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.

Aside from an article by Gutheil, Bursztajn, Hilliard, and Brodsky (2004), scant literature exists regarding why forensic mental health professionals refuse or withdraw from cases. The current study collected descriptive information about the reasons mental health experts decline or withdraw from forensic assessments, both early and late in the legal process. In response to an online survey, 29 practicing forensic psychologists and psychiatrists presented examples of case withdrawal from their professional experiences. Their major reasons included ethical issues or conflicts, payment difficulties, and interpersonal or procedural problems with retaining counsel or evaluees. The results indicate that there are compelling personal and professional reasons that prompt forensic mental health experts to withdraw from or turn down cases.

This report integrated quantitative and qualitative methods across two studies to compile descriptive information about forensic psychologists’ occupational socialization processes. We also explored the relation between occupational socialization and forensic psychologists’ objectivity. After interviewing 20 board-certified forensic psychologists, we surveyed 334 forensic psychologists about their socialization into the field. Results indicated that the occupational socialization processes of forensic psychologists, including socialization about objectivity, varied widely across time and situation as the field has developed. Moreover, three hypotheses regarding occupational socialization were supported. It was positively and significantly associated with years of experience, t(284) = 3.63, p < 0.001, 95% CI = 0.05 – 0.16; belief in one’s ability to be objective, t(296) = 9.90, p < 0.001, 95% CI = 0.69 – 1.03; and endorsement of the usefulness of various bias correction strategies, r = 0.38 (p < .001, one-tailed). The implications of these results and directions for future research are discussed.

Since its debut over a century ago, forensic psychology has matured into a formally recognized specialty area of psychology with its own set of ethical guidelines; however, a consensual definition of forensic psychology remains elusive. After describing the field’s historical and current struggles to define itself, two ethical issues are discussed that are especially applicable to psychology in legal contexts. The first is the critical differences between serving in therapeutic versus forensic roles and the associated ethical obligation to refrain from serving in both roles in the same case. Despite the terminology used in the literature, treatment in forensic contexts can be ethically appropriate. This chapter considers the current state of the literature regarding treatment in forensic contexts and suggests that this is likely to be an area of future growth for the field. The second ethical issue discussed in this chapter is the insidious effect of the adversarial process on psychologists’ objectivity in forensic contexts, termed “forensic identification” or “adversarial allegiance.” The forensic ethical guidelines affirm the primacy of this issue in forensic contexts, as evidenced by addressing it in the first two published guidelines. However, field and experimental evidence suggest psychologists have a challenging (if not impossible) task in avoiding partiality in adversarial forensic contexts. The chapter ends by briefly considering the methods psychologist might use in an effort to reduce partiality and by recognizing more research is needed to identify what else psychologists can do to strive to uphold the ethical guidelines in this regard.

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").