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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. 书评:《新政之声:西部的联邦音乐计划》,彼得·高夫著。佩吉·西格序。厄巴纳:伊利诺伊大学出版社,2015。
IF 0.1 0 MUSIC Pub Date : 2020-07-08 DOI: 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.
创意项目成为教授学术技能的工具,包括语法、标点符号、手写,以及团队合作的社交技能。马丁讨论了对进步教育的误解,引用杜威的话:“教育不是为生活做准备;教育就是生活本身”(第62页)。马丁指出,20世纪30年代有许多不同的教育改革运动,历史上的教育描述倾向于将这些运动合并为一个“进步教育”,而忽视了改革的复杂性。人们有一种误解,认为进步学校是为上层阶级的精英子女开设的。但是,约翰·杜威、弗朗西斯·帕克和进步运动的其他成员希望为尽可能多的孩子提供健全的教育,反对19世纪的训练、考试和记忆方法。小红帽位于格林威治村(Greenwich Village),这是纽约市一个以艺术家的天堂而闻名的社区,这里的孩子来自各个经济阶层。对进步教育的一个误解是认为课程都是无组织的游戏、装饰和肤浅的反智活动。小红同学记得一起学习,研究真正的蚁丘,创作壁画,建造罗马斗兽场的模型,并做与这些项目相关的必要研究。戏剧制作包括研究、写作、设计布景、表演和导演。班级规模很大,一个班级多达43名学生。老师们每年都在换,但学生们仍然在一起,作为一个群体搬到每个新年级,并形成一种认同感。小红的理念是,教育不是为特定的劳动力做准备,而是为生活做准备。《学校就是我们的生活》并不是一部按时间顺序排列的小红楼历史,也不是对那个时代进步教育的总结。这本书是一种集体的回忆,是一群在20世纪20年代和30年代经历过小红的同学们的反思,他们现在已经80多岁了。他们的记忆可能并不总是准确或一致的,但一个合成的记忆产生了一个自我检查和详细的故事,因为个人贡献了他们的版本,并相互证实或反驳。由于受访者没有被确定,读者不会对个别同学的观点产生理解,除了作者。这幅作品不是对20世纪20年代和30年代事件的再现,而是对同学们经历的一种成人视角的反思。虽然很难从这本书中掌握小红色校舍的客观哲学,但读者会了解这所学校的价值观和使命,以及以前的学生所记得的艺术在教育中的地位。
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引用次数: 0
Book Review: Sarah Anna Glover: Nineteenth-Century Music Education Pioneer, by Jane Southcott. Lanham, MD: Lexington Books, 2019. 书评:莎拉·安娜·格洛弗:19世纪音乐教育先驱,简·索斯科特著。兰哈姆,马里兰州:列克星敦图书,2019年。
IF 0.1 0 MUSIC Pub Date : 2020-07-03 DOI: 10.1177/1536600620937481
Patti Tolbert
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引用次数: 0
Book Review: School was our Life: Remembering Progressive Education, by Jane Roland Martin. Foreword by Estelle R. Jorgensen. IN: Indiana University Press, 2018. 书评:《学校是我们的生活:铭记进步教育》,简·罗兰·马丁著。作者:Estelle R. Jorgensen。印:印第安纳大学出版社,2018。
IF 0.1 0 MUSIC Pub Date : 2020-06-25 DOI: 10.1177/1536600620937483
Sondra Wieland Howe
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引用次数: 0
Frank William Westhoff (1863–1938): A Music Education Leader of the Progressive Era 弗兰克·威廉·韦斯特霍夫(1863-1938):进步时代的音乐教育领袖
IF 0.1 0 MUSIC Pub Date : 2020-06-08 DOI: 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.
本研究的目的是考察弗兰克·威廉·韦斯特霍夫(1863-1938)的生活和工作,他是进步时代(大约19世纪90年代至50年代)音乐教育的领导者。研究问题集中在他作为音乐导师、教师教育家、教育家和教科书作者的工作上。我还探讨了韦斯特霍夫对音乐专业的贡献和对音乐教育的影响。韦斯特霍夫1863年出生在密苏里州的圣查尔斯县。1884年,他搬到伊利诺伊州的迪凯特,1893年,他开始在该市的公立学校监督音乐。从1901年到1935年,韦斯特霍夫在ISNU担任音乐教师,在那里他教授方法课程,指挥乐团,并监督当地公立学校的音乐。1938年,他在伊利诺斯州的诺曼去世。虽然韦斯特霍夫在音乐教育方面并不像那些在他那个时代在全国范围内领导这一领域的人那样杰出,但在整个进步时代的大部分时间里,他在维持、延续和扩大学校音乐在地区基础上发挥了重要作用。1907年,他是爱荷华州基奥卡克音乐监事全国会议的创始成员,并出版了许多作品和教学材料,包括帮助伊利诺伊州标准化音乐教学的全州课程。
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引用次数: 1
Book Review: May We Forever Stand: A History of the Black National Anthem, by Imani Perry 书评:《愿我们永远屹立:黑人国歌的历史》,伊马尼·佩里著
IF 0.1 0 MUSIC Pub Date : 2020-04-01 DOI: 10.1177/1536600619901026
Erica Kupinski
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引用次数: 0
Claude V. Palisca as Music Educator: The Yale Seminar on Music Education and the Norton Anthology of Western Music 音乐教育家克劳德·V·帕利斯卡:耶鲁音乐教育研讨会与诺顿西方音乐选集
IF 0.1 0 MUSIC Pub Date : 2020-04-01 DOI: 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.
克劳德·帕利斯卡(1921–2001)是美国著名的音乐学家和音乐教育家。他撰写了关于文艺复兴和巴洛克音乐理论以及音乐学发展的书籍和文章,但最广为人知的是《诺顿西方音乐选集》(NAWM)的创始人和第一任编辑,以及《西方音乐史》的合著者,这两本音乐史教科书仍在世界各地的课堂上使用。在这篇文章中,我们通过帕利斯卡在20世纪50年代至70年代末的写作和活动,追溯了他对NAWM的结构、内容和目的的最初想法。帕利斯卡音乐教育活动的核心部分是他组织的耶鲁音乐教育研讨会、研讨会报告,以及旨在在主要以表演为导向的公立学校音乐课程中灌输表演和学术学习之间更多平衡的听力课程。在他的听力课程中,帕里斯卡主张强调在音乐作品的历史和理论背景下通过听力来理解音乐,这是他后来在NAWM中追求的方法。Palisca暗示,本科阶段需要类似的教学“一揽子计划”,从而将耶鲁研讨会报告中的听力课程确定为未来NAWM的第一缕曙光。
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引用次数: 2
Editorial 编辑
IF 0.1 0 MUSIC Pub Date : 2020-04-01 DOI: 10.1177/1536600620906228
M. Mccarthy
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引用次数: 0
Book Review: Everybody Sing! Community Singing in the American Picture Palace, by Esther M. Morgan-Ellis 书评:人人歌唱!Esther M.Morgan Ellis在美国图片宫的社区歌唱
IF 0.1 0 MUSIC Pub Date : 2020-01-27 DOI: 10.1177/1536600619901025
Alan L. Spurgeon
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引用次数: 0
Ralph L. Baldwin: His Influence on American Music Education through Teaching, Publication, and Service 拉尔夫·L·鲍德温:从教学、出版和服务看他对美国音乐教育的影响
IF 0.1 0 MUSIC Pub Date : 2020-01-27 DOI: 10.1177/1536600620901329
Casey L. Gerber
Ralph L. Baldwin (1872–1943) was a prominent music educator who, in addition to his role as a teacher, was an author, composer, and leader of various professional music organizations. Baldwin later became known through his many publications and as the administrator of the Sterrie Weaver Summer School after Weaver’s untimely death. This narrative study was intended to describe the teaching philosophy developed by Baldwin. In addition, the visibility and recognition brought to Baldwin through his books in the “Music Education Series,” published by Ginn and Company, were detailed. Baldwin advocated teaching sight reading or the “language” of music to balance out the rote singing methods being used. He blended the rote and note philosophies much like his predecessor Sterrie Weaver. While Baldwin’s methods and publications are not necessarily used in American classrooms today, it is important to recognize the quality ideas and resources that he offered to music educators of that time. Baldwin’s publications are a good example of an effective instructional method, including materials, that directly preceded the adoption of current methods and approaches to music education.
拉尔夫·L·鲍德温(1872-1943)是一位杰出的音乐教育家,除了担任教师外,他还是作家、作曲家和各种专业音乐组织的领导人。鲍德温后来通过他的许多出版物而闻名,并在韦弗英年早逝后担任斯特里·韦弗暑期学校的管理员。这项叙述性研究旨在描述鲍德温发展起来的教学哲学。此外,还详细介绍了鲍德温在金与公司出版的《音乐教育系列》中的著作给他带来的知名度和认可度。鲍德温提倡教授视觉阅读或音乐的“语言”,以平衡正在使用的死记硬背的歌唱方法。他融合了死记硬背和音符哲学,就像他的前任斯特里·韦弗一样。虽然鲍德温的方法和出版物不一定在今天的美国课堂上使用,但重要的是要认识到他为当时的音乐教育工作者提供的优质思想和资源。鲍德温的出版物是一个很好的例子,说明了一种有效的教学方法,包括材料,直接先于采用当前的音乐教育方法和方法。
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引用次数: 0
Book Review: Eleanor Smith’s Hull House Songs: The Music of Protest and Hope in Jane Addams’s Chicago, by Graham Cassano, Rima Lunin Schultz, and Jessica Payette 书评:埃莉诺·史密斯的《赫尔之歌:简·亚当斯的《芝加哥》中的抗议与希望之歌》,作者:格雷厄姆·卡萨诺、里玛·鲁宁·舒尔茨和杰西卡·帕耶特
IF 0.1 0 MUSIC Pub Date : 2020-01-17 DOI: 10.1177/1536600619901021
Casey L. Gerber
With time, these types of formal social contacts faded, and Perry notes that a weakening in importance of “Lift Every Voice and Sing” was observable in black communities. Given the changing political climate and the increased struggles facing African Americans, new songs known as Freedom Songs, like “We Shall Overcome,” began to emerge as contemporary anthems. This was most evident during the post–Civil Rights era and the rise of the “Black Power” movement. Perry identifies general community connectedness and community-building as principles more influential in its popularity than in efforts to teach the song. Since its composition in 1900, “Lift Every Voice and Sing,” has symbolized the pride, expectations, dreams, and aspirations of black Americans. In short, it has helped many to understand what it means to be an African American. Perry’s inclusion of minor events in Africa or other parts of the world in reference to the anthem was distracting. Still, she noted, the concerns and values shared among black communities were similar regardless of location, even within the different regions of the United States. May We Forever Stand is well researched and easy to read. To create a realistic retelling of the story, recollections of community contacts were arranged both chronologically and thematically. Written initially for individuals interested in African American cultural studies, the book has significant importance to musicologists, ethnomusicologists, and music educators. While little musical analysis is provided, the importance of singing together, the contexts in which the song was sung, and the evolution of the song over time is what makes this book most worth the attention of educators. Perry provides a wealth of cultural knowledge for individuals wishing to gain a more socially and culturally relevant perspective of this song. She brings to light many events typically not addressed in mainstream histories. It is a uniquely honest view of what life truly was like for many and how the meaning of “Lift Every Voice and Sing” has helped shape generations of African Americans to the present day. The book is an interesting explanation of the social, political, historical, and cultural aspects of music in African American culture. Although the actual musical connection to the Black National Anthem itself was weaker than expected, music historians and educators seeking a deeper understanding of the evolution of the song and its cultural significance will find this a book worth reading. May We Forever Stand: A History of the Black National Anthem is a historically and culturally significant book of which all members of the music education profession should be aware.
随着时间的推移,这些正式的社会联系逐渐消失,佩里指出,在黑人社区,“举起每一个声音,歌唱”的重要性正在减弱。考虑到不断变化的政治气候和非裔美国人面临的日益增加的斗争,被称为“自由之歌”的新歌,如“我们将战胜”,开始作为当代国歌出现。在后民权运动时代和“黑人权力”运动兴起期间,这一点最为明显。佩里认为,与教这首歌的努力相比,一般的社区联系和社区建设原则对这首歌的受欢迎程度更有影响力。自1900年创作以来,这首歌就象征着美国黑人的骄傲、期望、梦想和抱负。简而言之,它帮助许多人理解了作为一个非裔美国人意味着什么。佩里将非洲或世界其他地区的小事件纳入国歌中,这让人分心。尽管如此,她指出,黑人社区所关注的问题和价值观是相似的,无论地点如何,即使在美国的不同地区也是如此。《愿我们永远站立》一书研究充分,易于阅读。为了创造一个真实的故事重述,社区接触的回忆按时间和主题排列。最初是为对非裔美国人文化研究感兴趣的个人写的,这本书对音乐学家、民族音乐学家和音乐教育家具有重要意义。虽然很少提供音乐分析,但一起唱歌的重要性,歌曲被唱的背景,以及歌曲随时间的演变是这本书最值得教育工作者关注的地方。佩里为希望从这首歌中获得更多社会和文化相关视角的个人提供了丰富的文化知识。她揭露了许多在主流历史中通常没有提及的事件。这是对许多人真实生活的独特诚实的看法,以及“扬起每个声音,歌唱”的意义如何帮助塑造了一代又一代的非裔美国人,直到今天。这本书对非裔美国人文化中音乐的社会、政治、历史和文化方面进行了有趣的解释。虽然与黑人国歌本身的实际音乐联系比预期的要弱,但寻求更深入了解歌曲演变及其文化意义的音乐历史学家和教育工作者会发现这本书值得一读。《愿我们永远屹立:黑人国歌的历史》是一本具有历史和文化意义的书,所有音乐教育专业的成员都应该了解。
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引用次数: 0
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Journal of Historical Research in Music Education
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