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.

Prompted by the involvement of psychologists in torturous interrogations at Guantanamo and Abu Ghraib, the American Psychological Association (APA) revised its Ethics Code Standard 1.02 to prohibit psychologists from engaging in activities that would “justify or defend violating human rights.” The revision to Standard 1.02 followed APA policy statements condemning torture and prohibiting psychologists’ involvement in such activities that constitute a violation of human rights (APA, 2010). Cogent questions have subsequently been raised about the involvement of psychologists in other activities that could arguably lead to human rights violations, even if the activity in question is legal. While this language was designed to be expansive in defining psychologists’ ethical responsibilities, it remains difficult to determine whether and how Standard 1.02 might apply to a particular situation.

In the present analysis, we focus on the question of whether psychologists should be involved in death penalty cases. We assert that the APA should not take an ethical stand against psychologists’ participation in death penalty cases. Our position is not intended necessarily to reflect approval or disapproval of the death penalty although we recognize that there are serious flaws in the American legal system with regard to capital punishment. Our perspective is that psychologists have an important role in the administration of due process in capital cases. We oppose a bright-line rule prohibiting psychologists’ involvement in death penalty cases for several reasons. We begin by considering whether the death penalty per se constitutes a human rights violation, move on to describe the basic functioning of the legal system, analyze how the involvement of psychologists actually affects the capital trial process, and end with providing practical advice for psychologists’ provision of ethical services in capital trials.

This survey of 206 forensic psychologists tested the “filtering” effects of preexisting expert attitudes in adversarial proceedings. Results confirmed the hypothesis that evaluator attitudes toward capital punishment influence willingness to accept capital case referrals from particular adversarial parties. Stronger death penalty opposition was associated with higher willingness to conduct evaluations for the defense and higher likelihood of rejecting referrals from all sources Conversely, stronger support was associated with higher willingness to be involved in capital cases generally, regardless of referral source. The findings raise the specter of skewed evaluator involvement in capital evaluations, where evaluators willing to do capital casework may have stronger capital punishment support than evaluators who opt out, and evaluators with strong opposition may work selectively for the defense. The results may provide a partial explanation for the “allegiance effect” in adversarial legal settings such that preexisting attitudes may contribute to partisan participation through a self-selection process.

Prisoners sentenced to death must be competent for execution before they can actually be executed (Ford v. Wainwright, 1986). The decision for many mental health professionals whether to conduct competence for execution evaluations may be fraught with complex ethical issues. Mental health professionals who do not personally support capital punishment may have a particularly difficult decision to make in this regard but should seriously consider the consequences of their decisions. This article applies Bush, Connell, and Denney’s (2006) eight-step ethical decision-making model to the ethicality of deciding to or abstaining from conducting competence for execution evaluations. This article does not propose what decisions an individual evaluator should make regarding this work, but rather presents a systematic guide for mental health professionals (particularly those who do not support capital punishment) to consider.

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. 

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").