Books: 'Formal music education'

1

Green, Lucy. Music, informal learning and the school: A new classroom pedagogy. Burlington, VT: Ashgate, 2007.

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1937-, Thomas Judith A., and Katz Susan A. 1939-, eds. The word in play: Language, music, and movement in the classroom. 2nd ed. Baltimore: P.H. Brookes Pub., 2004.

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United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the National Fund for Medical Education for 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Division, 2000.

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United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the National Fund for Medical Education for 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 2000.

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5

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit reports of the National Fund for Medical Education, for fiscal years 1994 through 1997. [Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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6

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the National Society Daughters of the American Colonists for fiscal year 1999. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Division, 2000.

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7

Division, United States General Accounting Office Accounting and Information Management. Federally chartered corporation: Review of the financial statement audit report for the Aviation Hall of Fame for 1997 and 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Division, 2000.

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8

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the Non Commissioned Officers Association of the United States of America, Incorporated, for 1997 and 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Division, 2000.

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9

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the Jewish War Veterans of the United States of America, National Memorial, Incorporated, for fiscal year 1997. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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10

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit reports of the National Fallen Firefighters Foundation for years 1993-1997. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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11

Division, United States General Accounting Office Accounting and Information Management. Federally chartered corporation: Review of the financial statement audit report for the National Conference on Citizenship for fiscal years 1998 and 1999. Washington, D.C: The Office, 2000.

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12

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the Civil Air Patrol, Incorporated, for fiscal year 1996. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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13

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the Daughters of Union Veterans of the Civil War 1861-1865 for fiscal year 1996 / United States General Accounting Office, Accounting and Information Management Division. [Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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14

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the Women's Army Corps Veterans Association, for fiscal year 1997. Washington, D.C: The Office, 1999.

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15

Division, United States General Accounting Office Accounting and Information Management. Federally chartered corporation: Review of the financial statement audit reports for the Jewish War Veterans of the United States of America, Incorporated, for fiscal years 1994, 1996, and 1997. [Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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16

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the National Conference on Citizenship for fiscal years 1998 and 1999. Washington, D.C: The Division, 2000.

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17

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report of the National Future Farmers of America Organization for fiscal year 1997. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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18

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the 82nd Airborne Division Association, Incorporated, for 1997 and 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 2000.

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19

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the Navy Wives Clubs of America for fiscal years 1997 and 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Division, 2000.

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20

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the 82nd Airborne Division Association, Incorporated, for 1997 and 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Division, 2000.

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21

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the Non Commissioned Officers Association of the United States of America, Incorporated, for 1997 and 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 2000.

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22

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the Navy Wives Clubs of America for fiscal years 1997 and 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 2000.

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23

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the Boy Scouts of America for fiscal year 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 2000.

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24

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit reports for the Pearl Harbor Survivors Association for fiscal years 1998 and 1999. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 2000.

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25

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the Catholic War Veterans for fiscal year 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 2000.

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26

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the Sons of Union Veterans of the Civil War, Incorporated, for fiscal year 1997. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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27

Division, United States General Accounting Office Accounting and Information Management. Federally chartered corporation: Review of the financial statement audit report for the Sons of Union Veterans of the Civil War for fiscal year 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 2000.

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28

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report of the Catholic War Veterans of the United States of America, Incorporated, for fiscal year 1997. [Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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29

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report of the Blinded Veterans Association for fiscal year 1997. [Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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30

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the United Service Organizations, Incorporated, for 1997 and 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Division, 2000.

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31

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the National Society of the Sons of the American Revolution for fiscal year 1997. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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32

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the Sons of Union Veterans of the Civil War for fiscal year 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Division, 2000.

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33

United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit reports for the Pearl Harbor Survivors Association for fiscal years 1998 and 1999. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Division, 2000.

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34

Music Learning Profiles Project. Taylor & Francis Group, 2017.

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35

Smith, Gareth Dylan, Radio Cremata, Joseph Michael Pignato, and Bryan Powell. Music Learning Profiles Project. Taylor & Francis Group, 2020.

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36

Future prospects for music education : corroborating informal learning pedagogy - 1. edicion. Cambridge scholars publishing, 2012.

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37

Music, Informal Learning and the School: A New Classroom Pedagogy (Ashgate Popular and Folk Music). Ashgate Pub Co, 2008.

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38

Benedict, Cathy, Patrick Schmidt, Gary Spruce, and Paul Woodford, eds. The Oxford Handbook of Social Justice in Music Education. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199356157.001.0001.

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This handbook seeks to present a wide-ranging and comprehensive survey of social justice in music education. Contributors from around the world interrogate the complex, multidimensional, and often contested nature of social justice and music education from a variety of philosophical, political, social, and cultural perspectives. Although many chapters take as their starting point an analysis of how dominant political, educational, and musical ideologies serve to construct and sustain inequities and undemocratic practices, authors also identify practices that seek to promote socially just pedagogy and approaches to music education. These range from those taking place in formal and informal music education contexts, including schools and community settings, to music projects undertaken in sites of repression and conflict, such as prisons, refugee camps, and areas of acute social disadvantage or political oppression. In a volume of this scope, there are inevitably many recurring themes. However, common to many of those music education practices that seek to create more democratic and equitable spaces for musical learning is a belief in the centrality of student agency and a commitment to the too-often silenced voice of the learner. To that end, this Handbook challenges music educators to reflect critically on their own beliefs and pedagogical practices so that they may contribute more effectively to the creation and maintenance of music learning environs and programs in which matters of access and equity are continually brought to the fore.

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39

McPherson, Gary E., and Graham F. Welch, eds. The Oxford Handbook of Music Education, Volume 1. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199730810.001.0001.

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Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education, which comprises of two volumes, offers an overview of the many facets of musical experience, behavior, and development in relation to this diverse variety of contexts. In this first volume, articles discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music, and the skills and attributes gained when they do so, these articles examine the means through which music educators can best meet young people's musical needs. The second volume of the set brings the exploration beyond the classroom and into later life. Whether they are used individually or in tandem, the two volumes of this text update and redefine the discipline, and show how individuals across the world learn, enjoy, and share the power and uniqueness of music.

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40

Garrett, Matthew L., and Joshua Palkki. Honoring Trans and Gender-Expansive Students in Music Education. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197506592.001.0001.

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Trans and gender-expansive (TGE) youth deserve safe and empowering spaces to engage in high-quality school music experiences. Supportive music teachers ensure that all students have access to ethically and pedagogically sound music education. In this practical resource, authors Matthew Garrett and Joshua Palkki encourage music educators to honor gender diversity through ethically and pedagogically sound practices. Honoring Trans and Gender-Expansive Students in Music Education is intended for music teachers and music teacher educators across choral, instrumental, and general music classroom environments. Grounded in theory and nascent research, the authors provide historical and social context, and practical direction for working with students who inhabit a variety of spaces among a gender-identity and expression continuum. Trans and gender-expansive students often place their trust in music teachers, with whom they have developed a deep bond over time. It is essential, then, for music teachers to understand how issues of gender play out in formal and informal school music environments. Stories of TGE youth and their music teachers anchor practical suggestions for honoring students in school music classrooms and in more general school contexts. Part I of the book establishes the context needed to understand and work with TGE persons in school music settings by presenting essential vocabulary and foundational concepts related to trans and gender identity and expression. Part II focuses on praxis by connecting research and teaching pedagogy to practical applications of inclusive teaching practices to honor TGE students in school music classrooms.

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41

Thomas, Judith A., and Susan A. Katz. The Word in Play: Language, Music and Movement in the Classroom. 2nd ed. Brookes Publishing Company, 2003.

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42

Webster, Peter R. Children as creative thinkers in music. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0039.

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The study of creative thinking in music involves a complex combination of cognitive and affective variables, often executed at the highest levels of human thinking and feeling. This is such a complicated set of long-term engagements (composition, repeated music listening, or decisions about previously composed music in performance) or ‘in the moment’ engagements (improvisation and one-time listening), that it becomes quickly apparent why this field has not attracted more music researchers and why many feel the topic is hopelessly impregnable. However, the changes in education and the role of music in formal learning demands that we address creative thinking as best we can. This article takes a decidedly ‘teaching and learning’ approach in summarizing the many studies on creative thinking in music. While it is generally acknowledged that children's creative thinking in music occurs as part of many music experiences such as listening, performance, conducting, and improvising, the focus here is on composition.

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43

Waldron, Janice L., Stephanie Horsley, and Kari K. Veblen, eds. The Oxford Handbook of Social Media and Music Learning. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190660772.001.0001.

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The rapid pace of technological change over the last decade, particularly in relation to social media and network connectivity, has deeply affected the ways in which individuals, groups, and institutions interact socially: This includes how music is made, learned, and taught globally in all manner of diverse contexts. The multiple ways in which social media and social networking intersect with the everyday life of the musical learner are at the heart of this book. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a music learner, teacher, producer, consumer, individual, and community member in an age of technologically-mediated relationships that continue to break down the limits of geographical, cultural, political, and economic place. This book is aimed at those who teach and train music educators as well as current and future music educators. Its primary goal is to draw attention to the ways in which social media, musical participation, and musical learning are increasingly entwined by examining questions, issues, concerns, and potentials this raises for formal, informal, and non-formal musical learning and engagement in a networked society. It provides an international perspective on a variety of related issues from scholars who are leaders in the field of music education, new media, communications, and sociology in the emerging field of social media.

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44

Bull, Anna. Class, Control, and Classical Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190844356.001.0001.

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Through an ethnographic study of young people playing and singing in classical music ensembles in the south of England, this book analyses why classical music in England is predominantly practiced by white middle-class people. It describes four ‘articulations’ or associations between the middle classes and classical music. Firstly, its repertoire requires formal modes of social organization that can be contrasted with the anti-pretentious, informal, dialogic modes of participation found in many forms of working-class culture. Secondly, its modes of embodiment reproduce classed values such as female respectability. Thirdly, an imaginative dimension of bourgeois selfhood can be read from classical music’s practices. Finally, its aesthetic of detail, precision, and ‘getting it right’ requires a long-term investment that is more possible, and makes more sense, for middle- and upper-class families. Through these arguments, the book reframes existing debates on gender and classical music participation in light of the classed gender identities that the study revealed. Overall, the book suggests that inequalities in cultural production can be understood through examining the practices that are used to create a particular aesthetic. It argues that the ideology of the ‘autonomy’ of classical music from social concerns needs to be examined in historical context as part of the classed legacy of classical music’s past. It describes how the aesthetic of classical music is a mechanism through which the middle classes carry out boundary-drawing around their protected spaces, and within these spaces, young people’s participation in classical music education cultivates a socially valued form of self-hood.

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45

Guerrero, Nina, David Marcus, and Alan Turry. Poised in the Creative Now. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.10.

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Nordoff-Robbins music therapy was founded through the pioneering collaboration between Paul Nordoff (1909–1977), an accomplished composer and pianist, and Clive Robbins (1927–2011), an innovative special educator. Their partnership began in 1959 at Sunfield Children’s Homes in Worcestershire, England, and they worked together for approximately 16 years in Europe and the United States. In 1975, formal training began at the newly opened Nordoff-Robbins Music Therapy Centre in London. In the same year, Clive Robbins formed a new music therapy team with his wife Carol Robbins (1942–1996). The Robbins’ developed and disseminated the Nordoff-Robbins model, and in 1990 they established the Nordoff-Robbins Center for Music Therapy at New York University’s Steinhardt School of Culture, Education, and Human Development. Throughout its history, the clinical techniques, training methods, and research within this model have been based in close engagement with clinical work.

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46

Mantie, Roger. Leisure Grooves. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.32.

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Charles Keil enjoyed a long and illustrious self-styled career as an activist, musician, educator, and “applied sociomusicologist.” His many investigations included urban blues music, the Tiv people of Africa, polka musicians in Buffalo, and Balkan musicians in Greece. His work has focused on groove and participation, as a response to what he sees as a corrupt and overrationalized Western culture. In this unconventional “open letter” format, the author explores the richness of Keil’s life and work, encouraged by his call for vibrant, vernacular, participatory, nonmediated musics that nurture spontaneity, and by his call for music learning inspired by paideia and groove. The chapter finds excitement in the implications Keil’s practice might hold for music learning and teaching, participatory music making, and for conceptualizing all education as “leisure education.”

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47

Duffy, Celia, and Joe Harrop. Towards convergence. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0020.

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This chapter concerns the interrelationship between music history and analysis—so-called academic studies—and musical performance, and it considers how such studies might affect or influence the student performer. Until recently, musical performance and academic studies were regarded as separate elements in music education, a separation that is now being challenged. The chapter begins by reviewing existing scholarship on performance studies and by exploring how the concerns of historically informed performance and practice as research can bring the questions underlying that scholarship into focus, even in undergraduate curricula. The discussion then turns to the higher education (HE) music environment and recent educational thinking seeking to unite distinct strands of musical study within a single curriculum. Two modules that attempt to integrate performance and scholarship—one from a university music department and one from a conservatoire—serve as exemplars. In the final section, opinions and observations solicited from musicians working in HE throw light on the issues from divergent perspectives. The overriding themes are duality and separation on the one hand and connections and convergence on the other—of ‘thinkers’ and ‘doers’, insight and analysis, formal and tacit knowledge, conservatoires and universities, and academic lectures and one-to-one performance tuition.

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48

D'Urso, Alexandra. Hip Hop as Public Pedagogy. Edited by Fabian Holt and Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.17.

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This chapter is a contribution to the literatures on hip hop and identity politics among two rappers of color in Scandinavia. Locating the artists’ pedagogical practices within global flows of resistance in hip hop culture, the concept of public pedagogy is employed for analyzing how these artists use hip hop as a medium for education and activism outside of formal educational institutions. The analysis focuses on counter-hegemonic representations of identity in the music of Adam Tensta and Eboi. The author argues that the two artists have situated themselves as public pedagogues and catalysts for social change and that they have confront right-wing populism and deconstruct Nordic notions of Otherness in their music In doing so, the artists provide nuanced counter-narratives that share insight into how global struggles for resources and neoliberal policies in the welfare state are brought to bear upon individuals living in the Nordic countries.

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49

Hansen, Bethanie L. Teaching Music Appreciation Online. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190698379.001.0001.

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In this book, readers will learn practical tips and strategies to teach music appreciation online. As online education is a growing field, an increasing number of teachers trained in traditional/live methods find themselves now teaching online and potentially without mentors to assist them. Students are also changing, seeking highly engaged, relevant, and interactive learning opportunities that connect to their lives. Here, readers will find helpful guidance in planning curriculum; integrating multimedia assets; designing forum discussions; developing assignments; preparing rubrics; engaging in forum discussions; preparing, managing, and teaching the course; providing feedback and grading; and following up with struggling and challenging students. The book can serve as a resource to those already teaching music appreciation online or as a comprehensive guide to those new to the field. Additionally, it may serve as a resource to instructors in other disciplines who seek to shift live courses to the online format, as well as music appreciation instructors who would like to integrate digital or online components into traditional face-to-face courses. The book is organized into five major sections, designed to guide the novice online educator in-depth while also appealing to the seasoned veteran through the ability to review each section as a stand-alone resource. Although some readers will desire to read from cover to cover, they will also be able to move in a nonlinear manner from chapter to chapter, using chapters in modular form, in order to benefit from the sections that most apply to them at any given time.

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50

Moore, Robin D., ed. College Music Curricula for a New Century. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.001.0001.

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This volume considers what a more inclusive, dynamic, and socially engaged curriculum of musical study might look like in universities. Its goal is to create dialogue among faculty, administrators, and students about what the future of college music instruction should be and how to transition to new paradigms. Critiques and calls for reform have existed for decades, but few publications have offered concrete suggestions as to how things might be done differently. This book suggests new concepts or guiding principles that might be used to reconceive applied music education at the university level and, based on existing experiments taking place nationally and internationally, how such principles might be implemented in practical terms. The book’s essays concentrate primarily on changes to performance degrees rather than other subdisciplines since the former constitute the center of activity in most institutions. Ethnomusicologists feature prominently among the contributors, but the volume also includes input from those with specialization in music education, theory/composition, professional performance, and administration.

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Books on the topic 'Formal music education'

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