Pub Date : 2021-08-04DOI: 10.1177/15366006211033966
Matthew D. Thibeault
In this article, I explore John Philip Sousa’s historic resistance to music technology and his belief that sound recordings would negatively impact music education and musical amateurism. I review Sousa’s primary arguments from two 1906 essays and his testimony to the US Congress from the same year, based on the fundamental premise that machines themselves sing or perform, severing the connection between live listener and performer and thus rendering recordings a poor substitute for real music. Sousa coined the phrase “canned music,” and I track engagement with this phrase among the hundreds of newspapers and magazines focused on Sousa’s resistance. To better understand the construction of Sousa’s beliefs, I then review how his rich musical upbringing around the US Marine Band and the theaters of Washington DC lead to his conception of music as a dramatic ritual. And I examine the curious coda of Sousa’s life, during which he recanted his beliefs and conducted his band for radio, finding that in fact these experiences reinforced Sousa’s worries. The discussion considers how Sousa’s ideas can help us better to examine the contemporary shift to digital music by combining Sousa’s ideas with those of Sherry Turkle.
{"title":"John Philip Sousa’s Historic Resistance to Technology in Music Learning","authors":"Matthew D. Thibeault","doi":"10.1177/15366006211033966","DOIUrl":"https://doi.org/10.1177/15366006211033966","url":null,"abstract":"In this article, I explore John Philip Sousa’s historic resistance to music technology and his belief that sound recordings would negatively impact music education and musical amateurism. I review Sousa’s primary arguments from two 1906 essays and his testimony to the US Congress from the same year, based on the fundamental premise that machines themselves sing or perform, severing the connection between live listener and performer and thus rendering recordings a poor substitute for real music. Sousa coined the phrase “canned music,” and I track engagement with this phrase among the hundreds of newspapers and magazines focused on Sousa’s resistance. To better understand the construction of Sousa’s beliefs, I then review how his rich musical upbringing around the US Marine Band and the theaters of Washington DC lead to his conception of music as a dramatic ritual. And I examine the curious coda of Sousa’s life, during which he recanted his beliefs and conducted his band for radio, finding that in fact these experiences reinforced Sousa’s worries. The discussion considers how Sousa’s ideas can help us better to examine the contemporary shift to digital music by combining Sousa’s ideas with those of Sherry Turkle.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"44 1","pages":"5 - 25"},"PeriodicalIF":0.1,"publicationDate":"2021-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/15366006211033966","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43267135","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 : 2021-05-03DOI: 10.1177/15366006211011912
Philip Jane, PhD
Toward the end of the nineteenth century a number of external music examining systems were introduced to New Zealand. Two of them, Trinity College, London, and the Associated Board, gained a strong following and became de facto standards in the absence of a national music conservatorium. This article briefly outlines the beginning of external exams in England and follows their export to various overseas members of the British Empire. Graded music exams as a form of tuition engendered considerable debate as to efficacy, merit, and overall validity. Trinity College arrived first in New Zealand, in 1888, followed by the Associated Board in 1897, and their rapid assumption in the southern city of Dunedin is documented and used as a case study of their progress up until 1916. There is a background discussion on the growth and use of post-nominal letters in the local music teaching profession, and the increasing use of formal qualifications by music teachers is noted. These included the professional diplomas from both schools, and the role they played in the formation of a local professional body is explored.
{"title":"The Arrival of Graded Music Exams in New Zealand: A Case Study of Dunedin up to 1916","authors":"Philip Jane, PhD","doi":"10.1177/15366006211011912","DOIUrl":"https://doi.org/10.1177/15366006211011912","url":null,"abstract":"Toward the end of the nineteenth century a number of external music examining systems were introduced to New Zealand. Two of them, Trinity College, London, and the Associated Board, gained a strong following and became de facto standards in the absence of a national music conservatorium. This article briefly outlines the beginning of external exams in England and follows their export to various overseas members of the British Empire. Graded music exams as a form of tuition engendered considerable debate as to efficacy, merit, and overall validity. Trinity College arrived first in New Zealand, in 1888, followed by the Associated Board in 1897, and their rapid assumption in the southern city of Dunedin is documented and used as a case study of their progress up until 1916. There is a background discussion on the growth and use of post-nominal letters in the local music teaching profession, and the increasing use of formal qualifications by music teachers is noted. These included the professional diplomas from both schools, and the role they played in the formation of a local professional body is explored.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"44 1","pages":"172 - 201"},"PeriodicalIF":0.1,"publicationDate":"2021-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/15366006211011912","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44052665","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 : 2021-05-03DOI: 10.1177/15366006211009201
Ian Cicco, M.M.Ed.
The purpose of this study was to examine the sociocultural roots of folk songs from the perspective of renowned folklorist Henry Glassie. Dr. Henry Glassie holds the rank of Professor Emeritus at Indiana University, where he previously served on the faculty for the Department of Folklore and Ethnomusicology. Primary sources included Glassie’s archived collection of folk song transcriptions, recordings, and field notes from the Appalachian region between 1961-1967, housed at the Archives of Traditional Music at Indiana University. A total of 1,665 titles from elementary general music sources were cross-referenced with Glassie’s collection, 26 of which appeared in the archived account. Two oral history interviews with Glassie revealed that folk songs that are commonly used in elementary general music classrooms have historical roots of which teachers may be unaware. The songs in this study raise ethical and moral questions regarding their use in the general music classroom and suggest that teachers carefully research folk songs and their related meanings.
{"title":"A Historical Perspective from Folklorist Henry Glassie: Roots of Folk Songs in Music Education","authors":"Ian Cicco, M.M.Ed.","doi":"10.1177/15366006211009201","DOIUrl":"https://doi.org/10.1177/15366006211009201","url":null,"abstract":"The purpose of this study was to examine the sociocultural roots of folk songs from the perspective of renowned folklorist Henry Glassie. Dr. Henry Glassie holds the rank of Professor Emeritus at Indiana University, where he previously served on the faculty for the Department of Folklore and Ethnomusicology. Primary sources included Glassie’s archived collection of folk song transcriptions, recordings, and field notes from the Appalachian region between 1961-1967, housed at the Archives of Traditional Music at Indiana University. A total of 1,665 titles from elementary general music sources were cross-referenced with Glassie’s collection, 26 of which appeared in the archived account. Two oral history interviews with Glassie revealed that folk songs that are commonly used in elementary general music classrooms have historical roots of which teachers may be unaware. The songs in this study raise ethical and moral questions regarding their use in the general music classroom and suggest that teachers carefully research folk songs and their related meanings.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"44 1","pages":"93 - 118"},"PeriodicalIF":0.1,"publicationDate":"2021-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/15366006211009201","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46259872","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 : 2021-04-01DOI: 10.1177/1536600621990935
M. Mccarthy
{"title":"Editorial","authors":"M. Mccarthy","doi":"10.1177/1536600621990935","DOIUrl":"https://doi.org/10.1177/1536600621990935","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"42 1","pages":"99 - 101"},"PeriodicalIF":0.1,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600621990935","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44991118","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 : 2021-04-01DOI: 10.1177/1536600621989025
Jacob W. Hardesty
{"title":"Racial Uplift and American Music, 1878-1943, by Lawrence Schenbeck. Jackson, MS: University Press of Mississippi, 2014 (paper).","authors":"Jacob W. Hardesty","doi":"10.1177/1536600621989025","DOIUrl":"https://doi.org/10.1177/1536600621989025","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"42 1","pages":"186 - 187"},"PeriodicalIF":0.1,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600621989025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48472101","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 : 2021-04-01DOI: 10.1177/1536600621989024
Timothy E. Nowak
{"title":"Blackface Nation: Race, Reform, and Identity in American Popular Music, 1812-1925, by Brian Roberts. Chicago: University of Chicago Press, 2017.","authors":"Timothy E. Nowak","doi":"10.1177/1536600621989024","DOIUrl":"https://doi.org/10.1177/1536600621989024","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"42 1","pages":"184 - 185"},"PeriodicalIF":0.1,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600621989024","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42881199","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 : 2021-04-01DOI: 10.1177/1536600621989022
P. Sanders
{"title":"Schooling the Freed People: Teaching, Learning, and the Struggle for Black Freedom, 1861–1876, by Ronald E. Butchart. Chapel Hill: University of North Carolina Press, 2013.","authors":"P. Sanders","doi":"10.1177/1536600621989022","DOIUrl":"https://doi.org/10.1177/1536600621989022","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"42 1","pages":"180 - 181"},"PeriodicalIF":0.1,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600621989022","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43673914","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 : 2021-04-01DOI: 10.1177/1536600621989026
Xiaotian Xu, Xinyue Le
{"title":"Culture, Music Education, and the Chinese Dream in Mainland China, by Wai-Chung Ho. Singapore: Springer Nature Singapore, 2018.","authors":"Xiaotian Xu, Xinyue Le","doi":"10.1177/1536600621989026","DOIUrl":"https://doi.org/10.1177/1536600621989026","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"42 1","pages":"187 - 190"},"PeriodicalIF":0.1,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600621989026","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44813949","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 : 2021-04-01DOI: 10.1177/1536600621989023
Jill M. Sullivan
{"title":"Nearby History: Exploring the Past Around You, by David Kyvig, Myron A. Marty, and Larry Cebula, 4th ed. Lanham, MD: Rowman & Littlefield, 2019.","authors":"Jill M. Sullivan","doi":"10.1177/1536600621989023","DOIUrl":"https://doi.org/10.1177/1536600621989023","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"42 1","pages":"181 - 183"},"PeriodicalIF":0.1,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600621989023","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47511843","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 : 2020-11-27DOI: 10.1177/1536600620975512
Alicia Canterbury
Anthony Johnson Showalter (c. 1853–1924) was a music educator, gospel composer, publisher, and considered a pioneer in gospel music and education in the late nineteenth century and early twentieth century. Showalter is notably mentioned in numerous texts and studies related to gospel music; however, little data has been collected regarding the tools he used in singing schools—namely, the rudiment books he wrote and the schools where he used the curriculum. The purpose of this study is to discover Showalter’s possible motivation to begin his career, his determination in writing music education curriculum, organizing singing schools, his reasonings for focusing on seven-shape note style, and his influence into the twenty-first century. Materials analyzed included Showalter’s rudiment books, extant copies of his periodical, “The Music Teacher and Home Magazine,” and interviews at present-day gospel singing schools. Extant research related to four-shape and seven-shape hymnody and education was also reviewed. Findings indicate that Showalter was a progressive student-centered educator who utilized alternate tools in helping many with literacy by organizing the Southern Normal Musical Institute. Showalter created materials and opportunities which were accessible to the advanced and the beginner, hence providing a future for gospel singing schools well into the twenty-first century.
{"title":"Anthony Johnson Showalter: A Pioneer in Southern Gospel Music Education","authors":"Alicia Canterbury","doi":"10.1177/1536600620975512","DOIUrl":"https://doi.org/10.1177/1536600620975512","url":null,"abstract":"Anthony Johnson Showalter (c. 1853–1924) was a music educator, gospel composer, publisher, and considered a pioneer in gospel music and education in the late nineteenth century and early twentieth century. Showalter is notably mentioned in numerous texts and studies related to gospel music; however, little data has been collected regarding the tools he used in singing schools—namely, the rudiment books he wrote and the schools where he used the curriculum. The purpose of this study is to discover Showalter’s possible motivation to begin his career, his determination in writing music education curriculum, organizing singing schools, his reasonings for focusing on seven-shape note style, and his influence into the twenty-first century. Materials analyzed included Showalter’s rudiment books, extant copies of his periodical, “The Music Teacher and Home Magazine,” and interviews at present-day gospel singing schools. Extant research related to four-shape and seven-shape hymnody and education was also reviewed. Findings indicate that Showalter was a progressive student-centered educator who utilized alternate tools in helping many with literacy by organizing the Southern Normal Musical Institute. Showalter created materials and opportunities which were accessible to the advanced and the beginner, hence providing a future for gospel singing schools well into the twenty-first century.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"44 1","pages":"71 - 92"},"PeriodicalIF":0.1,"publicationDate":"2020-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620975512","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45350759","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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