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- All Subjects: Music Education
- Creators: Humphreys, Jere Thomas
- Creators: Solís, Ted
The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative, was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. The final piece included in this project is a transcription and arrangement of Tarkus (1971), written by Keith Emerson (1944-2016) and Greg Lake (1947-2016) for the iconic progressive rock supergroup, Emerson, Lake & Palmer. This unique and unpublished arrangement was crafted by Peter Ford (b. 1964) for Ohio-based saxophone quartet Sax 4th Avenue and first featured on the ensemble’s 1998 album, Delusions de Grandeur. These pieces were recorded in the E-Media Studios of the College Conservatory of Music at the University of Cincinnati, as well as A2 Audio Studios in Cincinnati, Ohio, in January and February of 2019.
Seven DP/PwD participated in this study: (a) Erica, a 14-year-old diagnosed with a developmental disability of unknown etiology; (b) Duke, a drummer diagnosed with Williams syndrome; (c) Birdie, an abstract visual artist with epilepsy who used music to inform her art; (d) Daren, a b-boy/breakdancer diagnosed with Tourette syndrome, (e) Sienna, a legally blind social work college student who played banjo in a music therapy-based bluegrass band and participated in musical theatre; (f) Ice Queen, an undergraduate flute player recently diagnosed with Attention deficit/hyperactivity disorder (ADHD); and (g) Culann, an adult counselor and music listener with ADHD and mood disorders. Data generation included conversational interviews, observations, artmaking, and serendipitous data.
Data co-generated with participants were crafted into narratives of their lifeworlds, including description of their experiences with disability in, through, and around music and in other aspects of their lives. An envisioned conversation among all participants demonstrates the shifts and complexities in the meanings of disability and unpacks different ways participants describe and understand disability and the myriad roles that music plays in their lifeworlds. The final chapter of the study offers discussions and suggestions regarding thinking about and approaching disability (i.e., interactional theories, intersectionality, and identity), inclusion (i.e., belonging, suggestions by participants, and anti-ableist pedagogy), and research/writing.
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.
