2nd Symposium on LGBT Studies & Music Education in october 2012

Posted on April 15, 2012 by Evan Tobias

The 2nd Symposium on LBGT Studies and Music Education will take place  in collaboration with the Consortium for Research on Equity in Music Education (CREME) October 18-19 2012.

This purpose of the second symposium is to encourage, promote, and disseminate discourse regarding intersection of LGBT topics and music education. The symposium seeks to reveal how LGBT issues operate within music education in terms of research, curriculum, teacher preparation, and the musical lives and careers of LGBT music students and teachers.

Several of the papers presented at the first symposium can be read on a Bulletin of the Council for Research in Music Education  electronic conference proceedings

You can find out more about the 2nd Symposium and read the call for papers on the Symposium on LGBT Studies & Music Education website.

 

Posted in Contemporary Issues, music education, socio-cultural Issues | Leave a comment

A list of women composers

Posted on March 21, 2012 by Evan Tobias

Thank you to Rob Deemer for his post on NewMusicBox listing 202 living women composers! The list includes links to the composers’ websites as well. Make sure to also take a look at the comment section for ongoing contributions by others of additional women composers. Perhaps you will have someone to add as well?

Posted in composers, composing, music education, socio-cultural Issues | 1 Comment

Women composers in music programs?

Posted on February 13, 2012 by Evan Tobias

To what extent are women composers represented in our music programs?

To what extent are our music programs providing opportunities for young women to think of themselves as composers?

Kerry Andrew recently problematized a gender imballance between the ratio of male to female composers present in contemporary society in a UK Guardian article entitled Why there are so few female composers. While she addresses several issues that contribute to this challenge the following passage invites music educators to take a direct role in working toward greater equality:

We need, however, to address the inequality at the nub: those writing the curriculum, the National Music Plan, and teachers at all levels should make an effort to use examples of music by women in the classroom; to promote composition as a living, breathing, utterly unisex profession.

Though focused in the context of the UK, this statement could and I propose should be applied equally in the United States.

The repertoire our students perform throughout their K-12 school music experience likely factors in their perceptions of what constitutes a composer. Similarly the particular “music history” addressed in schools may also contribute to notions of what and who a composer is.

Music educators can play an immediate and direct role in broadening how composers are perceived and understood in our programs. By increasing the repertoire composed by women, discussing the issues addressed in the aforementioned Guardian article among other resources, and providing opportunities for students to compose and see themselves as composers we might contribute to a more balanced gender representation of composers in school music programs and society at large. If you have not already done so it might be informative to look through the repertoire performed in your program or aspects of music history/culture addressed in your classes for the past several years to determine the extent of gender balance in terms of composers in your curriculum.

Unsure how to approach composing in your own program? Take a look at some of the prior posts on the topic in this blog and consider attending the NAfME 2012 Summer Composition Academy.

 

Posted in composers, composing, music education, socio-cultural Issues | 2 Comments

Awareness of State School Board Association Perspectives on Music Education?

Posted on January 1, 2012 by Evan Tobias

In December of 2011 the New York State School Boards Association (NYSSBA) released a report entitled “The New 3 Rs: Reducing, Restructuring and Redesigning.”

The NYSSBA New 3 Rs website includes the following text in refererence to the report:

“The New 3 Rs analyzes the impact of the state’s new property tax cap on school districts, provides recommendations for state lawmakers to allow schools to operate more efficiently, and suggest ideas for local school boards to consider in order to survive in the tax cap era.”

The third entry under the report’s “Reduce” category is “reduce music classes.”

The only other mention of “music” in the report is the following excerpt from page 5 (emphasis added):

Here are four predictions for how districts will adapt to the new era:

  1. School districts will seek structural changes as opposed to one-time savings. Longer-term savings will be derived from school closings and staff reorganizations.One school district in Lewis County in 2011- 12 reduced three full-time positions to three half-time positions and reduced its class schedule from 10 periods to nine periods.A school district administrator in Rensselaer County explained that while eliminating a teacher may result in a reduction in electives, sharing a teacher with another district allows a teacher to remain full time based on a shared schedule with the other district – and allows both districts to maintain programs, albeit at a reduced level. Greater use of shared services will occur in non-mandated areas targeted for reductions, such as art, music, art, sports and electives. Districts may still offer these programs, but at a reduced level as teachers move to half-time and three- quarter time positions.

Interestingly this section of the report situates music and the arts as “non-mandated areas” and “elective[s]” without acknowledging music and the arts as core subjects.

While music educators often find themselves paying attention to the discourse of those who set or lobby for particular education policies, the role of State School Board Associations is not necessarily discussed very often.

If the the full report is providing suggestions to local school boards, the inculsion of the statement  “reduce music classes” among other “ideas for local school boards to consider in order to survive in the tax cap era” can have serious ramifications for students and music educators.

How aware are you of your state school board association’s and local school board members’ perspectives on music education?

Posted in Contemporary Issues, curriculum, music education, policy | Leave a comment

Has music education changed since 1970? On students who rock. . .

Posted on September 15, 2011 by Evan Tobias

David Bornstein recently wrote two opinion pieces for the New York times regarding music education. The first “Beyond Baby Mozart, Students Who Rock” focuses on Bornstein’s perspective on the state of music education and the Little Kids Rock organization. The second “Rock is Not the Enemy,” does a nice job of integrating a wide range of reader comments from the first opinion piece.

In the first opinion piece Bornstein writes:

Music education hasn’t changed fundamentally since the 1970s. Students are still taught to read notation so they can recite compositions that they would never listen to on their MP3 players or play with friends. The four “streams” in music education — orchestra, chorus, marching band and jazz band — have remained constant for four decades, while a third generation is growing up listening to rock and pop music.

I appreciate that Bornstein used the term “fundamentally,” which allows for the fact that change has occurred. The gist of what he is getting at in terms of the “four streams of music education” is fairly accurate given recent research (Abril and Gault, 2008; Elpus and Abril, 2011) – though strangely he mentions marching band and jazz band but does not mention concert band, wind ensemble, or general music, the latter of which addresses almost all students in most elementary schools and many middle/jr. high schools.

However, missing from both opinion pieces is recognition of the many music educators who are creating innovative and forward looking programs. Take the various programs and projects described in “Alternative Approaches in Music Education” edited by Ann Clements for example:


 

I’ve noticed over the years that New York Times articles or opinion pieces about education rarely include the voices of educators. It would be wonderful to have music educators provide some examples of the positive change they are making and innovative programs they are implementing. We know you are out there!

Here is what I submitted to the comment section of the “Rock is Not the Enemy” opinion piece:

Interestingly, music educators have integrated popular music in their programs for decades, though with some encouragement and debate. In 1939 Lilla Belle Pitts (at the time 2nd V.P. of MENC now the National Association for Music Education) wrote in the Music Educators Journal “As to the field of popular music, in spite of its obvious effect upon music and non-music students alike, it is an area virtually unexplored and unexplained by music educators in general. Whether such experiences are regarded as negative, mis-educative, or of possible educative value, one’s position is not strengthened by ignoring interests which require interpretation.” Pitts continues, urging her peers to integrate popular music in their programs. Decades later music educators are developing pedagogies for contemporary musical practices, becoming comfortable teaching concert band one period and rock band the next. We are broadening our students’ aural skills and music literacy, whether through learning popular music by ear or remixing music with creative commons licensing. Schools may eventually perform music such as Raul Yanez’s and DJ Radar’s Concerto for Turntable and Orchestra, proving that popular and classical music can coexist.

The 2011 Suncoast Music Education Research Symposium on Popular Music Pedagogies gives a sense of the current landscape of music education research on popular music teaching and learning. Such research and work of the UK Musical Futures Project are impacting the integration of popular music in music education positively. I am inspired by the hard work of music educators across the US applying their deep knowledge of how students learn music through contemporary musical practices. Likewise, I am inspired by young people expressing themselves through music, whatever the genre. Although faced with devastating budget cuts music educators are indeed transforming music education in exciting ways while maintaining the most successful aspects of their craft.

 

Please consider contributing your perspective and experience in the comment sections of Bornstein’s “Beyond Baby Mozart: Students Who Rock” and  “Rock is Not the Enemy” New York Times Opinion pieces.

 

Posted in Contemporary Issues, curriculum, discussions, music education, Philosophical Perspectives, popular music | 4 Comments

New Directions in Music Education: 2011 (Revitalizing Middle and High School Music)

Posted on September 15, 2011 by Evan Tobias

If you teach music at the secondary level or have interest in doing so at some point, consider attending the 2011 New Directions in Music Education: Revitalizing Middle and High School Music Conference at Michigan State University this Oct. 6-8

The New Directions conference is designed to appeal to pre-service and practicing music educators as well as those in higher education. Here is the conference program – it looks fabulous. Additional information can be found on the New Directions conference website

Thursday, October 6

1:30 – 4:00 Registration

2:00 – 2:30  Music Education as Preparation for a Musical Life After High School  Robert Woody, University of Nebraska

2:30 – 3:00 The End of Appreciation (as we know it) Janet Barrett, Northwestern University

3:00 – 3:30 Re-Placing Music in Secondary Schools Sandra Stauffer, Arizona State University

3:30 – 4:00 The iPad Ensemble: Live Performance Possibilities David A. Williams, University of South Florida

4:00 – 4:15 Break

4:15 – 5:45 C.I.C. Poster Session

4:15 – 4:45 A Study of Teacher Formative Influence Upon and Student Experience of Social-Emotional Learning Climate in Secondary School Music Settings Katie Carlisle, Georgia State University

4:45 – 5:45 Rethinking Urban Secondary General Music: Teachers’ Voices (panel)

Frank Martignetti, New York University, Brent C. Talbot, Gettysburg College, Matt Clauhs, Temple University, Timothy Hawkins, Rochester City Schools, New York, Nasim Niknafs, Northwestern University

5:45 – 6:00 Break

6:00 MSU Jazz Band performance Rodney Whitaker, Director

 Friday, October 7

8:30 – 9:00 MSU Women’s Chamber Ensemble performance Sandra Snow, Director / MSU University Chorale performance Jonathan Reed, Director

9:00 – 9:45  Transitioning to Music Education 3.0 John Kratus, Michigan State University

9:45 – 10:30 Responses to Kratus paper from C.I.C. faculty Peter Webster, Northwestern University, Joanne Rutkowski, Pennsylvania State University, Matthew Thibeault, University of Illinois

10:30 – 10:45 Break

10:45 – 11:15 C.I.C. Questions, Answers & Discussion with Prof. Kratus and Discussants

10:45 – 11:15 High School Student Leaders Serving as Teaching Assistants: Benefits Emerging from a Curricular Change Tamara Thies, University of Iowa

11:15 – 12:15 C.I.C. Institutional Reports, Announcements, Concluding Comments

11:15 – 12:15 Controversial Issues in the Pedagogy of Popular Music (panel)                Joseph Abramo, University of Connecticut, Melissa Natale Abramo, North Salem Central Schools, New York, Evan Tobias, Arizona State University

12:15 – 1:45 Lunch

1:45 – 2:15 Bringing the Underground into School Elizabeth Hankins, Lakewood City Schools, Ohio

1:45 – 2:15  Unlocking the Gate for “Other”:  The Tale of a Middle-school General Music Class Jody L. Kerchner, Oberlin College/Conservatory of Music

2:15 – 2:45 Student Perceptions of Meaning and Value in Three Instrumental Ensembles Janet Cape, Wesminster Choir College

2:15 – 2:45 Making Music Mine! A Centers-Based Approach for Middle School General Music Suzanne Burton, University of Delaware

2:45 – 3:15  Performing the “Exotic?”: Constructing an Ethical World Music Ensemble Juliet Hess, University of Toronto

2:45 – 3:15 Recording Arts: Possibilities for Music Education Clint Randles, University of South Florida

3:15 – 3:30 Break

3:30 – 4:30 Mentoring and Developing a “Community of Composers”: Technology as an Empowering Medium for Creativity and Communication (clinic) Brian Moore, University of Nebraska

3:30 – 4:30 Inclusion of Students with Special Needs in Secondary Performance Ensembles (panel) Karen Salvador, University of Michigan – Flint,  Jenny Spurbeck, Waverly Schools, Michigan, Doug Armstead, Grand Ledge Schools, Michigan, Denise Travis, Michigan State University Community Music School

4:30 – 4:45 Break

4:45 – 5:45 Music Making in the 21st Century: Implementing and Fostering a Need for Innovative Music Curriculum (panel) Brian Franco, Weedsport Central Schools, New York, Mark Robin Campbell, Crane School of Music, Potsdam, Norman Chirco, Weedsport Central Schools, New York (school board president and parent)

4:45 – 5:45 Arranging in Secondary Choral Ensembles (clinic) Stephen Paparo, University of Massachusetts, Amherst

6:00 – 7:00 Cash bar

7:00 – 8:00 New Directions Banquet

8:00 – 8:45 Musical Surprise

 Saturday, October 8

8:30 – 9:00  Embracing a Vision for Change in a Shifting School Landscape Deborah Blair, Oakland University

9:00 – 9:30 Band? John Scheib, Ball State University

9:30 – 9:45 Break

9:45 – 10:15 The State of Secondary School Music Programs in Michigan Robin Giebelhausen, Michigan State University

9:45 – 10:15 From the Weight Room to the Choir Room: Authenticity in Addressing the Needs of Male Adolescent Singers Patrick Freer, Georgia State University

10:15 – 10:45 I’m a Musician!  Building Student Musical Identity and Self-Directed Learning through e-Portfolio Reflection Sarah Jean Morrison, University of Toronto

10:15 – 10:45 Performing History: Interdisciplinary Curricula in Choral Ensembles Douglas Coates, North Salem Central Schools, New York Julie Scallero, North Salem Central Schools, New York

10:45 – 11:00 Break

11:00 – 12:00 Teaching Music Using Technology (And Not The Other Way Around) (clinic) Nick Jaworski, University of Illinois

11:00 – 12:00 Cooking Up a Song (clinic) Catherine Wilson, University of Iowa Mary L. Cohen, University of Iowa

12:00 – 1:30 Lunch

1:30 – 2:00 Performing as/for Artistic Citizenship David J. Elliott, New York University

2:00 – 2:30 A Historical Overview of Creativity Issues in Japanese School Music Education Michi Tanaka, Tokyo Gakugei University, Masafumi Ogawa, Yokohama National University,

2:30 – 2:45 Break

2:45 – 3:45 Just Compose!  A Structure for Teaching Music Composition to Teachers and Students (clinic) BettyAnne Younker, University of Western Ontario, Maud Hickey, Northwestern University

2:45 – 3:45 It’s a Two-Way Street, Are You Listening? Approaching Secondary General Music Through the Ears of the Learners (clinic) Michael Medvinsky, Brandon Schools, Michigan,

3:45 – 4:00 Break

4:00 – 5:00 Improvisational Intelligence for Beginner Jazz Players: An Approach for Teaching Improvisation (clinic) Augusto Monk, University of Toronto,

4:00 – 5:00 Let the Revolution Begin—Revisiting Comprehensive Musicianship Through Performance Again (clinic) Laura Sindberg, University of Minnesota

5:00 – 5:15 New Directions Conference wrap-up

(Conference ends at 5:15pm)

 

 

Posted in Contemporary Issues, curriculum | Tagged | 1 Comment

Women, music, and music education: FTM11 Conference

Posted on August 19, 2011 by Evan Tobias

When you think of the history of music education do the names Frances Clark, Lila Belle Pitts, and Julia Crane ring a bell? How about Mabelle Glenn, Marguerite Hood, Eunice Boardman, or Consuela Lee? All of these women and of course countless others had, and continue to have, a tremendous impact on music education. In light of the upcoming Feminist Theory and Music Confernce or FTM11 conference at Arizona State University, we might pause to reflect on ways that music education reflects the contributions of women musicians and educators but in various ways has not been as inclusive of their perspectives as it might seem on the surface. For example, the recent exhibit on women in rock and roll at the Rock and Roll Hall of Fame while positive might make us wonder why the history of women in rock is not part of the general history of rock, why it is extra to the “norm?” In other words as Audrey Bilger writes in Ms. Magazine “We know women rock tell us something new”. The history of rock or any other genre or aspect of music as it is told and learned should be inclusive of all who are part of its history. What types of parallels might exist in music education? When women and their perspectives are excluded from particular canons, whether they be composers, performers, songwriters, producers, educators etc. those who are present in the canon and their thinking, approaches, musicianship etc. can become “normative” or considered the norm.

Music educator researchers have worked dilligently to shed light on the process and results of these norms. Members of the Gender Research in Music Education (G.R.I.M.E) MENC special research interest group and International organization among others have made extremely important contributions to our understanding of gender issues in music teaching and learning. The GRIME sponsored journal G.E.M.S is currently available online up to its 2008 edition.

Thanks to Visions of Research in Music Education the Quarterly Journal of Music Teaching and Learning is now available online in which Volumes 4 & 5 Issues 5 & 1 contain some foundational articles addressing gender and music education and serve as fantastic entry points into feminist theory applied to music teaching and learning.

Much of the discussion of gender in music education tends to focus on the degree to which young women or men are included in certain aspects of music programs along with a long history of research on gender stereotypes of instruments – both important issues. Thanks to the important research and thinking over several decades of music education scholars we can also consider additional issues that potentially impact our students on a daily basis. For example to what extent are women represented in the music listened to and performed in music curriculum and how have they been historically excluded from our curricula? How does the inclusion and exclusion of women/men in our curriculum shape our students’ perspectives and understanding of music and musicianship? In what ways might our pedagogies reflect a particular gendered perspective? How do power dynamics operate in our classrooms and ensembles? Whose voices might we be unintentionally silencing in our programs and how might this take place? How might the ways we integrate technology be gendered? How are our students makign sense of their gendered identities in our music programs and how might our curriculum and pedagogy impact this ongoing process?

The Feminist Theory and Music Conference 2011, celebrating its 20th Anniversary will be held September 22nd-25th at Arizona State University and promises to address these and many other issues. This conference brings together foci on music history, theory, musicology, performance, composition, education and many other ways of being musical in the world with a focus on gender and feminist theory. Below is a schedule of the conference. Take a look at the various topics and issues being addressed at the conference and see if any inspire you to strike up a conversation with students/colleagues, adjust your curriculum pedagogy, or engage in some research of your own. And of course if you able, attend the conference!

 

 

Posted in Contemporary Issues, curriculum, discussions, music education, socio-cultural Issues | Tagged , | 1 Comment

Electronic conference proceedings of Establishing Identity: LGBT Studies and Music Education available

Posted on August 4, 2011 by Evan Tobias

A number of papers presented at the Establishing Identity: LGBT Studies and Music Education Conference are now availble directly as electronic conference proceedings at the Bulletin of the Council of Research in Music Education website.

The following papers are included:

Opening statement
Bergonzi, L.

Keynote Address “I Always Think There’s A Band, Kid:” Queer Music Education Lost
Gould, E.

Queer Path and Career Path: A Phenomenological Study
Cavicchia, J.

The Go To Guy
Duling, E

“Off the Radar”: Reflections of Lesbian and Gay Undergraduates on their Experiences within High School Music Programs
Fitzpatrick, K. R. & Hansen, E.

The Lived Experiences of a Lesbian Instrumental Music Educator
Furman, L. J.

LGBT Self-Identity and Implications in the Emerging Music Education Dialogue
Haywood, J.

Sexuality and the Construction of Instrumental Music Teacher Identity
Natale-Abramo, M.

Proud Voices: Queer Sounds in the Concert Hall and Beyond
Pergolesi, J.

Starting the Conversation in Music Teacher Education Programs
Sweet, B. & Paparo, S. A.

Discourses Surrounding Marginalized Groups, LGBTQ Issues, and Music Learning and Teaching Practices in Season 1 of Glee
Talbot, B. C. & Millman, M. B.

Inclusive Music Education–An Oxymoron? Reflections through the Lens of Social Justice
Younker, B. A.

Keynote Address, Visibility and Ambivalence: Thoughts on Queer Institutionalization
Hubbs, N.

“Visibility and Ambivalence: Thoughts on Queer Institutionalization” A Response to Nadine Hubbs
DeNardo, G. F.

Keynote Address, “Queer Studies in Education: Some Research Portraits”
Rodriguez, N.

Rethinking Gender and Music Education: A Rejoinder to Nelson Rodriguez
Jorgensen, E. R.

Closing Comments
Madsen, C.

The following MEJ article also provides an entry point into LGBT issues in music teaching:

Bergonzi, L. (2009). Sexual orientation and music education: Continuing a tradition. Music Educators Journal, 96(2), 21-25.

 

Posted in music education, socio-cultural Issues | Tagged , , | 1 Comment

How do you introduce classical music to young people?

Posted on May 26, 2011 by Evan Tobias

The NPR blog deceptive cadence recently posed the question “How Do You Introduce Classical Music To Kids?” A great discussion ensued and several responses are now organized around emerging themes on a follow up post.

Oddly, while deceptive cadence invited some fabulous artists to contribute to the conversation on their blog (and those invited shared wonderful approaches to connecting young people in performance settings), no K-12 public school music educators were invited to provide their perspective.

Since the majority of K-12 music educators introduce young people to  classical music on a regular basis and specialize in faciltiating such musical engagement, why not add our voices to the conversation?

How do you introduce classical music to young people?

Posted in discussions, music education | Tagged , | 3 Comments

Musical Expression & Perception in the New York Times

Posted on April 19, 2011 by Evan Tobias

The New York Times article To Tug Hearts, Music First Must Tickle the Neurons by Pam Belluck is a fantastic look at issues of musical expression and perception that could lead to engaging discussions and projects in a variety of music class and ensemble settings.

In addition to having students read and discuss the article it might be worth modifying some of the included experiments in contexts ranging from composition to performance. The article could also serve as a springboard into issues such as interpretation, musicalicty, expression, and musical cognition.  The article might give pause to music educators as we consider the extent to which students are provided opportunities to determine how best to play a phrase expressively.

Belluck’s articles does an excellent job of articulating complex concepts related to music cognition and perception through the eyes and ears of  researchers and musicians. This quiz based on research by Dr. Daniel Leveitin and mentioned throughout the article could also work well in the classroom/ensemble.

By addressing some of the points raised in the article and related quiz, students would be able to put theory to practice and engage with music beyond a sole focus on technique or “playing what is on the page”  in terms of strict adherence to the notation and markings as is. Why not have students perform or create musical excerpts multiple ways, record their various interpretations, listen back to the recordings, and discuss their decision and the results? This could help students think like creative musicians and develop critical ears.

 

 

 

Posted in Contemporary Issues, music education, Project Ideas, psychology | Tagged , , | 3 Comments