Faculty and Staff

Compulsory education and school laws were enacted in the British colonies of North America beginning from the 1640s. Compulsory school laws were gradually enacted in all states of the United States of America between 1852 and 1918, with enforcement of the laws following gradually and but unevenly in the various states. Today, most states require attendance up to age 16. Music was gradually introduced to the elementary school curriculum from the 1830s. Today, music is mandatory for all (general) students in Grades 1-6 in most schools and in some schools in Grades 7-8, and is an elective subject in most schools in Grades 7-12. General music classes in the U.S. are similar to compulsory music classes in many other countries. Approximately 25 percent of American public secondary school students participate in elective music performing ensembles, which are a distinctive and positive feature of American music education.

Europeans took their musical traditions with them when they moved to North America. Eventually, however, the United States became so large and diverse, with such deep democratic roots, that different ethnic musical strands emerged and then combined to form important new forms of popular music. By then electronic playback technology had arisen and the United States had become the most influential country in the world, both of which helped propel one of these new popular musics, rock and roll, throughout much of the world, much like Europe and its music dominated and proliferated during what musicians call the common practice period. Today, music teachers in the United States continue to be trained in the European-based art music tradition, but most of their work consists of teaching an array of musical styles to students of every imaginable ethnicity and background. These music educators tend to have dual professional identities: as classical musicians and as teachers of multiple styles of music.

||При преместването си в Северна Америка европейците взели със себе си и музикалните си традиции. В крайна сметка, обаче, Съединените щати дотолкова се разраснали и били различни – с дълбоки демократични корени, - че се появили различни музикални течения, а впоследствие се съчетали така, че да образуват нови форми на популярна музика. Към него момент технологията за електронен плейбек вече била развита и САЩ стават най-влиятелната страна в света, като тези два фактора помогнали за напредъка на един от тези нови популярни музикални жанрове – рокендролът – из по-големия дял на музикалния свят, до голяма степен по начина, по който Европа и нейната музика доминира и процъфтява по време на т.нар. от музикантите период на общата практика (common practice period). Днес учителите по музика в САЩ продължават да бъдат обучавани според базираната в Европа традиция на художествената музика, но в по-голямата си част работата им се състои от преподаване на студентите на спектър от музикални стилове от всяка етничност и произход, които можем да си представим. Тези музикални педагози обикновено имат двойствена професионална идентичност: те са класически музиканти и учители по множество музикални стилове.

Text of paper presented at the first conference of the Greek Society for Music Education, held in Thessaloniki, Greece on June 26-28, 1998. It was one of a pair of papers presented as the Honor Guest Lecturer Addresses (the other being "Music Education in the U.S.A.: An Overview"). This item includes the English and Greek translations of the work. 

This paper describes the evolution of music in American public schools and universities. Included are some statistics on the number of elementary, middle, and high schools that offer each type of music instruction, including band, choir, orchestra, and music for general students. Also included are some discussions on the evolution of university music programs. The paper concludes with a description of the new national voluntary standards for music education, and some assessments of the strengths and weaknesses of American music education programs. 

This was part of a pair of papers presented as the Honor Guest Lecturer Addresses (the other being "Music Education Research in the U.S.A.: An Overview"). This item includes the English and Greek translations of the work. 

Objectives: While PhD dissertations are typically accessible as part of a university library’s general collection, or as content within a proprietary database, many other terminal degree projects remain invisible and inaccessible to a greater audience. This poster will describe the development and creation of a digital repository collection containing doctor of nursing practice (DNP) student’s final projects.

Methods: The “Doctor of Nursing Practice (DNP) Final Projects Collection” was created over the course of one semester and included initial discussions with program faculty and administrators, the creation of a student consent form, the development of a process for adding student work to the repository collection, and a presentation to graduating students. This poster will describe the process in more detail, discuss benefits and challenges, as well as highlight the considerations to keep in mind when developing and creating a digital collection of student work. Additionally, best practices and lessons learned will also be described to provide valuable information to others considering creating this type of collection at their own institution.

Results: At the end of the first semester of implementation, twenty student projects existed in our public collection. On the whole, both faculty and students were pleased to have a collection highlighting the work being done in their program. Valuable lessons were learned that can be applied in the next semester of implementation. Specifically, metadata consistency was an issue during the initial uploading process. Gaining select faculty and student buy-in by allaying concerns related to some student’s wanting to publish in a peer-reviewed journal on the topic of their final project remains vital.

Conclusion: Creating open access collections of student applied final projects or capstone projects allows for greater visibility of this type of often overlooked student scholarship. Specifically, the final projects showcased can now be found and accessed by potential employers, researchers, other schools, and other DNP students. In many cases these final projects have applied real-world impact related to answering clinical questions or patient care that should be shared with the world.

Philosophers in ancient Greece established a hierarchy among musical activities, with composition and cognitive knowledge being superior to performance and listening. Music's status was further solidified as an object during the Enlightenment, when the doctrine of aesthetic contemplation emerged. Eventually, a concept of universality evolved, which (the author argues) was proffered as an artistic analogue for universal "truth." Today, some recognize that musical creativity can be "manifested in performance," that most concepts of composition are Western and elitist, and that these concepts run counter to avowed goals in multicultural music education as well as to most forms of musical practice throughout the world.

This is the English language version of the paper as it was presented at the first conference of the Greek Society for Music Education, held in Thessaloniki, Greece on June 26-28, 1998. It was one of a pair of papers presented as the Honor Guest Lecturer Addresses (the other being "Music Education Research in the U.S.A.: An Overview").