Pub Date : 2020-04-01DOI: 10.1177/1536600620906228
M. Mccarthy
{"title":"Editorial","authors":"M. Mccarthy","doi":"10.1177/1536600620906228","DOIUrl":"https://doi.org/10.1177/1536600620906228","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/10.1177/1536600620906228","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46745091","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 : 2020-01-27DOI: 10.1177/1536600619901025
Alan L. Spurgeon
{"title":"Book Review: Everybody Sing! Community Singing in the American Picture Palace, by Esther M. Morgan-Ellis","authors":"Alan L. Spurgeon","doi":"10.1177/1536600619901025","DOIUrl":"https://doi.org/10.1177/1536600619901025","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600619901025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43517072","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 : 2020-01-27DOI: 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.
{"title":"Ralph L. Baldwin: His Influence on American Music Education through Teaching, Publication, and Service","authors":"Casey L. Gerber","doi":"10.1177/1536600620901329","DOIUrl":"https://doi.org/10.1177/1536600620901329","url":null,"abstract":"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.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620901329","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47129822","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 : 2020-01-17DOI: 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.
{"title":"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","authors":"Casey L. Gerber","doi":"10.1177/1536600619901021","DOIUrl":"https://doi.org/10.1177/1536600619901021","url":null,"abstract":"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.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600619901021","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48666855","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 : 2020-01-17DOI: 10.1177/1536600619901022
Jacob W. Hardesty
House. Smith’s biography notes her musical study in Germany and an account of the publication of her music books for children, including The Eleanor Smith Music Course published in 1908 by the American Book Company. Schultz examines the “cultural pedagogy” of Hull House in chapter 5. As educators and cultural leaders, the women of Hull House used the arts programs to save children from the adjacent community, especially immigrant children, from what they considered to be a destructive, commercial culture. This pedagogical perspective later extended farther into the community as programs for adults grew out of the arts and crafts movement in Chicago. Out of this came a newly created Labor Museum at Hull House with adults in the community teaching “textiles, metals, woods, grains, and printing and binding” (p. 196) and, later, pottery. Chapter 6 draws a parallel between Progressive Era political and social issues to current political culture. Schultz further examines the larger Progressive Era movement and the consequent changes to the settlement house’s objectives after Jane Addams’s death in 1935, especially the influence of new political and social programs, “The New Deal” of the time. The final chapter is a critique of Jane Addams’s exclusion of blacks in Hull House programs, claiming that there was a small population of blacks in the neighborhood, even though they were conspicuously absent from the musical and artistic programs of the organization. Schultz states that “in the absence of art, music, craft display, or drama that provided positive images of African Americans, immigrants learned to identify with whites rather than with people of color” (p. 280). While portions of the book can be difficult to absorb, both in prose and content, the authors provide a comprehensive documentation of the arts programs at Hull House. The book also contains an Afterword with “A Singer’s Perspective” on Hull House Songs by soprano Jocelyn Zelasko and Harriet Monroe’s libretto for The Troll’s Holiday, the operetta for children composed by Eleanor Smith. Readers who want to explore the life and work of Eleanor Smith and her role in the music education of children will encounter well-sourced information on this overlooked composer and educator. The book goes beyond the composer and her songs, however. The authors delve into Jane Addams’s philosophical, and by extension, political beliefs. The Hull House organization itself emerges as the larger focus through detailed narrative and critique. Eleanor Smith’s “Hull House Songs” is an insightful look into how the advocates of historical Progressivism mixed high, aspirational art with working-class, democratic principles.
{"title":"Book Review: Transforming Women’s Education: Liberal Arts and Music in Female Seminaries, by Jewel E. Smith","authors":"Jacob W. Hardesty","doi":"10.1177/1536600619901022","DOIUrl":"https://doi.org/10.1177/1536600619901022","url":null,"abstract":"House. Smith’s biography notes her musical study in Germany and an account of the publication of her music books for children, including The Eleanor Smith Music Course published in 1908 by the American Book Company. Schultz examines the “cultural pedagogy” of Hull House in chapter 5. As educators and cultural leaders, the women of Hull House used the arts programs to save children from the adjacent community, especially immigrant children, from what they considered to be a destructive, commercial culture. This pedagogical perspective later extended farther into the community as programs for adults grew out of the arts and crafts movement in Chicago. Out of this came a newly created Labor Museum at Hull House with adults in the community teaching “textiles, metals, woods, grains, and printing and binding” (p. 196) and, later, pottery. Chapter 6 draws a parallel between Progressive Era political and social issues to current political culture. Schultz further examines the larger Progressive Era movement and the consequent changes to the settlement house’s objectives after Jane Addams’s death in 1935, especially the influence of new political and social programs, “The New Deal” of the time. The final chapter is a critique of Jane Addams’s exclusion of blacks in Hull House programs, claiming that there was a small population of blacks in the neighborhood, even though they were conspicuously absent from the musical and artistic programs of the organization. Schultz states that “in the absence of art, music, craft display, or drama that provided positive images of African Americans, immigrants learned to identify with whites rather than with people of color” (p. 280). While portions of the book can be difficult to absorb, both in prose and content, the authors provide a comprehensive documentation of the arts programs at Hull House. The book also contains an Afterword with “A Singer’s Perspective” on Hull House Songs by soprano Jocelyn Zelasko and Harriet Monroe’s libretto for The Troll’s Holiday, the operetta for children composed by Eleanor Smith. Readers who want to explore the life and work of Eleanor Smith and her role in the music education of children will encounter well-sourced information on this overlooked composer and educator. The book goes beyond the composer and her songs, however. The authors delve into Jane Addams’s philosophical, and by extension, political beliefs. The Hull House organization itself emerges as the larger focus through detailed narrative and critique. Eleanor Smith’s “Hull House Songs” is an insightful look into how the advocates of historical Progressivism mixed high, aspirational art with working-class, democratic principles.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600619901022","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46346122","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 : 2020-01-13DOI: 10.1177/1536600619898666
Brian D. Meyers
The purpose of this study was to trace the development and growth of the University of Illinois Band Clinics during their twenty-five-year history (1930–1954). Founded by A. Austin Harding, Director of Bands at the University of Illinois, the Band Clinics served as an important forum for the reading and performance of contest pieces and new band music during an important period in the development of the school band movement. The clinics also served as the National Band Clinics, sponsored by the National School Band Association, from 1932 until 1937. Throughout its history, the clinics expanded in scope and size to provide directors of all levels and notoriety the opportunity to gather on an annual basis to discuss current trends and teaching techniques that were important to the growth of the school band movement. Due to their success and popularity, the clinics served as an important event for the development of other band-specific conferences throughout the United States.
{"title":"The University of Illinois Band Clinics 1930–1954","authors":"Brian D. Meyers","doi":"10.1177/1536600619898666","DOIUrl":"https://doi.org/10.1177/1536600619898666","url":null,"abstract":"The purpose of this study was to trace the development and growth of the University of Illinois Band Clinics during their twenty-five-year history (1930–1954). Founded by A. Austin Harding, Director of Bands at the University of Illinois, the Band Clinics served as an important forum for the reading and performance of contest pieces and new band music during an important period in the development of the school band movement. The clinics also served as the National Band Clinics, sponsored by the National School Band Association, from 1932 until 1937. Throughout its history, the clinics expanded in scope and size to provide directors of all levels and notoriety the opportunity to gather on an annual basis to discuss current trends and teaching techniques that were important to the growth of the school band movement. Due to their success and popularity, the clinics served as an important event for the development of other band-specific conferences throughout the United States.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600619898666","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42373435","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 : 2019-12-18DOI: 10.1177/1536600619893067
Jared R. Rawlings
Music teachers are central to the effective implementation of the school curriculum; however, researchers know little about their careers in music education. In order to understand the work of music teachers, researchers must document experiences of those educators who may appear ordinary but who led extraordinary lives and careers. The purpose of this study was to create a biographical primary source on E. Daniel Long, one of the esteemed educators in American string music education during the second half of the twentieth century. Long’s memories of his life and teaching position with Ann Arbor Public Schools, alongside additional sources, were used to explore aspects of his career in music education. This article includes additional biographical information not previously documented in past interviews as well as his philosophical beliefs about teaching youth.
音乐教师是学校课程有效实施的核心;然而，研究人员对他们在音乐教育中的职业知之甚少。为了理解音乐教师的工作，研究人员必须记录下那些看似平凡但却有着非凡生活和事业的教育工作者的经历。本研究的目的是为二十世纪下半叶美国弦乐教育中受人尊敬的教育家之一e·丹尼尔·朗(E. Daniel Long)创建一个传记式的原始资料。Long的生活记忆和他在安娜堡公立学校的教学职位，以及其他资料，被用来探索他在音乐教育方面的职业生涯。这篇文章包括在过去的采访中没有记录的额外的传记信息，以及他关于教育青年的哲学信仰。
{"title":"“Don’t Keep It a Secret”: E. Daniel Long and His Career in Music Education","authors":"Jared R. Rawlings","doi":"10.1177/1536600619893067","DOIUrl":"https://doi.org/10.1177/1536600619893067","url":null,"abstract":"Music teachers are central to the effective implementation of the school curriculum; however, researchers know little about their careers in music education. In order to understand the work of music teachers, researchers must document experiences of those educators who may appear ordinary but who led extraordinary lives and careers. The purpose of this study was to create a biographical primary source on E. Daniel Long, one of the esteemed educators in American string music education during the second half of the twentieth century. Long’s memories of his life and teaching position with Ann Arbor Public Schools, alongside additional sources, were used to explore aspects of his career in music education. This article includes additional biographical information not previously documented in past interviews as well as his philosophical beliefs about teaching youth.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600619893067","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46702368","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 : 2019-10-21DOI: 10.1177/1536600619878562
Frances Elliott, Jane Southcott
Studio music teachers are the backbone of musical communities but their efforts are often overlooked and unsung. We explore one facet of the life of studio music teachers in Australia 1890–1920, graded music examinations conducted by two well-reputed British music education organizations: Trinity College of Music and the Associated Board of the Royal Schools of Music. For teachers, acquiring high-level qualifications from these bodies offered teaching credentials. For students, examinations were a feature of their routine studies. Teachers could advertise their abilities via the publication of examination results. We chronicle the introduction of these examinations to Australia and their impact on the lives of studio music teachers.
{"title":"Examinations in the Life of Studio Music Teachers in Australia prior to 1920","authors":"Frances Elliott, Jane Southcott","doi":"10.1177/1536600619878562","DOIUrl":"https://doi.org/10.1177/1536600619878562","url":null,"abstract":"Studio music teachers are the backbone of musical communities but their efforts are often overlooked and unsung. We explore one facet of the life of studio music teachers in Australia 1890–1920, graded music examinations conducted by two well-reputed British music education organizations: Trinity College of Music and the Associated Board of the Royal Schools of Music. For teachers, acquiring high-level qualifications from these bodies offered teaching credentials. For students, examinations were a feature of their routine studies. Teachers could advertise their abilities via the publication of examination results. We chronicle the introduction of these examinations to Australia and their impact on the lives of studio music teachers.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600619878562","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47145113","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 : 2019-10-21DOI: 10.1177/1536600619877917
Sondra Wieland Howe
Commodore Perry and his “Black Ships” opened Japanese harbors for foreign shipping in 1853 and 1854. Music was important for this Japan Expedition that obtained a treaty between the United States and Japan. Bands and singers performed music for parades, impressive ceremonies, religious services, and entertainment for the sailors and foreign audiences. This article examines the styles of Western music, instrumentation, and performance venues of Perry’s musicians as they traveled to harbors in China, Okinawa, and Japan. Since the large bands from Perry’s ships were impressive with their fancy uniforms, swords, and loud music, the Japanese associated band music with American military power. The performances on Perry’s ships were some of the first performances of Western music in Japan, before the Westernization of the Japanese school music curriculum in the 1880s. Primary sources for this research include contemporary narrative accounts, printed programs, nineteenth-century prints, and songbooks. Secondary sources include websites, articles, and books to put the material in a historical context.
{"title":"Western Music on Commodore Perry’s “Black Ships” in Japan, 1853–1854","authors":"Sondra Wieland Howe","doi":"10.1177/1536600619877917","DOIUrl":"https://doi.org/10.1177/1536600619877917","url":null,"abstract":"Commodore Perry and his “Black Ships” opened Japanese harbors for foreign shipping in 1853 and 1854. Music was important for this Japan Expedition that obtained a treaty between the United States and Japan. Bands and singers performed music for parades, impressive ceremonies, religious services, and entertainment for the sailors and foreign audiences. This article examines the styles of Western music, instrumentation, and performance venues of Perry’s musicians as they traveled to harbors in China, Okinawa, and Japan. Since the large bands from Perry’s ships were impressive with their fancy uniforms, swords, and loud music, the Japanese associated band music with American military power. The performances on Perry’s ships were some of the first performances of Western music in Japan, before the Westernization of the Japanese school music curriculum in the 1880s. Primary sources for this research include contemporary narrative accounts, printed programs, nineteenth-century prints, and songbooks. Secondary sources include websites, articles, and books to put the material in a historical context.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600619877917","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44509362","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 : 2019-10-17DOI: 10.1177/1536600619876111
P. Sanders
Many of the first public school music teachers in the United States came from the singing school tradition and taught from the same tune books that had been used in singing schools. After the war, renewed interest in education and the establishment of graded schools soon led to the introduction of music series that were designed to serve the individual needs of each grade and the classroom teachers who often assisted with music instruction. The major music education history texts in the United States claim that music series soon replaced single-volume songbooks since they better served the needs of the new graded school system. Music series represented the new progressive views of education in the years following the Civil War, and the single-volume songbooks that descended from antebellum tune books of the singing school movement are largely dismissed as relics of a bygone era. This study explores the use of these school songbooks in the years following the Civil War, extending many years beyond the introduction of the first music series.
{"title":"Reconsidering School Songbooks in the United States during the Post–Civil War Period (1865-1899)","authors":"P. Sanders","doi":"10.1177/1536600619876111","DOIUrl":"https://doi.org/10.1177/1536600619876111","url":null,"abstract":"Many of the first public school music teachers in the United States came from the singing school tradition and taught from the same tune books that had been used in singing schools. After the war, renewed interest in education and the establishment of graded schools soon led to the introduction of music series that were designed to serve the individual needs of each grade and the classroom teachers who often assisted with music instruction. The major music education history texts in the United States claim that music series soon replaced single-volume songbooks since they better served the needs of the new graded school system. Music series represented the new progressive views of education in the years following the Civil War, and the single-volume songbooks that descended from antebellum tune books of the singing school movement are largely dismissed as relics of a bygone era. This study explores the use of these school songbooks in the years following the Civil War, extending many years beyond the introduction of the first music series.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600619876111","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42134590","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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