Pub Date : 2022-04-01DOI: 10.1177/15366006221083707
Jackie Wiggins, Taslimah Bey
The focus of this study is the early music education of Charlie Gabriel who learned to play jazz as a child in New Orleans and went on to enjoy a successful, international performance career. The work is based on an oral history account where the primary data collection process was interview. The key issues that emerged from the oral history are (1) the ubiquitous presence of music in Mr. Gabriel’s life experience and the musical enculturation this presence enabled, (2) the life-sustaining role of music in the lives of family members, which gave rise to a drive to participate actively in music and a pervasive striving for musical excellence, and (3) ever-present mentorship and apprenticeship in Mr. Gabriel’s home and in the musical community. These issues are discussed in the context of related literature on the roles played by musical families; the musical community; music for income/supporting survival, including federal support during the Great Depression; striving for musical excellence in both informal and formal learning contexts; and African roots of early jazz pedagogy
{"title":"Music Learning as Life in an African American Family: The Story of Charlie Gabriel in New Orleans","authors":"Jackie Wiggins, Taslimah Bey","doi":"10.1177/15366006221083707","DOIUrl":"https://doi.org/10.1177/15366006221083707","url":null,"abstract":"The focus of this study is the early music education of Charlie Gabriel who learned to play jazz as a child in New Orleans and went on to enjoy a successful, international performance career. The work is based on an oral history account where the primary data collection process was interview. The key issues that emerged from the oral history are (1) the ubiquitous presence of music in Mr. Gabriel’s life experience and the musical enculturation this presence enabled, (2) the life-sustaining role of music in the lives of family members, which gave rise to a drive to participate actively in music and a pervasive striving for musical excellence, and (3) ever-present mentorship and apprenticeship in Mr. Gabriel’s home and in the musical community. These issues are discussed in the context of related literature on the roles played by musical families; the musical community; music for income/supporting survival, including federal support during the Great Depression; striving for musical excellence in both informal and formal learning contexts; and African roots of early jazz pedagogy","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":"42356036","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: 10.1177/15366006221083510
Ollie Eugene Payne Liddell
Although the United States Supreme Court declared segregation in education under law unconstitutional in the landmark Brown v. Board of Education decision in 1954, the public high schools in Jackson, Mississippi, would remain segregated until 1970. The present study examines the effects of this social climate on the high school band programs in Jackson, Mississippi, during segregation and integration. Information about the band programs was investigated using in-person and telephone interviews, as well as yearbooks, books, and other print media. The implications of this study indicate that segregation had a negative effect on the segregated all-African American high school band programs in Jackson, Mississippi. This study also shows that, initially, integration had a positive effect on the previously all-white high schools in Jackson and that integration immediately had a negative impact on the previously all-African American high schools.
{"title":"High School Bands in Jackson, Mississippi, Before and After Integration","authors":"Ollie Eugene Payne Liddell","doi":"10.1177/15366006221083510","DOIUrl":"https://doi.org/10.1177/15366006221083510","url":null,"abstract":"Although the United States Supreme Court declared segregation in education under law unconstitutional in the landmark Brown v. Board of Education decision in 1954, the public high schools in Jackson, Mississippi, would remain segregated until 1970. The present study examines the effects of this social climate on the high school band programs in Jackson, Mississippi, during segregation and integration. Information about the band programs was investigated using in-person and telephone interviews, as well as yearbooks, books, and other print media. The implications of this study indicate that segregation had a negative effect on the segregated all-African American high school band programs in Jackson, Mississippi. This study also shows that, initially, integration had a positive effect on the previously all-white high schools in Jackson and that integration immediately had a negative impact on the previously all-African American high schools.","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":"43707858","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: 10.1177/15366006221084156
Roy M. Legette
The purpose of this article is to chronicle the life and contributions of Mary Frances Early (b. 1936), the first African American to graduate from the University of Georgia in 1962. After suffering many indignities and being forgotten for more than three decades, Early became one of the University’s most celebrated graduates. Teaching music in segregated schools in Atlanta, Mary Frances Early worked tirelessly to provide her students with a high-quality music education, and she developed excellent music programs wherever she went. Throughout her long and distinguished career in the public schools, in higher education, and in service to the profession, Mary Frances Early dedicated her life to music teaching. She believed that all students deserved to have engaging and meaningful music education experiences, that music is an essential component of a well-rounded education, and that music would play a role throughout life. Primary and secondary sources include interviews, Miss Early’s personal papers, documentary film footage, and newspaper articles and clippings.
{"title":"Here Am I, Send Me: The Life, Career and Legacy of Mary Frances Early","authors":"Roy M. Legette","doi":"10.1177/15366006221084156","DOIUrl":"https://doi.org/10.1177/15366006221084156","url":null,"abstract":"The purpose of this article is to chronicle the life and contributions of Mary Frances Early (b. 1936), the first African American to graduate from the University of Georgia in 1962. After suffering many indignities and being forgotten for more than three decades, Early became one of the University’s most celebrated graduates. Teaching music in segregated schools in Atlanta, Mary Frances Early worked tirelessly to provide her students with a high-quality music education, and she developed excellent music programs wherever she went. Throughout her long and distinguished career in the public schools, in higher education, and in service to the profession, Mary Frances Early dedicated her life to music teaching. She believed that all students deserved to have engaging and meaningful music education experiences, that music is an essential component of a well-rounded education, and that music would play a role throughout life. Primary and secondary sources include interviews, Miss Early’s personal papers, documentary film footage, and newspaper articles and clippings.","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":"44628922","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: 10.1177/15366006221081883
C. Milburn
This study investigated the development of marching band traditions at Historically Black Colleges and Universities (HBCUs), as told through the rivalry between Southern University (SU) and Jackson State University (JSU). I interviewed directors from SU, including Lawrence Jackson, Nathan Haymer, and Kedric Taylor. Directors from JSU included Dowell Taylor, Lewis Liddell, and Lowell Hollinger. Paul Adams directed at both schools, David Ware is an HBCU bands researcher, and Julian White directed at Florida A&M University (FAMU). I found traditions established through the intense rivalry between SU and JSU. Interviewees agree that a desire to outplay and outperform the other band is a major factor. This study highlights similarities between HBCU bands and New Orleans-style “second line” brass bands, which were historically driven by a competitive edge. Narrations revealed combinations of happenstance and careful planning that birthed traditions such as the famed pre-game “zero quarter” and post-game “fifth quarter” rituals that are now commonplace at HBCU football games. Directors discussed how these traditions changed with improved video sharing. Fans now demand more music, more shock factor, and flawlessness. This competitive environment forged unique traditions which can inform modern music educators about the important and complex role of competition in performance.
{"title":"The Development of Marching Band Traditions at Historically Black Colleges and Universities: The Human Jukebox versus the Sonic Boom of the South","authors":"C. Milburn","doi":"10.1177/15366006221081883","DOIUrl":"https://doi.org/10.1177/15366006221081883","url":null,"abstract":"This study investigated the development of marching band traditions at Historically Black Colleges and Universities (HBCUs), as told through the rivalry between Southern University (SU) and Jackson State University (JSU). I interviewed directors from SU, including Lawrence Jackson, Nathan Haymer, and Kedric Taylor. Directors from JSU included Dowell Taylor, Lewis Liddell, and Lowell Hollinger. Paul Adams directed at both schools, David Ware is an HBCU bands researcher, and Julian White directed at Florida A&M University (FAMU). I found traditions established through the intense rivalry between SU and JSU. Interviewees agree that a desire to outplay and outperform the other band is a major factor. This study highlights similarities between HBCU bands and New Orleans-style “second line” brass bands, which were historically driven by a competitive edge. Narrations revealed combinations of happenstance and careful planning that birthed traditions such as the famed pre-game “zero quarter” and post-game “fifth quarter” rituals that are now commonplace at HBCU football games. Directors discussed how these traditions changed with improved video sharing. Fans now demand more music, more shock factor, and flawlessness. This competitive environment forged unique traditions which can inform modern music educators about the important and complex role of competition in performance.","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":"42458849","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: 10.1177/15366006221081884
T. R. Jones, Elizabeth Chappell
Desegregation in the south had many goals, among them was creating equitable opportunities for students in schools. Much of the literature on desegregation efforts are focused on general education and little research has been done on the effects it had on school orchestra programs. Orchestra programs in Texas schools have had a historically strong presence, but opportunities for Black string players had been rare and limited by segregation. It wasn’t until 1963 that Black students could participate in Texas All-State ensembles and 1968 before school ensemble competitions were integrated. Newspaper articles, archives, and voices of individuals that lived through these experiences were examined to gain a better understanding of what occurred during the time of desegregation in Texas schools. The predominantly Black orchestra program at Dunbar High School in Lubbock thrived despite segregation; however, it would later struggle to recover after integration plans were enacted. In an effort to satisfy desegregation laws, Black students and teachers were bussed to white schools dissolving the Black nucleus that contributed to their previous success. A historical examination of Texas string orchestra programs, competitions, and lived experiences of Black stakeholders revealed issues surrounding representation and the importance of strong role models in music.
{"title":"Fracturing the Black Nucleus: Reflections on School Desegregation in Texas Through the Lens of Black Orchestra Students","authors":"T. R. Jones, Elizabeth Chappell","doi":"10.1177/15366006221081884","DOIUrl":"https://doi.org/10.1177/15366006221081884","url":null,"abstract":"Desegregation in the south had many goals, among them was creating equitable opportunities for students in schools. Much of the literature on desegregation efforts are focused on general education and little research has been done on the effects it had on school orchestra programs. Orchestra programs in Texas schools have had a historically strong presence, but opportunities for Black string players had been rare and limited by segregation. It wasn’t until 1963 that Black students could participate in Texas All-State ensembles and 1968 before school ensemble competitions were integrated. Newspaper articles, archives, and voices of individuals that lived through these experiences were examined to gain a better understanding of what occurred during the time of desegregation in Texas schools. The predominantly Black orchestra program at Dunbar High School in Lubbock thrived despite segregation; however, it would later struggle to recover after integration plans were enacted. In an effort to satisfy desegregation laws, Black students and teachers were bussed to white schools dissolving the Black nucleus that contributed to their previous success. A historical examination of Texas string orchestra programs, competitions, and lived experiences of Black stakeholders revealed issues surrounding representation and the importance of strong role models in music.","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":"49668280","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 : 2022-03-10DOI: 10.1177/15366006221088356
M. Mccarthy
{"title":"Editorial","authors":"M. Mccarthy","doi":"10.1177/15366006221088356","DOIUrl":"https://doi.org/10.1177/15366006221088356","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43831562","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 : 2022-03-08DOI: 10.1177/15366006221086053
Marvelene C. Moore
{"title":"Guest Editorial","authors":"Marvelene C. Moore","doi":"10.1177/15366006221086053","DOIUrl":"https://doi.org/10.1177/15366006221086053","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49609503","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 : 2022-02-07DOI: 10.1177/15366006211069638
Robin S. Stevens
Choral singing was embraced by many missionaries as a means of attracting potential converts to Christianity. A principal choral singing method in 19th century Britain, Tonic Sol-fa, was introduced by missionaries and others to the Indian subcontinent where it was used as both a pedagogical method and a music notation system. Building on the inherent musicality of the Mizo people in Assam, a fine choral singing tradition developed. Hymnbooks were published with Mizo words and Tonic Sol-fa notation. Although aspects of Tonic Sol-fa are utilized in some contemporary school music teaching methods, there is now little or no use made of the original Tonic Sol-fa method for community choral singing in Britain. Nevertheless, it is still used in some former British colonies, particularly for congregational hymn singing in Sub-Saharan Africa and the Asia-Pacific. Tonic Sol-fa has been, and remains, the mainstay of choral music making in Mizoram and neighboring areas. As such, it is a worthy inheritance from the missionary presence in India during the 19th century.
{"title":"A Missionary Inheritance: Tonic Sol-fa in India","authors":"Robin S. Stevens","doi":"10.1177/15366006211069638","DOIUrl":"https://doi.org/10.1177/15366006211069638","url":null,"abstract":"Choral singing was embraced by many missionaries as a means of attracting potential converts to Christianity. A principal choral singing method in 19th century Britain, Tonic Sol-fa, was introduced by missionaries and others to the Indian subcontinent where it was used as both a pedagogical method and a music notation system. Building on the inherent musicality of the Mizo people in Assam, a fine choral singing tradition developed. Hymnbooks were published with Mizo words and Tonic Sol-fa notation. Although aspects of Tonic Sol-fa are utilized in some contemporary school music teaching methods, there is now little or no use made of the original Tonic Sol-fa method for community choral singing in Britain. Nevertheless, it is still used in some former British colonies, particularly for congregational hymn singing in Sub-Saharan Africa and the Asia-Pacific. Tonic Sol-fa has been, and remains, the mainstay of choral music making in Mizoram and neighboring areas. As such, it is a worthy inheritance from the missionary presence in India during the 19th century.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48006843","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 : 2022-02-05DOI: 10.1177/15366006211052888
P. Sanders
Early nonsectarian Sunday Schools provided instruction in spelling, reading, writing, and singing in the years prior to the introduction of free, public education in the United States. This study explores the Sunday school as a laboratory for public school music education. Several of the first Sunday school tunebooks included theoretical introductions with elementary instruction in music reading much like the early school songbooks that followed. Three early tunebooks will be considered, E. Osborn’s The Sunday School Music Book (1826), Ezra Barrett’s Sabbath School Psalmody (1828), and Elam Ives, Jr’s American Sunday-School Psalmody (1832). In each case, the various “experiments” introduced in the tunebooks will be discussed. Some of these experiments were rejected in the public schools, but others had lasting importance.
{"title":"Early American Sunday School Tunebooks: Laboratories for Public School Music","authors":"P. Sanders","doi":"10.1177/15366006211052888","DOIUrl":"https://doi.org/10.1177/15366006211052888","url":null,"abstract":"Early nonsectarian Sunday Schools provided instruction in spelling, reading, writing, and singing in the years prior to the introduction of free, public education in the United States. This study explores the Sunday school as a laboratory for public school music education. Several of the first Sunday school tunebooks included theoretical introductions with elementary instruction in music reading much like the early school songbooks that followed. Three early tunebooks will be considered, E. Osborn’s The Sunday School Music Book (1826), Ezra Barrett’s Sabbath School Psalmody (1828), and Elam Ives, Jr’s American Sunday-School Psalmody (1832). In each case, the various “experiments” introduced in the tunebooks will be discussed. Some of these experiments were rejected in the public schools, but others had lasting importance.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48984998","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 : 2022-01-27DOI: 10.1177/15366006211069580
Milton Wabyona
Zadok Adolu-Otojoka (b. 1932) is one of the prominent music educators and professional performers in the recent history of arts education in East Africa. A Ugandan by nationality, Adolu-Otojoka has served in different professional capacities as music educator, opera singer, folk musician, dancer, composer, and education/culture administrator, at national and regional levels. Educated in Uganda and in the United States, Adolu-Otojoka excelled as a bass-baritone and featured in several professional opera performances alongside celebrated European and American actors and actresses such as Ray Charman, Lance Hardy, Jane Wise, Mike Laflin, and Henry Pearson in the 1970s and 1980s. His most memorable production was Jesus Christ Superstar in which he performed as Caiaphas, in Nairobi, Kenya. His long and distinguished music teaching career spans over half a century starting in the early 1950s through 2006, during which he taught vocal performance, instruments, music theory, and dance and drama courses in the East African region. Although his career is widely discussed, very little or no documentation of his celebrated life is available for reference. Therefore, this oral history was intended to chronicle historical patterns of music education in Uganda through his testimonies as one of the pioneers of music education in colonial and post-independence East Africa. Adolu-Otojoka’s experiences will not only provide valuable inspiration for the young music education discipline in Uganda, but also insights regarding multicultural music education perspectives in general.
Zadok Adolu-Otojoka(生于1932年)是东非近代艺术教育史上杰出的音乐教育家和专业演奏家之一。Adolu-Otojoka是乌干达国籍，曾在国家和区域各级担任音乐教育家、歌剧演唱家、民间音乐家、舞蹈家、作曲家和教育/文化行政人员等不同专业职务。Adolu-Otojoka在乌干达和美国接受教育，擅长男中音，并在20世纪70年代和80年代与Ray Charman, Lance Hardy, Jane Wise, Mike Laflin和Henry Pearson等著名欧美男女演员一起参加了几场专业歌剧演出。他最令人难忘的作品是在肯尼亚内罗毕饰演该亚法的《耶稣基督超级巨星》。从20世纪50年代初到2006年，他的音乐教学生涯跨越了半个多世纪，期间他在东非地区教授声乐表演、乐器、乐理、舞蹈和戏剧课程。尽管他的职业生涯被广泛讨论，但很少或根本没有关于他著名生活的文件可供参考。因此，这部口述历史旨在通过他作为东非殖民地和独立后音乐教育先驱之一的证词，记录乌干达音乐教育的历史模式。Adolu-Otojoka的经历不仅为乌干达的青少年音乐教育学科提供了宝贵的启示，而且对一般的多元文化音乐教育观点也有深刻的见解。
{"title":"Zadok Adolu-Otojoka and Music Education in Uganda: An Oral History","authors":"Milton Wabyona","doi":"10.1177/15366006211069580","DOIUrl":"https://doi.org/10.1177/15366006211069580","url":null,"abstract":"Zadok Adolu-Otojoka (b. 1932) is one of the prominent music educators and professional performers in the recent history of arts education in East Africa. A Ugandan by nationality, Adolu-Otojoka has served in different professional capacities as music educator, opera singer, folk musician, dancer, composer, and education/culture administrator, at national and regional levels. Educated in Uganda and in the United States, Adolu-Otojoka excelled as a bass-baritone and featured in several professional opera performances alongside celebrated European and American actors and actresses such as Ray Charman, Lance Hardy, Jane Wise, Mike Laflin, and Henry Pearson in the 1970s and 1980s. His most memorable production was Jesus Christ Superstar in which he performed as Caiaphas, in Nairobi, Kenya. His long and distinguished music teaching career spans over half a century starting in the early 1950s through 2006, during which he taught vocal performance, instruments, music theory, and dance and drama courses in the East African region. Although his career is widely discussed, very little or no documentation of his celebrated life is available for reference. Therefore, this oral history was intended to chronicle historical patterns of music education in Uganda through his testimonies as one of the pioneers of music education in colonial and post-independence East Africa. Adolu-Otojoka’s experiences will not only provide valuable inspiration for the young music education discipline in Uganda, but also insights regarding multicultural music education perspectives in general.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48321025","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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