Showing papers in "Music Educators Journal in 2006"

Exploring the musical mind : cognition, emotion, ability, function

Abstract: PART A: COGNITIVE PROCESSES 1. The psychology of music reading 2. Experimental studies of music reading: a review 3. The uses of space in music notation 4. Immediate recall of melodies 5. Cognition and real music: the psychology of music comes of age 6. Psychological structures in music: core research 1980-1990 7. Book review of Language, Music and Mind 8. Does music mean anything? PART B: EMOTION AND MOTIVATION 9. Music as a language 10. Music psychology and the composer 11. Empirical studies of emotional response to music 12. Emotional responses to music: a review 13. Musical performance and emotion: issues and developments PART C: TALENT AND SKILL DEVELOPMENT 14. Musical expertise 15. Musical ability 16. The acquisition of music performance expertise 17. Are some children more gifted for music than others? PART D: MUSIC IN THE REAL WORLD 18. Everyday uses of music 19. Music: where cognition and emotion meet 20. Music and worship: a psychologist's perspective 21. Emotion, functionality, and the everyday experience of music 22. The sound of music versus the essence of music 23. Assessing music psychology research

Music That Represents Culture: Selecting Music with Integrity:

Abstract: On a recent walk through a conference exhibit hall lively with the din of conversation and intermittent musical sounds, I was drawn to a flurry of activity at a music vendor. Among the rows of music books, octavos, recordings, and scores were about a dozen teachers searching for new additions to their curricula. As an observer, I couldn't help wondering what guided their decisions. Especially interesting to me were the more adventurous teachers searching through the multicultural bins. How did they determine what music would be a viable addition to their curricula? While perusing the music, they might have been asking, Will my students enjoy listening to this recording? Is this concert band arrangement of a Mexican ballad faithful to the original? Is there any information about the typical performance style of a Navajo circle-dance song? Can my students produce the vocal timbre it calls for? Is there someone from the culture I can consult about this jazz-band arrangement of Puerto Rican salsa? Answers to these questions could help determine if the music is a suitable fit.

Remaking the Song: Operatic Visions and Revisions from Handel to Berio

Abstract: Opera performances are often radically inventive. Composers' revisions, singers' improvisations, and stage directors' re-imaginings continually challenge our visions of canonical works. But do they go far enough? This elegantly written, beautifully concise book, spanning almost the entire history of opera, reexamines attitudes toward some of our best-loved musical works. It looks at opera's history of multiple visions and revisions and asks a simple question: what exactly is opera? "Remaking the Song", rich in imaginative answers, considers works by Handel, Mozart, Donizetti, Verdi, Wagner, Puccini, and Berio in order to challenge what many regard as sacroscant: the opera's musical text. Scholarly tradition favors the idea of great operatic texts permanently inscribed in the canon. Roger Parker, considering examples ranging from Cecilia Bartoli's much-criticized insistence on using Mozart's alternative arias in the "Marriage of Figaro" to Luciano Berio's new ending to Puccini's unfinished "Turandot", argues that opera is an inherently mutable form, and that all of us - performers, listeners, scholars - should celebrate operatic revisions as a way of opening works to contemporary needs and new pleasures.

Audiation for Beginning Instrumentalists: Listen, Speak, Read, Write

Abstract: rest, during which I dutifully counted to four. It continued with the same whole note, followed by another whole rest, which concluded the line. I played one more similar exercise before curiosity got the best of me. &dquo;Where are the tunes?&dquo; I thought. I peeked ahead several pages, found a familiar song, and began to play it by ear. The melody was familiar, and figuring out the fingerings wasn’t difficult. So on I went, surfing through book one, exploring my clarinet, playing tunes by ear until dinner two hours later.

Improving Dictation as an Aural-Skills Instructional Tool

Abstract: Many high schools in the U.S. offer Advanced Placement (AP) courses in music theory for students wishing to study music at the college level.' Others devote part of the music curriculum to theory and aural-skills instruction, but do not offer AP courses. In either case, high school theory and aural-skills courses typically strive to cover all, or part, of the material presented in first-semester college theory and aural-skills courses. Music dictation is a mainstay in most college aural-skills classes, and the College Board advocates including dictation in AP music theory courses. This raises an important question: is giving prospective college music majors a head start with dictation in high school the best way to help them develop the listening skills necessary to succeed in college and beyond? At first glance, the answer would seem to be a resounding yes. However, dictation's effectiveness as a tool for developing listening skills varies considerably, depending on how dictation exercises are constructed and implemented. This article will examine some traditional dictation practices, identify perceptual skills required to listen to music critically, and offer strategies for acquiring and integrating broader listening skills that will more directly develop students' critical listening and musicianship.

Opening the Doors to Diverse Traditions of Music Making: Multicultural Music Education at the University Level

Abstract: Of the seven course objectives presented, the first six related to standard topics usually included in a class of this type. However, when hearing that the seventh objective was to examine diverse traditions of music making, explore techniques for presenting world music to middle and high school classes, and become proficient on an instrument from a culture other than their own, the students responded with slightly raised eyebrows, realizing that this semester's course was headed in an unexpected direction. I explained that I had recently reviewed the recommendations for multicultural education in the 1967 Tanglewood Symposium and the 1994 National Standards for Arts Education.' I had also read numerous articles describing the lack of multicultural perspectives in U.S. music teacher training institutions. The writings of Carol Scott-Kassner and Kathy Robinson particularly interested me.2 Both criticized con

Lindy's Story: One Student's Experience in Middle School Band:

Abstract: What doeschool music mean to schoolchildren? If they were to describe their experience using their own words and understandings, what would they say? We as a profession often discuss the important attributes of music instruction in the lives of children -but do children see school music as we do? Do they understand school music to be an activity that encourages human expression, develops artistic sensitivity, and engages intellectual activity?2 If our students believe school music to be something drastically different from what we as music teachers intend it to be, we need to take a serious look at our practices as music teachers and as a profession at large. In the end, our beliefs and practices need to align in an effort to impart to our students what we believe music is. Several studies have been done on the effect of school music instruction on the self-concept of students,3 as well as on student perceptions of school music experiences,4 but few researchers have undertaken an in-depth inquiry of individual students to attempt to understand their possibly unique perceptions of school music. The purpose of this study was to look closely at one student's experience and perspective in a middle school band program in an attempt to see the program from the student's point of view.

Effective Time Management in Ensemble Rehearsals

Abstract: One of the most common problems for school music ensembles is the lack of rehearsal time to prepare for public performances. Many rehearsals are cancelled or shortened due to in-service and vacation days. In addition, because of illness, field trips, and athletic events, not all students attend any one rehearsal. Music directors all too often feel they need to eliminate various parts of the rehearsal-such as proper warm-up, tuning, sight-reading, or exercises for developing students' musicianship-so that more time can be spent on rehearsing performance literature. This approach can be shortsighted, however, because it doesn't necessarily help students improve their ensemble performance. Many factors contribute to an effective rehearsal. The single greatest factor that affects rehearsal success is pacing-the teacher's ability to effectively manage time during the teaching period. Ensemble directors should strive for a learning environment characterized by a consistent level of positive effort and concentration from students, with a proper balance of time allocated for teacher actions (usually verbal feedback) and for student actions (performance of music).

Education through Collaboration: Learning the Arts while Celebrating Culture. An Elementary School--University Partnership Provides Valuable Multicultural Music Education Experience for Elementary Future Educators.

Abstract: ~, f school-university ~~ f ’ 1 1 · 1 ’ I l I ! 1ulticulturalmusic education eriences for elementary ’f / · :.;:%be university curriculum for an elementary education degree traditionally includes a &dquo;basics of music,, and a &dquo;basics of art&dquo; course. These two courses represent a nod to the importance of the arts in school., and they may be the only formal contact with music and arts pedagogy that prospective teachers receive. One way to make these courses especially dynamic and show teachers how t~~~5~an use music and arts in their own classrooms is through a partnership between university and local elementary school teachers. Music and art faculty at my university forged a partnership with the music and art teachers at one of our local elementary schools. The partnership resulted from the university music and art teachers agreeing to team-teach a class called Creative Arts (music, visual arts, dance, and drama) for the Elementary and Middle Levels. The intent was to expand an established tradition of collaboration with the local ele-

The Art and Heart of Drum Circles

Abstract: * The Art and Heart of Drum Circles. Hal Leonard, 7777 W. Bluemound Rd., Milwaukee, WI 53213; 414-774-3630; fax, 414-774-3259, www.halleonard.com. 1 hr., 33 min. 2005. DVD, $24.95. The Art and Heart of Drum Circles is an informative video featuring Christine Stevens demonstrating how easy it is to be a drum-circle facilitator. Any musician, whether a drummer or not, could watch this video and become a drum-circle facilitator. Stevens demonstrates how to clearly cue a group of drummers in a large-group setting as well as in a living room. She also presents accurate drum-stroke technique. This DVD also includes information on instruments used in drum circles. Stevens names a variety of Remo drums, and Chalo Eduardo, director of world percussion at Remo, introduces some international instruments. Stevens also describes several other percussion instruments, such as rain sticks and ocean drums. Another great feature of the video is the demonstration of various musical forms to incorporate into the drum circle. For example, facilitators can layer in drummers one by one or layer them out. A second option is the traditional ABA form. Third, soundscapes produced on the drums or with other percussion instruments can create a beautiful and

Teaching and Using Audiation in Classroom Instruction and Applied Lessons with Advanced Students

Abstract: A miusical ear is widely accepted as an essential ingredient in the education of successful music students. Most music educators believe that without a well-developed ear it's impossible for a musician to function on a professional level as a teacher, conductor, performer, or composer. Music teachers who wish to develop their students' ears need teaching methods based on concepts that are clearly defined and easily understood. We believe that audiation is such a concept. Over the last ten years, we have developed teaching methods based on audiation that have increased students' musical aural skills. Furthermore, we have used audiation to teach both sight-singing and performance skills.

Building Curriculum-Based Concerts

Abstract: A t's the first day of the new semester. The students are back from their long winter break with a rt'wed sense of vigor. Unfortunately, there are six fewer people in front of Mr. Aubelchan. \"Well,\" he ?tks, \"there isn't much I can do about it now. I might as well start passing out the new music.\" I Mr. Aubelchan,\" Stephanie shouts, \"another arrangement of a Vivaldi piece? This is the second one \":& year and the fourth one in the past two years!\" \"Well, Stephanie,\" the teacher tries to explain, \"you guys play in the baroque style very well, and we have a contest coming up in a couple of months, not to mention the concert at City Park and the festival. And don't forget the fund-raising assembly next week, which is taking away one of our rehearsals. We have just enough time to learn to play a piece like this, and I know it's one that'll allow you to really shine. You want to get that Superior rating at festival and beat Bergwill High, don't you?\" Mr. Aubelchan raises his baton and starts to rehearse the Vivaldi arrangement. Those in the class who have been there for a year or two have no trouble adapting what they've done before to this \"new\" piece. At the end of the class, the students pack their instruments away and leave the rehearsal hall with a much-deflated sense of enthusiasm. _ , , ti to bn te e o a d The next day at rehearsal, the students dutifully enter ._ ...mpr ...l ofmse . It is rr to f a the room, get out their instruments, and prepare to play. c a o b Mr. Aubelchan's baton falls on the first downbeat, and they're off. Repetitive eighth notes fill the room. A fresh-

Composing a World: Lou Harrison, Musical Wayfarer:

Abstract: a World: Lou Harrison, Musical Wayfarer. By Leta E. Miller and Fredric Lieberman. University of Illinois Press, 1325 South Oak St., Champaign, IL 61820-6903; 217333-0950; fax, 217-244-8082; www.press.uillinois.edu. 2004. 395 pp. Music examples, black-and-white photographs, figures, endnotes, catalogs of works, appendixes, bibliography, index, CD. Paperback, $35.00. Renegade composer Lou Harrison (1917-2003) is the subject of this good book, previously published as Lou Harrison: Composing a World by Oxford University Press in 1998. Few changes were made in this update. This fine book, coauthored by two professors of music at the University of California-Santa Cruz who specialize in composition, ethnomusicology, and research, is a responsible piece of scholarship. Based in part on several interviews with Harrison, the book is organized and well written. The authors cover the work of a unique individual who is sometimes called a maverick. Harrison was a very successful composer who studied music and dance when he was young and wrote for most instruments. He is especially known for his work with standard and nontraditional instruments, which include percussion, voice, dance, and gamelan. His \"Song of Quetzecoatl\" of 1941, for example, calls for snare drum, wind chimes, and automobile brake drums that are struck with mallets. This collection of instruments produces an unusual sound. The brake drums have an especially notable ring and an indefinite pitch. Another example of Harrison's music for percussion is the Concerto for Violin and Percussion Orchestra. This novel work uses suspended flowerpots that are hit with mallets to produce a variety of indefinite pitches, something like the brake drums. At times, Harrison incorporated the Indonesian gamelan into his works, many of which sound as if they have an Asian influence. In summary, this book embraces a composer who is different from the norm. It reports on one man's work in music composition in the twentieth century, and it explores his interests, his priorities, and other details about the man and his music. The authors certainly show that Harrison was a downto-earth person with strong beliefs and that his body of work demonstrates that he was a master of his craft. This book is recommended for reading by the school music teacher and for inclusion in library collections. -Geary H. Larick, assistant professor of music, retired, Stevens Point, Wisconsin, glarrick@charternet

Empowering Music Student Teachers Through Inquiry: Cooperating Teacher Views

Abstract: As student teachers enter the classroom and assume music teacher responsibilities for the first time, they observe and collaborate with experienced cooperating teachers, who share their classrooms, students, and expertise. During this formative period, cooperating teachers guide their student teachers through experiences that will shape their teaching styles, their interactions with students, their current and future curricular choices, and how they think about their own teaching. As such, a cooperating teacher may be a significant professional mentor. This article is the second in a series on mentoring (see the MEJ Mentoring Series sidebar), a role that can make a tremendous difference in a person's decision to make a long-term commitment to teaching in any field, particularly music.

Takadimi: A Rhythm System for All Ages:

Abstract: . / I&dquo; . / / ’ . ’ ’; . , . l l .. N~,~ ’~h~~~~’v~~~t~ty may be the spice of life, too much variety can just be perplexing. The presence of so n~:a~~ ~~~fer~~~r~~~~~aches to music-literacy instruction and the inability of the profession to agree on a cq~~~ rh~~~~;~y~tem may unnecessarily confuse our students. One elementary teacher might use the tr§j9~UEal Koêkiffisyllables (ta ti-ti) while another in the same school system uses an Orff-Schulwerk approach (e.g., &dquo;watermelon,&dquo; &dquo;apple&dquo;). The secondary ensemble directors may use the counting system (1-e-&-a), and so their students must learn two or more unrelated systems. A recent national survey of vocal music educators reveals that some teachers use a combination of approaches within the same classroom.l Results indicate that 57 percent of those who teach at both the elementary and secondary levels prefer the counting system, but 58 percent regularly use both the Kodaly and counting approaches. Those who teach only at the middle and high school level prefer counting more strongly (71 percent), but many (41 percent) still use both approaches. While no current data exists about instrumental teachers’ preferences, it is probably safe to say that most band and orchestra directors use counting.

Eight Simple Rules for Singing Multicultural Music.

Abstract: Plato said in his Republic, "Music is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul."1 As musicians, we know this to be true. As music educators interested in music from traditions other than our own, we see this music as a window into the soul's expression in another culture. Performing music of another culture can give us a direct, visceral experience that listening alone cannot. If music is to function as a bridge between cultures, as performers we must be ready to move out of our comfort zones and experience music in a completely new way. The root of the word "culture" is the Greek word kultus, meaning "belief." The musical expressions of a culture come from the shared beliefs of that culture. Therefore, "multiculturalism" involves multiple beliefs, some of which will be different from those we hold in our native culture. In a musical context, these beliefs influence things such as what makes good singing technique, the proper time and place to perform a certain piece, who should sing a certain piece, what constitutes a good musical arrangement, and other issues of performance practice, language, and even religious beliefs.