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.

Examinations of trust have advanced steadily over the past several decades, yielding important insights within criminal justice, economics, environmental studies, management and industrial organization, psychology, political science, and sociology. Cross-disciplinary approaches to the study of trust, however, have been limited by differences in defining and measuring trust and in methodological approaches. In this chapter, we take the position that: 1) cross-disciplinary studies can be improved by recognizing trust as a multilevel phenomenon, and 2) context impacts the nature of trusting relations. We present an organizing framework for conceptualizing trust between trustees and trustors at person, group, and institution levels. The differences between these levels have theoretical implications for the study of trust and that might be used to justify distinctions in definitions and methodological approaches across settings. We highlight where the levels overlap and describe how this overlap has created confusion in the trust literature to date. Part of the overlap – and confusion – is the role of interpersonal trust at each level. We delineate when and how interpersonal trust is theoretically relevant to conceptualizing and measuring trust at each level and suggest that other trust-related constructs, such as perceived legitimacy, competence, and integrity, may be more important than interpersonal trust at some levels and in some contexts. Translating findings from trust research in one discipline to another and collaborating across disciplines may be facilitated if researchers ensure that their levels of conceptualization and measurement are aligned, and that models developed for a particular context are relevant in other, distinct contexts.

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. 

In spring 2013, the presenters developed a survey on academic library streaming video and distributed it broadly through various discussion and mailing lists.

This is the first large-scale and most comprehensive effort to date to collect data on streaming video funding, licensing, acquisition, and hosting in academic libraries. Its results will provide benchmark data for future explorations of this rapidly expanding approach to video in academic libraries.

Streaming video is becoming a common occurrence on many campuses today. Its fast growth is due in part to the steady growth of online classes and programs. Technology has also played a role in this growth as alternatives for ingesting and accessing content have expanded. Multiple options are now available including in-house approaches, cloud storage, and third party vendors.

This survey collected data on how academic institutions address the day-to-day operations related to streaming video as well as perceived directions for future action.

Survey questions addressed selection and acquisition of video in both hard copy and streaming formats, funding for acquisitions, current and planned hosting interfaces, cataloging and access, and current practice and policy on digitization of hard copy titles for streaming. This session reviews the instrument used, and provides a preliminary look at some of the key data collected.