the Drums: A History of Military Drums and Drummers","authors":"Bruce P. Gleason","doi":"10.1177/15366006221120740","DOIUrl":"https://doi.org/10.1177/15366006221120740","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65507388","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 : 2022-08-30DOI: 10.1177/15366006221120717
Mark Fonder
{"title":"Book Reviews: The Golden Age of American Bands, A Document History (1835 – 1935)","authors":"Mark Fonder","doi":"10.1177/15366006221120717","DOIUrl":"https://doi.org/10.1177/15366006221120717","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44584712","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 : 2022-08-24DOI: 10.1177/15366006221118560
Powell Bryan. A History of Modern Band and Little Kids Rock from 2002–2014. Journal of Historical Research in Music Education. 2022,1–23. DOI: 10.1177/15366006221093984
{"title":"Corrigendum to A History of Modern Band and Little Kids Rock from 2002–2014","authors":"","doi":"10.1177/15366006221118560","DOIUrl":"https://doi.org/10.1177/15366006221118560","url":null,"abstract":"Powell Bryan. A History of Modern Band and Little Kids Rock from 2002–2014. <i>Journal of Historical Research in Music Education</i>. 2022,1–23. DOI: 10.1177/15366006221093984","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138520936","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 : 2022-07-19DOI: 10.1177/15366006221114417
Arugha A. Ogisi
Nigeria’s triple music heritage of traditional, Islamic and Western music should have informed her formal music education curriculum. Instead, western music was used by the early Christian missionaries that it became difficult to integrate indigenous music traditions into the curriculum that music could not gain traction as a school subject across the country. In an effort to correct the defect a bi-musical curriculum of western and African traditional music was designed by the Nsukka Music School (NMS). Although the change was epistemologically right, the bi-musical curriculum confronted numerous challenges during implementation. This paper identifies the challenges and discusses how they were addressed. Data were obtained through interviews with key informants and a review of relevant literature. The challenge of stereotyping music and musicians was solved by students proving their mettle among their peers. Non-acceptance of music within the academia and society, was not addressed throughout the period. Difficulty of finding music lecturers was ameliorated by employing expatriates and some Nigerians but the latter undertook graduate studies abroad. Lack of scholars and traditional practitioners in the theoretical and practical aspects of African music knowledge was solved through awarding research grants for traditional African music, and hiring traditional musicians to teach indigenous instruments. Challenges arising from low student registration were ameliorated by creating alternative entry requirements for music while encouraging non-music majors to register for music ensemble courses. The challenge of poor musical background of the foundation music majors was tackled by passing them through an accelerated program and creating an enabling environment for teaching and learning. The solutions to the challenges enabled NMS to graduate students that were musically competent and socially relevant.
{"title":"Challenges and Successes During the Early Years of the Nsukka Music School","authors":"Arugha A. Ogisi","doi":"10.1177/15366006221114417","DOIUrl":"https://doi.org/10.1177/15366006221114417","url":null,"abstract":"Nigeria’s triple music heritage of traditional, Islamic and Western music should have informed her formal music education curriculum. Instead, western music was used by the early Christian missionaries that it became difficult to integrate indigenous music traditions into the curriculum that music could not gain traction as a school subject across the country. In an effort to correct the defect a bi-musical curriculum of western and African traditional music was designed by the Nsukka Music School (NMS). Although the change was epistemologically right, the bi-musical curriculum confronted numerous challenges during implementation. This paper identifies the challenges and discusses how they were addressed. Data were obtained through interviews with key informants and a review of relevant literature. The challenge of stereotyping music and musicians was solved by students proving their mettle among their peers. Non-acceptance of music within the academia and society, was not addressed throughout the period. Difficulty of finding music lecturers was ameliorated by employing expatriates and some Nigerians but the latter undertook graduate studies abroad. Lack of scholars and traditional practitioners in the theoretical and practical aspects of African music knowledge was solved through awarding research grants for traditional African music, and hiring traditional musicians to teach indigenous instruments. Challenges arising from low student registration were ameliorated by creating alternative entry requirements for music while encouraging non-music majors to register for music ensemble courses. The challenge of poor musical background of the foundation music majors was tackled by passing them through an accelerated program and creating an enabling environment for teaching and learning. The solutions to the challenges enabled NMS to graduate students that were musically competent and socially relevant.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45016905","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 : 2022-06-03DOI: 10.1177/15366006221093984
Bryan Powell
The presence of popular music education in schools has expanded significantly in the past two decades within the United States in part due to the expansion of modern band programming. Initially developed and propagated by the non-profit organization Little Kids Rock (LKR), modern band is a term used to describe school-based ensembles that use popular music instruments (e.g.- guitar, electric bass, drums, keyboards, ukulele) and incorporate technology to play popular music styles and promote student songwriting. While the presence of modern band programs in schools is a relatively new phenomenon, research on modern band programs, teachers, and students has recently begun to emerge. This paper explores the history of Little Kids Rock and the establishment of modern band in United States public schools. Following the description of the history of LKR, the curriculum and pedagogy of LKR are examined before looking at the impact LKR has had in terms of the number of teachers trained, student served, and instruments donated. Finally, the article concludes with a discussion of implications for music education.
在过去的二十年里，在美国，流行音乐教育在学校中的存在已经大大扩大，部分原因是现代乐队节目的扩大。现代乐队最初是由非营利组织Little Kids Rock (LKR)开发和推广的，是一个术语，用来描述以学校为基础的乐团，他们使用流行乐器(例如吉他、电贝斯、鼓、键盘、尤克里里)，并结合技术来演奏流行音乐风格，促进学生创作歌曲。虽然现代乐队项目在学校的出现是一个相对较新的现象，但关于现代乐队项目、教师和学生的研究最近才开始出现。本文探讨了美国公立学校小孩子摇滚的历史和现代乐队的建立。在介绍了LKR的历史之后，我们对LKR的课程和教学方法进行了考察，然后再看看LKR在教师培训、学生服务和仪器捐赠方面的影响。最后，文章对音乐教育的启示进行了讨论。
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Pub Date : 2022-04-26DOI: 10.1177/15366006221085672
David W. Samson
The Swinney Conservatory of Music at Central Methodist University in Fayette, Missouri has a long history with unique beginnings. After the Civil War, Central College (Central Methodist’s original name) grew alongside a “Female Seminary,” Howard-Payne Female College. Through the late 19th and early 20th centuries, the two schools developed their own distinct musical cultures with Howard-Payne faculty developing a music curriculum, and Central students forming their own musical ensembles. When the schools merged in 1923 these two cultures united to create a conservatory of music at a time when many other American conservatories were being established. Just before the merger, Kansas City banker Edward Fletcher Swinney, who had strong family ties to the Fayette area and a history of philanthropy towards causes in Missouri education, donated $35,000 to Howard-Payne College for the construction of the conservatory building that would eventually bear his name. This article focuses on the early history of both Central College and Howard-Payne Female College, the role that music played at both schools (as a curricular and non-curricular activity) and the events leading to the formation of Central College’s music curriculum and construction of the Swinney Conservatory.
{"title":"The Establishment of the Swinney Conservatory of Music at Central Methodist University","authors":"David W. Samson","doi":"10.1177/15366006221085672","DOIUrl":"https://doi.org/10.1177/15366006221085672","url":null,"abstract":"The Swinney Conservatory of Music at Central Methodist University in Fayette, Missouri has a long history with unique beginnings. After the Civil War, Central College (Central Methodist’s original name) grew alongside a “Female Seminary,” Howard-Payne Female College. Through the late 19th and early 20th centuries, the two schools developed their own distinct musical cultures with Howard-Payne faculty developing a music curriculum, and Central students forming their own musical ensembles. When the schools merged in 1923 these two cultures united to create a conservatory of music at a time when many other American conservatories were being established. Just before the merger, Kansas City banker Edward Fletcher Swinney, who had strong family ties to the Fayette area and a history of philanthropy towards causes in Missouri education, donated $35,000 to Howard-Payne College for the construction of the conservatory building that would eventually bear his name. This article focuses on the early history of both Central College and Howard-Payne Female College, the role that music played at both schools (as a curricular and non-curricular activity) and the events leading to the formation of Central College’s music curriculum and construction of the Swinney Conservatory.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45913479","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 : 2022-04-25DOI: 10.1177/15366006221082563
J. Bannerman
The field of music education was engaged in unprecedented cross-cultural efforts with Latin American music educators and Latin American music during the period between 1939 and 1946. These inter-American efforts related to the Good Neighbor policies with an emphasis on education and culture in diplomacy. Music educators collaborated with governmental and non-governmental organizations to undertake activities including the development of curricular materials incorporating Latin American music for use in US schools and participating in person-to-person exchanges between American and Latin American music educators. The two genres of music deemed appropriate for schools, folk music and art music, were reinforced in the inter-American educational projects. This combination of efforts to diversify curricular materials and cross-cultural exchanges provided new opportunities for assessing the representation of Latin American musical cultures in US music education.
{"title":"Music Education and “Music for Uniting the Americas”","authors":"J. Bannerman","doi":"10.1177/15366006221082563","DOIUrl":"https://doi.org/10.1177/15366006221082563","url":null,"abstract":"The field of music education was engaged in unprecedented cross-cultural efforts with Latin American music educators and Latin American music during the period between 1939 and 1946. These inter-American efforts related to the Good Neighbor policies with an emphasis on education and culture in diplomacy. Music educators collaborated with governmental and non-governmental organizations to undertake activities including the development of curricular materials incorporating Latin American music for use in US schools and participating in person-to-person exchanges between American and Latin American music educators. The two genres of music deemed appropriate for schools, folk music and art music, were reinforced in the inter-American educational projects. This combination of efforts to diversify curricular materials and cross-cultural exchanges provided new opportunities for assessing the representation of Latin American musical cultures in US music education.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65507351","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 : 2022-04-01DOI: 10.1177/15366006221082256
Loneka Wilkinson Battiste, W. McDaniel, Rosita M. Sands
In 1972, more than two hundred Black music educators convened an impromptu, offsite protest meeting during the 23rd Convention of the Music Educators National Conference in response to the dearth of Black music and musicians represented on the program and the near exclusion of Black musicians on the Jazz Night program. The unprecedented and impactful meeting, held on the campus of Morehouse College on the last day of the Convention, led to the formation of the National Black Music Caucus (NBMC). This article chronicles the birth of the NBMC and its subsequent growth over the next 25 years, focusing on the historical relationship between Black music educators and MENC, the importance of Atlanta to the organization’s founding, the motivation for the initial meeting, goals of the organization, and its key accomplishments. This story is told through the use of primary sources, including conference programs and organizational documents, while centering the voices of those who were instrumental in leading NBMC throughout its first 25 years.
{"title":"The Radical Origins and Mission of the National Black Music Caucus: The First Twenty-Five Years—1972–1997","authors":"Loneka Wilkinson Battiste, W. McDaniel, Rosita M. Sands","doi":"10.1177/15366006221082256","DOIUrl":"https://doi.org/10.1177/15366006221082256","url":null,"abstract":"In 1972, more than two hundred Black music educators convened an impromptu, offsite protest meeting during the 23rd Convention of the Music Educators National Conference in response to the dearth of Black music and musicians represented on the program and the near exclusion of Black musicians on the Jazz Night program. The unprecedented and impactful meeting, held on the campus of Morehouse College on the last day of the Convention, led to the formation of the National Black Music Caucus (NBMC). This article chronicles the birth of the NBMC and its subsequent growth over the next 25 years, focusing on the historical relationship between Black music educators and MENC, the importance of Atlanta to the organization’s founding, the motivation for the initial meeting, goals of the organization, and its key accomplishments. This story is told through the use of primary sources, including conference programs and organizational documents, while centering the voices of those who were instrumental in leading NBMC throughout its first 25 years.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45608104","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 : 2022-04-01DOI: 10.1177/15366006221081885
Shawn L. Royer
In 1966, David Baker, a Black man and esteemed jazz musician and composer, created and developed the Jazz Studies program at Indiana University (IU). The purpose of this study was to investigate how David Baker came to join the faculty and created the Jazz Studies program at IU through an examination of the school’s course offerings and historical context between the years 1949–1969. This time period captures when jazz was evolving from its roots as an informally learned art form into one that was taught in academic settings, as well as important evolutionary moments in jazz, specifically the transition from bebop and cool jazz through the development of hard bop, modal jazz, and Third Stream. Finally, it captures the tumultuous Civil Rights Movement of the 1950s and 1960s which coincided with IU’s hiring of David Baker and the school’s decision to begin to include jazz courses in its curricular offerings. This examination concludes with a discussion of relevant implications for jazz and music education.
{"title":"David Baker: The Nexus of Jazz Curriculum and the Civil Rights Movement at Indiana University","authors":"Shawn L. Royer","doi":"10.1177/15366006221081885","DOIUrl":"https://doi.org/10.1177/15366006221081885","url":null,"abstract":"In 1966, David Baker, a Black man and esteemed jazz musician and composer, created and developed the Jazz Studies program at Indiana University (IU). The purpose of this study was to investigate how David Baker came to join the faculty and created the Jazz Studies program at IU through an examination of the school’s course offerings and historical context between the years 1949–1969. This time period captures when jazz was evolving from its roots as an informally learned art form into one that was taught in academic settings, as well as important evolutionary moments in jazz, specifically the transition from bebop and cool jazz through the development of hard bop, modal jazz, and Third Stream. Finally, it captures the tumultuous Civil Rights Movement of the 1950s and 1960s which coincided with IU’s hiring of David Baker and the school’s decision to begin to include jazz courses in its curricular offerings. This examination concludes with a discussion of relevant implications for jazz and music education.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49311296","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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