Pub Date : 2020-10-01DOI: 10.1177/1536600620937482
Mark Fonder
{"title":"Book Review: Making the March King: John Philip Sousa’s Washington Years 1854-1893, by Patrick Warfield. Urbana, IL: University of Illinois Press, 2016.","authors":"Mark Fonder","doi":"10.1177/1536600620937482","DOIUrl":"https://doi.org/10.1177/1536600620937482","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620937482","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42260113","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 : 2020-10-01DOI: 10.1177/1536600620939711
{"title":"Patrice Madura Ward-Steinman (1952–2020)","authors":"","doi":"10.1177/1536600620939711","DOIUrl":"https://doi.org/10.1177/1536600620939711","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620939711","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44366797","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 : 2020-09-10DOI: 10.1177/1536600620955133
Patrice Madura Ward-Steinman
The 2020 bicentennial year of Indiana University (IU) Bloomington is a fitting time to recognize the 100-year legacy of the faculty members of the IU Music Education Department. This legacy has not been heretofore documented, exposing a gap in the knowledge of historical traditions and influences. The purpose of this study was to create a comprehensive list of the faculty names, and years of service, and to identify publications, leadership roles, curriculum development, and biographical insights. The historical narrative was created through immersion in the following primary sources found in the IU Archives: The annual Indiana University Bulletins, the Trustees Minutes, and miscellaneous clippings files containing photographs, news items, and obituaries. First edition hard copies of books and published articles by the faculty were examined. Greatest detail is provided for those IU professors of the distant past, including Edward Bailey Birge, Samuel T. Burns, Thurber H. Madison, Jack M. Watson, Dorothy G. Kelley, Newell H. Long, Miriam P. Gelvin, Charles R. Hoffer, and Robert H. Klotman. This study illustrates how one-storied Music Education Department is inextricably linked to its past and suggests that other legacy studies are needed for comparison and contrast.
{"title":"“Be True to Your School”: A 100-Year Legacy of Music Education Faculty at the Indiana University School of Music","authors":"Patrice Madura Ward-Steinman","doi":"10.1177/1536600620955133","DOIUrl":"https://doi.org/10.1177/1536600620955133","url":null,"abstract":"The 2020 bicentennial year of Indiana University (IU) Bloomington is a fitting time to recognize the 100-year legacy of the faculty members of the IU Music Education Department. This legacy has not been heretofore documented, exposing a gap in the knowledge of historical traditions and influences. The purpose of this study was to create a comprehensive list of the faculty names, and years of service, and to identify publications, leadership roles, curriculum development, and biographical insights. The historical narrative was created through immersion in the following primary sources found in the IU Archives: The annual Indiana University Bulletins, the Trustees Minutes, and miscellaneous clippings files containing photographs, news items, and obituaries. First edition hard copies of books and published articles by the faculty were examined. Greatest detail is provided for those IU professors of the distant past, including Edward Bailey Birge, Samuel T. Burns, Thurber H. Madison, Jack M. Watson, Dorothy G. Kelley, Newell H. Long, Miriam P. Gelvin, Charles R. Hoffer, and Robert H. Klotman. This study illustrates how one-storied Music Education Department is inextricably linked to its past and suggests that other legacy studies are needed for comparison and contrast.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620955133","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43354530","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 : 2020-07-15DOI: 10.1177/1536600620937973
C. Resta
Charles Fowler (1931–1995) was an important thinker whose reconstructionist philosophy of music education represents an untold view worthy of examination in the modern context. Fowler described the philosophy in his dissertation completed in 1964, based on the reconstructionist theory of Theodore Brameld. He outlined seven major objectives stating how music education can impact students, schools, and communities, and can serve as an agent of social change. This perspective was the basis for Fowler’s pragmatic and progressive outlook throughout his 45-year career as teacher, researcher, writer, and arts advocate. His philosophy is presented here as another critical viewpoint of music teaching and learning, and for its impact on those who experience it. Following an introduction to Fowler and his connections to reconstructionism, his seven objectives for music education are presented, along with samples of writing showing his consistent philosophical beliefs over time, concluding with a review of his thinking while considering the future through a lens of the past. While prevailing viewpoints center on aesthetic, praxial, and pedagogical views, Fowler’s reconstructionist philosophy is worthy of inclusion in the history of music education as he argued for a sociological perspective that predates most viewpoints commonly read in the field today.
{"title":"Looking Back to Move Forward: Charles Fowler and His Reconstructionist Philosophy of Music Education","authors":"C. Resta","doi":"10.1177/1536600620937973","DOIUrl":"https://doi.org/10.1177/1536600620937973","url":null,"abstract":"Charles Fowler (1931–1995) was an important thinker whose reconstructionist philosophy of music education represents an untold view worthy of examination in the modern context. Fowler described the philosophy in his dissertation completed in 1964, based on the reconstructionist theory of Theodore Brameld. He outlined seven major objectives stating how music education can impact students, schools, and communities, and can serve as an agent of social change. This perspective was the basis for Fowler’s pragmatic and progressive outlook throughout his 45-year career as teacher, researcher, writer, and arts advocate. His philosophy is presented here as another critical viewpoint of music teaching and learning, and for its impact on those who experience it. Following an introduction to Fowler and his connections to reconstructionism, his seven objectives for music education are presented, along with samples of writing showing his consistent philosophical beliefs over time, concluding with a review of his thinking while considering the future through a lens of the past. While prevailing viewpoints center on aesthetic, praxial, and pedagogical views, Fowler’s reconstructionist philosophy is worthy of inclusion in the history of music education as he argued for a sociological perspective that predates most viewpoints commonly read in the field today.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620937973","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43626316","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 : 2020-07-08DOI: 10.1177/1536600620940084
William R. Lee
creative project became a vehicle for teaching academic skills including grammar, punctuation, and handwriting, plus the social skills of working as a team. Martin discusses misconceptions about progressive education, quoting Dewey: “Education is not preparation for life; education is life itself” (p. 62). Martin notes that there were many different educational reform movements in the 1930s, and historical educational accounts tend to combine these movements into one “progressive education,” ignoring the complexity of reform. There is a misconception that progressive schools were for elite children of the upper classes. But John Dewey, Francis W. Parker, and other members of the progressive movement wanted a sound education for as many children as possible, rejecting nineteenth-century methods of drill, tests, and memorization. Little Red, located in Greenwich Village, a neighborhood in New York City known as an artists’ haven, had children of all economic classes. A misconception of progressive education has been the assumption that the curriculum was all unstructured play, frills, and superficial anti-intellectual activities. Little Red classmates remember learning together, studying real anthills, creating murals, building a model of the Colosseum, and doing the necessary research connected with these projects. Play productions included research, writing, designing scenery, acting, and directing. Classes were large, with as many as 43 students in a class. The teachers changed each year, but the students stayed together, moving to each new grade as a group and developing a sense of identity. The philosophy at Little Red claimed education was not preparation for a specific work force, but preparation for life. School was our Life is not a chronological history of the Little Red School House or a summary of progressive education in the era. The book is a collective memory, a reflection by a group of schoolmates who experienced Little Red in the 1920s and the 1930s, and are now in their late eighties. Their memories may not be always accurate or consistent, but a composite memory produces a self-checking and detailed story, as individuals contributed their versions and confirmed or contradicted each other. Since the interviewees are not identified, the reader does not develop an understanding of the views of individual schoolmates, with the exception of the author. This composite is not a reproduction of events of the 1920s and the 1930s, but an adult viewpoint reflecting on the experiences of the schoolmates. While it is difficult to grasp the objective philosophy of the Little Red Schoolhouse from this book, the reader develops an understanding of the values and mission of this school and the place of the arts in education as former students remembered it.
{"title":"Book Review: Sounds of the New Deal: The Federal Music Project in the West, by Peter Gough. Foreword by Peggy Seeger. Urbana: University of Illinois Press, 2015.","authors":"William R. Lee","doi":"10.1177/1536600620940084","DOIUrl":"https://doi.org/10.1177/1536600620940084","url":null,"abstract":"creative project became a vehicle for teaching academic skills including grammar, punctuation, and handwriting, plus the social skills of working as a team. Martin discusses misconceptions about progressive education, quoting Dewey: “Education is not preparation for life; education is life itself” (p. 62). Martin notes that there were many different educational reform movements in the 1930s, and historical educational accounts tend to combine these movements into one “progressive education,” ignoring the complexity of reform. There is a misconception that progressive schools were for elite children of the upper classes. But John Dewey, Francis W. Parker, and other members of the progressive movement wanted a sound education for as many children as possible, rejecting nineteenth-century methods of drill, tests, and memorization. Little Red, located in Greenwich Village, a neighborhood in New York City known as an artists’ haven, had children of all economic classes. A misconception of progressive education has been the assumption that the curriculum was all unstructured play, frills, and superficial anti-intellectual activities. Little Red classmates remember learning together, studying real anthills, creating murals, building a model of the Colosseum, and doing the necessary research connected with these projects. Play productions included research, writing, designing scenery, acting, and directing. Classes were large, with as many as 43 students in a class. The teachers changed each year, but the students stayed together, moving to each new grade as a group and developing a sense of identity. The philosophy at Little Red claimed education was not preparation for a specific work force, but preparation for life. School was our Life is not a chronological history of the Little Red School House or a summary of progressive education in the era. The book is a collective memory, a reflection by a group of schoolmates who experienced Little Red in the 1920s and the 1930s, and are now in their late eighties. Their memories may not be always accurate or consistent, but a composite memory produces a self-checking and detailed story, as individuals contributed their versions and confirmed or contradicted each other. Since the interviewees are not identified, the reader does not develop an understanding of the views of individual schoolmates, with the exception of the author. This composite is not a reproduction of events of the 1920s and the 1930s, but an adult viewpoint reflecting on the experiences of the schoolmates. While it is difficult to grasp the objective philosophy of the Little Red Schoolhouse from this book, the reader develops an understanding of the values and mission of this school and the place of the arts in education as former students remembered it.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620940084","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41601970","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 : 2020-07-03DOI: 10.1177/1536600620937481
Patti Tolbert
{"title":"Book Review: Sarah Anna Glover: Nineteenth-Century Music Education Pioneer, by Jane Southcott. Lanham, MD: Lexington Books, 2019.","authors":"Patti Tolbert","doi":"10.1177/1536600620937481","DOIUrl":"https://doi.org/10.1177/1536600620937481","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620937481","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42848400","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 : 2020-06-25DOI: 10.1177/1536600620937483
Sondra Wieland Howe
{"title":"Book Review: School was our Life: Remembering Progressive Education, by Jane Roland Martin. Foreword by Estelle R. Jorgensen. IN: Indiana University Press, 2018.","authors":"Sondra Wieland Howe","doi":"10.1177/1536600620937483","DOIUrl":"https://doi.org/10.1177/1536600620937483","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620937483","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48239560","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 : 2020-06-08DOI: 10.1177/1536600620929227
Phillip M. Hash
The purpose of this study was to examine the life and work of Frank William Westhoff (1863–1938), a leader in music education during the progressive era (circa 1890s–1950s). Research questions focused on his work as a music supervisor, teacher educator, pedagogue, and textbook author. I also explored Westhoff’s contributions to the profession and influence on music education. Westhoff was born in St. Charles County, Missouri, in 1863. He moved to Decatur, Illinois, in 1884, and in 1893 he began supervising music in the city’s public schools. From 1901 to 1935, Westhoff served as music instructor at ISNU, where he taught methods classes, directed ensembles, and supervised music in the local public schools. He died in Normal, Illinois, in 1938. Although Westhoff was not as prominent a figure in music education as those who led the field on a national level during his time, he played an important role in sustaining, perpetuating, and expanding school music on a regional basis throughout much of the progressive era. He was a founding member of Music Supervisors’ National Conference at Keokuk, Iowa, in 1907, and published numerous compositions and didactic materials, including a statewide curriculum that helped standardize music instruction in Illinois.
{"title":"Frank William Westhoff (1863–1938): A Music Education Leader of the Progressive Era","authors":"Phillip M. Hash","doi":"10.1177/1536600620929227","DOIUrl":"https://doi.org/10.1177/1536600620929227","url":null,"abstract":"The purpose of this study was to examine the life and work of Frank William Westhoff (1863–1938), a leader in music education during the progressive era (circa 1890s–1950s). Research questions focused on his work as a music supervisor, teacher educator, pedagogue, and textbook author. I also explored Westhoff’s contributions to the profession and influence on music education. Westhoff was born in St. Charles County, Missouri, in 1863. He moved to Decatur, Illinois, in 1884, and in 1893 he began supervising music in the city’s public schools. From 1901 to 1935, Westhoff served as music instructor at ISNU, where he taught methods classes, directed ensembles, and supervised music in the local public schools. He died in Normal, Illinois, in 1938. Although Westhoff was not as prominent a figure in music education as those who led the field on a national level during his time, he played an important role in sustaining, perpetuating, and expanding school music on a regional basis throughout much of the progressive era. He was a founding member of Music Supervisors’ National Conference at Keokuk, Iowa, in 1907, and published numerous compositions and didactic materials, including a statewide curriculum that helped standardize music instruction in Illinois.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620929227","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41253972","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 : 2020-04-01DOI: 10.1177/1536600619901026
Erica Kupinski
{"title":"Book Review: May We Forever Stand: A History of the Black National Anthem, by Imani Perry","authors":"Erica Kupinski","doi":"10.1177/1536600619901026","DOIUrl":"https://doi.org/10.1177/1536600619901026","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600619901026","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42666722","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 : 2020-04-01DOI: 10.1177/1536600619836094
Jelena Dj. Simonović Schiff, J. Humphreys
Claude V. Palisca (1921–2001) was a prominent American musicologist and music educator. He authored books and articles about Renaissance and Baroque music theory and developments in musicology, but is most widely known as the founder and first editor of the Norton Anthology of Western Music (NAWM) and coauthor of A History of Western Music, the two music history textbooks that are still in use in classrooms worldwide. In this article, we trace Palisca’s first idea of the NAWM’s structure, content, and purpose through his writings and activities between the 1950s and late 1970s. The central part among Palisca’s activities in music education belongs to his organization of the Yale Seminar on Music Education, his seminar report, and the listening curriculum designed to instill more balance between performance and academic study in largely performance-oriented public school music programs. In his listening curriculum, Palisca argued for emphasis on understanding music through listening within the historical and theoretical context of the music work, an approach he would later pursue in the NAWM. Palisca hinted that a similar teaching “package” is needed for the undergraduate level, thus identifying the listening curriculum from his Yale Seminar report as the first glimmer of the future NAWM.
{"title":"Claude V. Palisca as Music Educator: The Yale Seminar on Music Education and the Norton Anthology of Western Music","authors":"Jelena Dj. Simonović Schiff, J. Humphreys","doi":"10.1177/1536600619836094","DOIUrl":"https://doi.org/10.1177/1536600619836094","url":null,"abstract":"Claude V. Palisca (1921–2001) was a prominent American musicologist and music educator. He authored books and articles about Renaissance and Baroque music theory and developments in musicology, but is most widely known as the founder and first editor of the Norton Anthology of Western Music (NAWM) and coauthor of A History of Western Music, the two music history textbooks that are still in use in classrooms worldwide. In this article, we trace Palisca’s first idea of the NAWM’s structure, content, and purpose through his writings and activities between the 1950s and late 1970s. The central part among Palisca’s activities in music education belongs to his organization of the Yale Seminar on Music Education, his seminar report, and the listening curriculum designed to instill more balance between performance and academic study in largely performance-oriented public school music programs. In his listening curriculum, Palisca argued for emphasis on understanding music through listening within the historical and theoretical context of the music work, an approach he would later pursue in the NAWM. Palisca hinted that a similar teaching “package” is needed for the undergraduate level, thus identifying the listening curriculum from his Yale Seminar report as the first glimmer of the future NAWM.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600619836094","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47969563","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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