Books: 'Group music education'

1

Kaplan, Phyllis R. Cooperative learning in music. Reston, VA: Music Educators National Conference, 1994.

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2

Lloyd, Pat. Let's all listen: Songs for group work in settings that include students with learning difficulties and autism. London: Jessica Kingsley, 2007.

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3

Wiebkin, Roger John. Look - listen - think - learn: Group composition, reflective learning and peer assessment in music education at Key Stage Two. Birmingham: University of Central England in Birmingham, 2000.

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4

Winter, Marilyn. Recorder EdVentures: Teaching recorder in the classroom. Butte, Mont. (1100 Legion Lane, Butte 59701): M. Winter, 1999.

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5

Peter, Felton, ed. Tommy wrought: A musical reflection of children with special needs. North Charleston, SC]: [CreateSpace Independent Publishing Platform], 2015.

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6

Symposium, International Council for Traditional Music Study Group on Performing Arts of Southeast Asia. (Re)producing Southeast Asian performing arts & Southeast Asian bodies, music, dance, and other movement arts: Local identity, tourism and commodification & institutionalizing Southeast Asian performing arts traditions in modern multi-cultural music education movement arts and the Southeast Asian body movement arts, music, ritual and theatre new research, proceedings of the 2nd Symposium of the ICTM Study Group on Performing Arts of Southeast Asia. Manila: Philippine Women's University, 2013.

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7

Kalas, Gregor, and Ann Dijk, eds. Urban Developments in Late Antique and Medieval Rome. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462989085.

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A narrative of decline punctuated by periods of renewal has long structured perceptions of Rome’s late antique and medieval history. In their probing contributions to this volume, a multi-disciplinary group of scholars provides alternative approaches to understanding the period. Addressing developments in governance, ceremony, literature, art, music, clerical education and the construction of the city’s identity, the essays examine how a variety of actors, from poets to popes, productively addressed the intermittent crises and shifting dynamics of these centuries in ways that bolstered the city’s resilience. Without denying that the past (both pre-Christian and Christian) consistently remained a powerful touchstone, the studies in this volume offer rich new insights into the myriad ways that Romans, between the fifth and the eleventh centuries, creatively assimilated the past as they shaped their future.

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8

Ontario Educational Research Council. Conference. [Papers presented at the 28th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, Dec. 1986]. [Toronto, ON: s.n.]., 1986.

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Ontario Educational Research Council. Conference. [Papers presented at the 36th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1994]. [Toronto, ON: s.n.], 1994.

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10

Ontario Educational Research Council. Conference. [Papers presented at the 32nd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 7-8, 1990]. [Ontario: s.n.], 1990.

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11

Ontario Educational Research Council. Conference. [Papers presented at the 33rd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 6-7, 1991]. [Ontario: s.n.], 1991.

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12

Ontario Educational Research Council. Conference. [Papers presented at the 35th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 3-4, 1993]. [Toronto, Ont: s.n, 1993.

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13

Conference, Ontario Educational Research Council. [Papers presented at the 31st Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 8-9, 1989]. [Toronto, ON: s.n.], 1989.

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14

Conference, Ontario Educational Research Council. [Papers presented at the 30th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1988]. [Toronto, ON: s.n.], 1988.

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15

Ontario Educational Research Council. Conference. [Papers presented at the 34th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 4 - 5, 1992]. [Ontario: s.n.], 1992.

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16

Music and Circle Time: Using Music, Rhythm, Rhyme and Song (Lucky Duck Books). Paul Chapman Educational Publishing, 2006.

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17

Cooperative Learning In Music. R&l; Education, 1994.

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18

(Editor), Cameron McCarthy, Glenn Hudak (Editor), Shawn Miklaucic (Editor), and Paula Saukko (Editor), eds. Sound Identities: Popular Music and the Cultural Politics of Education. Peter Lang Publishing, 1999.

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19

Let's All Listen: Songs for Group Work in Settings That Include Students With Learning Difficulties and Autism. Jessica Kingsley Publishers, 2008.

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20

Lloyd, Pat. Let's all listen: Songs for group work in settings that include students with learning difficulties and autism. 2016.

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21

Edwards, Jane. Training, Education, and Professional Issues in Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.49.

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Becoming a practitioner in music therapy occurs at multiple levels. At an individual level the student’s processes and learning are part of thisbecoming. At an interpersonal level the interactions between students as a group and in collaboration with their educators, fieldwork supervisors, and clients shape and frame the development of professional competencies. At the wider systemic level the values and processes of training are influenced by the provider institution, usually a university, and the management and department in which the music therapy training programme is housed. This systemic level also includes the external regulator such as state or national accreditation structures and the requirements of the relevant professional body. This chapter presents how the profession of music therapy has considered aspects of professionalism, professional practice, and accreditation.

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22

Hayes, Tommy. Music Therapy in the Context of the Special School. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.51.

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Music therapy in special education aims to address the learning goals for students with disabilities in group or individual sessions. Music therapy practice has a long history of service within special education, and has a developing evidence base to support the benefits of music therapy. This chapter describes how music therapy is included within a special school setting which provides education services to students with disabilities. Music therapists work alongside allied health and education professionals to assist students to achieve learning targets in areas of communication, social, emotional, cognitive, and physical development. Planning and evaluation are important in order to chart progress and adapt programmes to ensure they are optimizing outcomes for participants.

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23

Books, Aspatore. Inside the Minds: The Music Business - CEOs & Presidents from Island Def Jam, Napster, LLC, EMI Music North Group & More Provide a Behind the Scenes Glimpse ... and Entertainment (Inside the Minds). Aspatore Books, 2004.

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24

Hetfield, James, Lars Ulrich, Dane DeHaan, and Nimród Antal. Metallica through the never. 2014.

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25

Winter, Marilyn. Recorder EdVentures. Marilyn Winter, 1999.

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26

McAllister, Lesley S. Yoga in the Music Studio. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915001.001.0001.

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The ancient practice of yoga, which has exploded in popularity in the United States over the past two decades, has the potential to help music students learn to practice more mindfully and reach peak performance more quickly. This book explores how professional musicians and music teachers of all instruments and levels can use yoga postures (asana) and breath work (pranayama) to enhance artistry. It begins with an overview of yoga philosophy and history before delving into principles of movement, alignment, anatomy, and breath. Following a research-oriented chapter illustrating the cognitive, physical, and emotional benefits of yoga, each chapter explores the unique benefits of yoga for a particular population of students, describing specific poses, modifications, sequences, and sample curricula that teachers can immediately implement into private lessons or group classes. Chapter Four describes the developmental benefits of yoga and music education in early childhood and includes a sample eight-week preschool music curriculum. Chapter Five on the adolescent student explains how yoga can alleviate stress related to social and performance anxiety, enhance mindfulness, and increase peer support in a music studio. Chapter Six, for professional musicians and college students, describes how yoga can prevent or alleviate repetitive stress injuries and other physical symptoms. The final chapter offers ideas for appropriate modifications for the retired adult along with a sample eight-week curriculum to combine yoga with Recreational Music Making. Throughout the book, yoga is presented as a tool for reducing physical tension and anxiety while simultaneously improving body awareness, enhancing cognition, and helping music students to achieve peak performance.

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27

Holt, Fabian, and Antti-Ville Kärjä, eds. The Oxford Handbook of Popular Music in the Nordic Countries. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.001.0001.

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The Nordic countries, a group of countries spanning a large area of northern Europe and the North Atlantic, present unique natural and cultural environments in which popular music has come to play a significant role. Research on the region’s music has largely followed national narratives and ignored more complex geographies and transcultural issues. This first handbook of music in the Nordic countries explores the significance of popular music in the history of the region, with implications for broader debates about the region’s uniqueness and its future. The chapters highlight music’s place in media and tourism industries, in sustaining exotic images of the North, but also in more serious issues such as racism and environmentalism. Many of the chapters show evidence of nationalist and xenophobic responses to emerging transnational to emerging transnational developments. The handbook examines how these dynamics shape music and its place in history, education, and in public performance, from street performances to festivals, and beyond to mass media ceremonial events. The case studies illustrate popular music’s significance in evolving lifestyles, technologies, and institutions in modernity.

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28

Kartomi, Margaret. Sumatra’s Performing Arts, Groups, and Subgroups. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0001.

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This book examines the traditional musical arts of Sumatra, with particular emphasis on the ethnographic, cultural, and historical contexts of the performing arts that contain music as well as some of the changes in their style, content, and reception from 1971 when the author began her field travels. The musical arts, or performing arts containing music, include the vocal, instrumental, and body percussive music, the dance and other body movement, the art of self-defense, the bardic arts, and the musical theater performed at domestic ceremonies. The book considers the musico-lingual groups and subgroups of Sumatra—population groups and subgroups that are primarily distinguished from one another on the basis of the lingual attributes of their vocal-musical genres (including songs, ritual/religious chanting, song-dances, and intoned theatrical monologues or exchanges). This chapter provides an overview of some of the major themes that recur throughout the book—identity, rituals and ceremonies, religion, the impact of foreign contact on the performing arts, the musical instruments and pitch variability, the dances and music-dance relationships, social class, gender issues, and arts education.

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29

Miksza, Peter, and Kenneth Elpus. Design and Analysis of Experimental Research I. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199391905.003.0008.

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This chapter builds on the previous chapter by elaborating from theories of causal knowledge presented earlier to practical considerations for the design, execution, and analysis of randomized experiments and randomized controlled trials in music education research. The straightforward statistical analysis of the two-group experimental designs is explained through the t test. The analysis of variance technique is explained for the analysis of experimental and quasi-experimental data involving more than two groups. The chapter closes with a discussion of the analysis of data arising from experiments where additional data, beyond group membership and the score on an outcome measure, is known about the participants (i.e., analysis of covariance).

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30

Goodkin, Doug. Sound Ideas: Activities for the Percussion Circle. Alfred Publishing Company, 2002.

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31

Birrow, David. The bucket book: A junkyard percussion manual. 2014.

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32

Roust, Colin. Georges Auric. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607777.001.0001.

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Although Georges Auric (1899–1983) is best remembered today for his affiliation with the Groupe des Six, his musical career was long, productive, complex, and intimately attuned to the realities of modern life. His polyvalent career—as a composer of concert, theatrical, ballet, popular, film, and television music; music critic; opera director; and arts administrator—reveals a diversity of engagements that speak to a reconfiguration of the role of the composer in the modern world. Auric was a product of his time, with deep connections to France’s artistic, social, and political elites. At the same time, he drew on his prestige and privilege to improve the country’s musical life in tangible ways, whether with regard to musical education and accessibility or to the establishment of fair copyright laws. He took artistic collaboration, already a hallmark of the short-lived Groupe des Six, to a level that surpassed any of the other members of that group. Diverging from the romantic trope of individual creation, Auric’s legacy troubles conventional ideas of what it means to be a composer.

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33

Music in the Undergraduate Curriculum: A Reassessment Report on Study Groups. College Music Society, 1990.

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34

Bickford, Tyler. Schooling New Media. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190654146.001.0001.

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Schooling New Media is an ethnography of children’s music and media consumption practices at a small elementary and middle school in Vermont. It examines how transformations in music technologies influence the way children, their peers, and adults relate to one another in school. Focusing especially on digital music devices—MP3 players—it reveals the key role of intimate, face-to-face relationships in structuring children’s uses of music technologies. It explores how headphones mediate face-to-face peer relationships, as children share earbuds and listen to music with friends while participating in their peer groups’ dense overlap of talk, touch, and gesture. It argues that kids treat MP3 players less like “technology” and more like “toys,” domesticating them within traditional childhood material cultures already characterized by playful physical interaction and portable objects such as toys, trading cards, and dolls that can be shared, manipulated, and held close. Kids use digital music devices to expand their repertoires of communicative practices—like passing notes or whispering—that allow them to maintain intimate connections with friends beyond the reach of adults. Kids position the connections afforded by digital music listening as a direct challenge to the overarching language and literacy goals of classroom education. Schooling New Media is unique in its intensive ethnographic attention to everyday sites of musical consumption and performance. And it is uniquely interdisciplinary, bringing together approaches from music education, ethnomusicology, technology studies, literacy studies, and linguistic anthropology to make integrative arguments about the relationship between consumer technologies, childhood identities, and educational institutions.

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35

Miksza, Peter, and Kenneth Elpus. Advances in Quasi-experimental Methods. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199391905.003.0015.

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Although the primacy of the randomized experiment is often thought of as sacrosanct, in education research—and in music education research in particular—random assignment is often unachievable, unethical, or undesirable for one or more of many potential reasons. Methodologists have developed quasi-experimental research methods that attempt to achieve results that approximate the highly trustworthy results obtained from a randomized experiment. This chapter details two newer methods for quasi-experimental research that have become quite common in the broader field of education but have not yet become frequently employed within the field of music education research. These two methods are regression discontinuity designs and the use of propensity scores for the equating of nonequivalent groups.

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36

McFerran, Katrina, Philippa Derrington, and Suvi Saarikallio, eds. Handbook of Music, Adolescents, and Wellbeing. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198808992.001.0001.

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The Handbook of Music, Adolescents, and Wellbeing explores how young people use music to work with emotions, identity construction, and connectedness, drawing on perspectives from music therapy, music psychology, music education, and music sociology. Authors provide examples of how theory and research is applied in the practice of music therapists working with groups of adolescents and individuals in schools, communities, hospitals, and other institutions. Research into music and emotions is synthesized, and theories about music and identity construction are provided. The ways that young people use music for connections is explored with a particular emphasis on technology, as well as traditional face-to-face connectedness. The Handbook is written for those interested in promoting adolescent wellbeing using music.

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37

White Hip-Hoppers, Language and Identity in Post-Modern America. Taylor & Francis Group, 2014.

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38

Cayari, Christopher. Music Making on YouTube. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.15.

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People are making music at their leisure and publishing it online. YouTube has provided a space for musicians to publish multitrack music videos, join collective musical ensembles, and collaboratively perform with others. This chapter explores three trends of how musicians are creating music videos and forming virtual ensembles and music making communities: they are showing off their skills through music videos; they are creating videos to join large collective multitrack ensembles of hundreds or even thousands of others; and they are actively collaborating with small groups to create mediated performances. Collective and collaborative music making on the Internet are not only happening among grassroots amateur musicians, but also through educational and commercial institutions. Music making on the Internet allows for global interactions and collaboration, where people come together and enjoy music recreationally, unbound by time and space.

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39

(Organization), Early Music America, ed. Register of early music in America: Organizations, educational institutions & individuals in the field of historically-informed performance in North America. New York, NY: Early Music America, 1989.

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40

Pitts, Stephanie. “The Violin in the Attic”. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.4.

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The motivations and experiences of adults who participate in music making have attracted increasing research attention in recent years, but less is known about the probably far greater number who have “given up” playing an instrument or lapsed in their participation: what are the factors that cause people to cease their involvement in instrumental learning, and how are these different from the views of participation expressed by continuing players? Life history interviews with current and lapsed members of amateur performing groups are used here to explore the long-term impact of music education. Even when the opportunity to make music has been set aside, benefits remain of open-mindedness to the arts, support for children’s musical education, and understanding of the value of leisure and creativity. These findings lead to conclusions about how foundations for musical leisure and lifelong learning could be laid in formative education, and the routes back into musical engagement made more accessible in adulthood.

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41

Karlsen, Sidsel. Leisure-Time Music Activities from the Perspective of Musical Agency. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.11.

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This chapter aims to understand the phenomenon of leisure-time music activities from the perspective of musical agency. It explores how individuals’ and groups’ recreational practices involving music can be seen as a means for expanding their capacities for acting in the lived-in world. The exploration proceeds through theoretical and experiential accounts. It first draws on literature from general sociology, music sociology, and the sociology of music education in order to elaborate on the broader notion of agency, as well as the more field-specific concept of musical agency. It then explores various music-related agency modes through narrating the author’s own experiences of participating in, leading, and observing leisure-time music activities. The chapter aims to dissolve the binary opposition between recreational music production and music consumption. It argues that the two poles instead can be understood as inseparably intertwined venues for the constitution of agency, musical taste and music-related learning trajectories.

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42

(Organization), Early Music America, ed. Supplement to the Register of early music in America: Performers, writers, ensembles, instrument makers, presenters, retailers, societies, educational institutions & others in the field of historically-informed performance in North America, 1991. New York, NY: Early Music America, 1991.

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43

Lakschevitz, Eduardo. Conducting Corporate Choirs in Brazil. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.14.

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Corporate choirs represent a large part of choral music-making in Brazil. Many Brazilian companies hire choral directors to develop group singing activities with their employees, thanks in part to the recent Music Education Bill. These directors face very particular challenges that are rarely considered in their training at colleges and universities. Nonetheless, they are a significant part of the work of choral directors in Brazil. Leading a peripheral activity in relation to the company’s core business, lack of rehearsal time, volunteer singer participation, inappropriate physical conditions, management that is not akin to the arts field, and easy access to contemporary urban activities and gadgets are some factors that create these particular challenges. The corporate choir director must bridge these factors with musical procedures of their work, and approach with a more critical view issues such as repertory choice, conducting techniques, and rehearsal procedures.

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44

Bose, Ines, Kati Hannken-Illjes, and Stephanie Kurtenbach, eds. Kinder im Gespräch – mit Kindern im Gespräch. Frank & Timme, 2019. http://dx.doi.org/10.26530/20.500.12657/42800.

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How do children behave in conversations? The authors of this book provide answers that are relevant to research and practice. The analysis is based on authentic conversations in everyday situations. The discussion process and the situational embedding of the discussion actions are the focus of the investigations. The volume contains articles on argumentative conversations between children of preschool and elementary school age and on communication-promoting strategies of early childhood education professionals in daycare. In addition, framework conditions and observation instruments for communicative skills of kindergarten children are discussed and the use of digital media is also considered. Ines Bose, Prof. Dr., teaches and researches at the Institute for Music, Media and Speech Studies at Martin Luther University Halle-Wittenberg. Kati Hannken-Illjes, Prof. Dr., teaches and researches at the Institute for German Linguistics, Speech Science Group, at the Philipps University of Marburg. Stephanie Kurtenbach, Dr. phil., teaches and researches at the Institute for Music, Media and Speech Studies at the Martin Luther University Halle-Wittenberg.

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45

Siwe, Thomas. Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.001.0001.

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A substantial body of musical literature for solo and ensemble percussion was created in the twentieth century. This book examines percussion literature’s evolution: how it came to be and the styles that composers embraced as they produced a large body of music for percussion instruments alone. The focus is on the music that was created, the various genres that arose, and the composers who contributed seminal works. The question is posed: What world and cultural events brought composers to reject the past and embrace modernism? The twentieth century is notable for its many technological advances as well as for the global conflicts that disrupted the lives of millions. Both had significant impact on the arts. Tape recorders, synthesizers, and computers became useful tools for the avant-garde composer. Artists, exiled from their homelands by the war’s devastation, arrived in the Americas with new ideas to share. On the West Coast of the United States, composers found that percussion music was an ideal accompaniment for a nascent modern dance movement. The end of World War II brought monumental change to higher education and to music education in the States. College-trained percussionists became an important resource for the modern composer, who contributed new solo and ensemble works to the percussion canon. The twentieth century witnessed the rise of the percussive arts to a status equal to that of other instrumental groups.

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46

MacDonald, Raymond, and Graeme Wilson. Billy Connolly, Daniel Barenboim, Willie Wonka, Jazz Bastards, and the Universality of Improvisation. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.007.

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Group musical improvisation is an important artistic, educational, and therapeutic process, and understanding the unique mental, individual, and social processes involved should be a key task for psychology. This chapter summarizes constraints in how some branches of psychology and ethnomusicology have conceptualized improvisation, and describes recent research embracing the breadth of what constitutes improvisation in music. Analyzing how highly diverse musicians discuss the fullest range of improvisational practices indicates important relationships between this creative interaction and wider psychological and social constructs. The chapter also presents research investigating the relationship between improvisation and health, highlighting a number of key benefits connected with improvisation in music therapy for patients with cancer. Enhancing understanding of the process and outcomes of musical improvisation in this way can help realize the potential contribution of music participation to contemporary culture, creativity in everyday life, and therapeutic interventions.

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47

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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48

Martin, Denis-Constant. Sounding the Cape: Music, Identity and Politics in South Africa. African Minds, 2013. http://dx.doi.org/10.47622/978-1-920489-82-3.

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For several centuries Cape Town has accommodated a great variety of musical genres which have usually been associated with specific population groups living in and around the city. Musical styles and genres produced in Cape Town have therefore been assigned an ìidentityî which is first and foremost social. This volume tries to question the relationship established between musical styles and genres, and social --in this case pseudo-racial --identities. In Sounding the Cape, Denis-Constant Martin recomposes and examines through the theoretical prism of creolisation the history of music in Cape Town, deploying analytical tools borrowed from the most recent studies of identity configurations. He demonstrates that musical creation in the Mother City, and in South Africa, has always been nurtured by contacts, exchanges and innovations whatever the efforts made by racist powers to separate and divide people according to their origin. Musicians interviewed at the dawn of the 21st century confirm that mixture and blending characterise all Cape Town's musics. They also emphasise the importance of a rhythmic pattern particular to Cape Town, the ghoema beat, whose origins are obviously mixed. The study of music demonstrates that the history of Cape Town, and of South Africa as a whole, undeniably fostered creole societies. Yet, twenty years after the collapse of apartheid, these societies are still divided along lines that combine economic factors and 'racial'categorisations. Martin concludes that, were music given a greater importance in educational and cultural policies, it could contribute to fighting these divisions and promote the notion of a nation that, in spite of the violence of racism and apartheid, has managed to invent a unique common culture.

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49

Mac Dougall, Jill R., 1942- and Yoder P. Stanley, eds. Contaminating theatre: Intersection of theatre, therapy, and public health. Evanston, Ill: Northwestern University Press, 1998.

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50

MacDougall, Jill, and P. Stanley Yoder. Contaminating Theatre: Intersections of Theatre, Therapy, and Public Health (Psychosocial Issues). Northwestern University Press, 1998.

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Books on the topic 'Group music education'

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