Journal articles: 'Music at University'

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DOGAN, Merih. "University Students’ Expectations about the Elective Music Course." Eurasian Journal of Educational Research 20, no. 87 (2020): 1–20. http://dx.doi.org/10.14689/ejer.2020.87.9.

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Smyrnova, Tetiana A. "Axiology of Music and Pedagogical Education at the University." Revista Gestão Inovação e Tecnologias 11, no. 4 (2021): 2076–87. http://dx.doi.org/10.47059/revistageintec.v11i4.2255.

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Herbst, Theo. "Music Technology at Stellenbosch University." Leonardo Music Journal 16 (December 2006): 65. http://dx.doi.org/10.1162/lmj.2006.16.65a.

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Bonde, Lars Ole. "Music Therapy in Aalborg University." Norsk Tidsskrift for Musikkterapi 8, no. 1 (1999): 3–5. http://dx.doi.org/10.1080/08098139909477949.

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De Ritis, Anthony. "Music Technology at Northeastern University." Journal of the Acoustical Society of America 110, no. 5 (2001): 2625. http://dx.doi.org/10.1121/1.4776858.

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Yang, Xuenan. "How to Promote National Music Culture in University Music Education." Advances in Higher Education 3, no. 3 (2019): 133. http://dx.doi.org/10.18686/ahe.v3i3.1484.

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<p>Music is closely related to culture. It is an important carrier of human culture inheritance and carries the essence of human civilization. Our national culture is extensive and profound, which is the treasure of Chinese culture. National music culture is an integral part of national culture. Education and cultural inheritance bring out the best in each other. Music education in school is an important means to promote national music culture. Music college is the main position of national music culture, so this paper focuses on discussing the significance and role of promoting national music culture in university music education and puts forward specific implementation methods and means.</p>

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Mackinlay, Elizabeth, and Peter Dunbar-Hall. "Historical and Dialectical Perspectives on the Teaching of Aboriginal and Torres Strait Islander Musics in the Australian Education System." Australian Journal of Indigenous Education 32 (2003): 29–40. http://dx.doi.org/10.1017/s132601110000380x.

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AbstractIndigenous studies (also referred to as Aboriginal and Torres Strait Islander studies) has a double identity in the Australian education system, consisting of the education of Indigenous students and education of all students about Aboriginal and Torres Strait Islander cultures and histories. Through explanations of the history of the inclusion of Aboriginal and Torres Strait Islander musics in Australian music education, this article critiques ways in which these musics have been positioned in relation to a number of agendas. These include definitions of Aboriginal and Torres Strait Islander musics as types of Australian music, as ethnomusicological objects, as examples of postcolonial discourse, and as empowerment for Indigenous students. The site of discussion is the work of the Australian Society for Music Education, as representative of trends in Australian school-based music education, and the Centre for Aboriginal Studies in Music at the University of Adelaide, as an example of a tertiary music program for Indigenous students.

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Taylor-Jay, Claire. "The Third Biennial International Conference on Twentieth-Century Music, University of Nottingham, 26–29 June 2003." Twentieth-Century Music 1, no. 1 (2004): 147–51. http://dx.doi.org/10.1017/s1478572204000106.

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The great stylistic diversity of the music written during the twentieth century (and beyond) would seem to make the organization of any conference devoted to it a formidable task: can one really hope to cover a representative selection? While a decade ago such an event might well have covered only art music (a disparate enough field in itself), nowadays one would expect to see some attention given to jazz, popular music, and film. The organizers of the Third Biennial International Conference on Twentieth-Century Music at the University of Nottingham made a conscious attempt at inclusivity, selecting papers that might have been better put together under the title of ‘Twentieth-Century Musics’. The diversity of music represented by the papers was reflected in the plurality of approaches and methodologies. Indeed, one central feature of the conference was its concern not only with musical works, or with twentieth-century composers, but with musical practices. Alongside the statutory selection of more or less canonical art composers and their music, there were several sessions on popular music, jazz, and perspectives from ethnomusicology.

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Rinkūnaitė, Aušra. "Music Publications of the Beginning of 16th– 19th Centuries in Vilnius University Library." Bibliotheca Lituana 3 (December 22, 2014): 138–51. http://dx.doi.org/10.15388/bibllita.2014.3.15566.

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The article deals with music publications of the beginning of the 16th–19th c. – antiphonals, graduals, missals, hymnals and manuals held in the Rare Book Department of Vilnius University Library. On the basis of the extant XVIII c. manuscript catalogues of Vilnius Jesuit College Library and Library of Novitiate the publications related to music included in those catalogues are being discussed and provenances and marginalia found in them are being investigated. In addition, the article also describes anonymous manuals printed by Vilnius Academy Printing House at the end of 17th c.–18th c.: Ars et praxis musica (the first edition in 1667), Compendium regularum generalium cantus (1753) as well as canticle books in Polish and Latin languages. The second part of the article presents music activities of German composer Johann David Holland (1746–1827) who gave music lectures in Vilnius Imperial University at the beginning of the 19th c. The heritage of the Professor – nine music books – donated after his death in 1828 by his daughter Joanna to the Library of Vilnius Imperial University. The third part of the article deals with publications of church and secular music, published at the end of 16th c.–18th c., part of them – especially rare and valuable, and the diverse history of coming of these books to the Library which witnesses of their complicate and intricate journey through different institutions.

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Lamont, Alexandra. "University students’ strong experiences of music." Musicae Scientiae 15, no. 2 (2011): 229–49. http://dx.doi.org/10.1177/1029864911403368.

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Research has begun to explore the nature of strong experiences of music listening, identifying a number of individual components from physiological through to psychological ( Gabrielsson & Lindström Wik, 2003 ), but this has not yet been considered in relation to mainstream theories of happiness. Drawing on positive psychology, Seligman’s (2002) framework for achieving balanced wellbeing includes the components of pleasure, engagement, and meaning. In the current study, 46 university students (median age 21) gave free reports of their strongest, most intense experiences of music listening. Accounts were analysed thematically using an idiographic approach, exploring the relevance of Seligman’s framework. Most strong experiences were positive, and occurred at live events with others. A wide range of mainly familiar music was associated with reported strong experiences, from classical through jazz and folk to old and new pop music, and experiences lasted for varying time periods from seconds to hours. Unexpected musical or non-musical events were sometimes associated with strong experiences. None of the accounts could be characterized by a single route to happiness: in addition to hedonism, engagement and meaning (particularly in terms of identity) were present in every description, and the findings thus emphasize the power of music to evoke a state of authentic happiness. The importance of taking account of the music, the listener, and the situation in order to fully understand these experiences is underlined.

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Blake, David K. "University Geographies and Folk Music Landscapes." Journal of Musicology 33, no. 1 (2016): 92–116. http://dx.doi.org/10.1525/jm.2016.33.1.92.

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By examining folk music activities connecting students and local musicians during the early 1960s at the University of Illinois at Urbana-Champaign, this article demonstrates how university geographies and musical landscapes influence musical activities in college towns. The geography of the University of Illinois, a rural Midwestern location with a mostly urban, middle-class student population, created an unusual combination of privileged students in a primarily working-class area. This combination of geography and landscape framed interactions between students and local musicians in Urbana-Champaign, stimulating and complicating the traversal of sociocultural differences through traditional music. Members of the University of Illinois Campus Folksong Club considered traditional music as a high cultural form distinct from mass-culture artists, aligning their interests with then-dominant scholarly approaches in folklore and film studies departments. Yet students also interrogated the impropriety of folksong presentation on campus, and community folksingers projected their own discomfort with students’ liberal politics. In hosting concerts by rural musicians such as Frank Proffitt and producing a record of local Urbana-Champaign folksingers called Green Fields of Illinois (1963), the folksong club attempted to suture these differences by highlighting the aesthetic, domestic, historical, and educational aspects of local folk music, while avoiding contemporary socioeconomic, commercial, and political concerns. This depoliticized conception of folk music bridged students and local folksingers, but also represented local music via a nineteenth-century rural landscape that converted contemporaneous lived practice into a temporally distant object of aesthetic study. Students’ study of folk music thus reinforced the power structures of university culture—but engaging local folksinging as an educational subject remained for them the most ethical solution for questioning, and potentially traversing, larger problems of inequality and difference.

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Tuinstra, Beth. "Embracing identity: An examination of non-Western music education practices in British Columbia." International Journal of Music Education 37, no. 2 (2019): 286–97. http://dx.doi.org/10.1177/0255761419827359.

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Although traditional music programs and university music and music education training programs have mostly incorporated Western classical music, British Columbia’s new curriculum signifies a shift from the Western classical framework to one that is more inclusive of the cultural diversity that exists in Canada. Using the frameworks of decolonization, non-Western music education, and music education and identity, I researched the current practices, experiences, and attitudes of British Columbian kindergarten to Grade 12 (K–12) music educators. I used a mixed-methods questionnaire to gain an understanding of the practices, experiences, and attitudes of these educators ( N = 80). Through this examination, I discovered that although 84% of respondents felt that it was important for students to receive a diverse, non-Western music education, only 63% currently utilized non-Western musics in their teaching practices. Respondents included the benefits or difficulties that they have experienced while including non-Western musics in their teaching practices, but they also talked about the barriers that have prevented them from including non-Western musics into their teaching practices. However, educators reported that by including non-Western musics, students showed greater joy, self-expression, engagement, open-mindedness, and empathy for others, causing a positive shift in classroom culture.

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Tan, Yunshu, and Lauren Conti. "Effects of Chinese popular music familiarity on preference for traditional Chinese music: Research and applications." Journal of Popular Music Education 3, no. 2 (2019): 329–58. http://dx.doi.org/10.1386/jpme.3.2.329_1.

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Teaching and learning popular music and world musics are prominent topics in music education but often play a supplement role in the classroom. The main purpose of this quantitative experimental study was to investigate the effects of Chinese popular music on students’ familiarity and preference for its traditional version. Participants were undergraduate students from a university in the northeastern United States who completed a pre-test, minimum four weekly treatments and post-test. Results suggest participation in a world music course may contribute to preference for Chinese traditional music, but short-term exposure to popular versions of Chinese traditional music does not seem to contribute to preference for Chinese traditional music. A reason for this may be that popular music has its own cultures and characteristics that are not necessarily transferable to music from other music genres. In addition, the personality traits of open-mindedness or closed-mindedness showed significant influence over preference for traditional or popular music, respectively.

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Swenson Danowitz, Erica. "Sheet Music Collection: University of South Carolina Music Library2012191Sheet Music Collection: University of South Carolina Music Library. Columbia, SC: University of South Carolina Music Library 2001‐. Gratis URL: http://sheetmusic.library.sc.edu/ Last visited December 2011." Reference Reviews 26, no. 4 (2012): 52–53. http://dx.doi.org/10.1108/09504121211234023.

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Björnberg, Alf. "‘Teach you to rock’? Popular music in the university music department." Popular Music 12, no. 1 (1993): 69–77. http://dx.doi.org/10.1017/s0261143000005365.

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During the last decades in most Western countries music education on all levels has undergone significant changes. In response to changes in the musical field in society at large, various popular music styles, previously almost totally neglected in institutional forms of music teaching based on Western art music, have been given increasing significance in the curricula of music education. This development has not, however, taken place without controversies. In most popular music genres the theoretical framework, learning principles and aims of musical practices differ in significant respects from those of the regulated activities of traditional institutions of music education, and the successful integration of popular genres into such institutions requires that these differences be acknowledged and resolved rather than ignored.

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Prof. Frederick B. J. A. NGALA; Prof. Mellitus N. WANYAMA, Joyce M. MOCHERE;. "The Relevance of University Music Curricula to the Requirements of Music Production Job Market in Kenya." Editon Consortium Journal of Curriculum and Educational Studies 2, no. 1 (2020): 213–37. http://dx.doi.org/10.51317/ecjces.v2i1.160.

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Music production is one of the job markets that has gained popularity around the world, including Kenya. Universities have come up with music production programmes in order to prepare bachelor of music learners for this viable music job market opportunity. However, it is the observation of many studies that universities are not preparing job-ready graduates. With the advance of the digital era that is seamlessly permeating every sector of the music job market, attention needs to be given to the music production programs in Kenya. This study purposed to establish the relevance of university music curricula to the requirements of music production job markets in Kenya. Elliot’s (2005) praxial theory underpinned the study. The results revealed that music production curriculum of university X did not meet most of the job market requirements while that of Y met most of the requirements. The Simple Matching Coefficient (SMC) of university X was 0.59 while that for university Y was 1.00. This finding revealed that the music production university music curricula could not be entirely termed as 'irrelevant', but it depended on individual universities. The recommendation was that university music schools should revise and restructure their music curricula to accurately reflect the music production job market in Kenya to compete favourably, locally and internationally.

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Nowak, Raphaël. "Digital Music Distribution: The Sociology of Online Music Streams." Nordic Journal of Science and Technology Studies 7, no. 1 (2019): 51–52. http://dx.doi.org/10.5324/njsts.v7i1.3064.

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Woody, Robert H., Danni Gilbert, and Lynda A. Laird. "Music Teacher Dispositions: Self-Appraisals and Values of University Music Students." Journal of Research in Music Education 66, no. 1 (2018): 111–25. http://dx.doi.org/10.1177/0022429418757220.

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For music teachers to be most effective, they must possess the dispositions that best facilitate their students’ learning. In this article, we present and discuss the findings of a study in which we sought to explore music majors’ self-appraisals in and the extent to which they value the disposition areas of reflectivity, empathic caring, musical comprehensiveness, and musical learnability orientation. Evidence from a survey of 110 music majors suggested that music education students possess and value the dispositions of reflectivity, musical comprehensiveness, and musical learnability orientation more highly after they have matured through their college careers. Additionally, based on their responses to music teaching scenarios, it appears that senior music education majors possess greater empathic caring than do their freshman counterparts.

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Baker, Vicki D., and Nicki Cohen. "University Vocal Training and Vocal Health of Music Educators and Music Therapists." Update: Applications of Research in Music Education 35, no. 3 (2016): 46–54. http://dx.doi.org/10.1177/8755123316638517.

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The purpose of this study was to describe the university vocal training and vocal health of music educators and music therapists. The participants ( N = 426), music educators ( n = 351) and music therapists ( n = 75), completed a survey addressing demographics, vocal training, voice usage, and vocal health. Both groups reported singing at least 50% of the work day; moreover, music educators complained of vocal fatigue and hoarseness at the end of the week. Music educators expressed concern about their vocal health, due to the unique demands of music instruction and large classes. A majority of participants, particularly instrumental concentration majors, expressed a desire for more career-focused vocal training. Results suggest that additional university training in vocal health could help prevent vocal abuse and misuse among music educators and therapists; furthermore, music educators may be better qualified to promote healthy singing among developing voices.

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Boettcher, Bonna J., and Michael Leo McHugh. "Popular Music and the University Curriculum." Popular Culture in Libraries 4, no. 2 (1997): 1–10. http://dx.doi.org/10.1300/j117v04n02_01.

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Depalle, Philippe. "Music Technology Program at McGill University." Journal of the Acoustical Society of America 110, no. 5 (2001): 2626. http://dx.doi.org/10.1121/1.4776863.

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Hamann, Donald L., and Elza Daugherty. "Burnout Assessment: The University Music Student." Update: Applications of Research in Music Education 3, no. 2 (1985): 3–8. http://dx.doi.org/10.1177/875512338500300202.

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Murray, Paul V., Bobbie Ohler, and Robert Delle. "Evaluating a university-based music festival." Studies in Educational Evaluation 14, no. 3 (1988): 381–90. http://dx.doi.org/10.1016/0191-491x(88)90030-2.

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Zhang, Yang. "The Value of Orff's Music Teaching Method in College Music Teaching." Learning & Education 9, no. 1 (2020): 29. http://dx.doi.org/10.18282/l-e.v9i1.893.

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<p>As an innovative music teaching method, under the background of educational reform, Orff's music teaching method has increasingly attracted the attention and attention of university teachers. By applying the Orff teaching method in university music teaching, it can not only effectively promote the improvement of teaching quality, but also promote students to develop deep music exchanges and effectively cultivate students' musical literacy and innovative thinking.</p>

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Gillespie, Robert. "A New ASTA Product: Videotapes." American String Teacher 36, no. 1 (1986): 48–49. http://dx.doi.org/10.1177/000313138603600122.

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Robert Gillespie is director of string education and assistant professor of music at The Ohio State University, where he is responsible for the undergraduate and graduate curriculum in string pedagogy and orchestral teaching. He received his Ph.D. from The University of Michigan. A violinist, adjudicator, researcher, and clinician, Dr. Gillespie is currently principal second violin of the PRO MUSICA Chamber Orchestra of Columbus. The founder and director of The Ohio State University-Columbus Symphony Orchestra Junior Strings Youth Orchestra, and of The Ohio String Teachers Middle School Summer Orchestra Camp, he also reviews new music for the American String Teacher. Dr. Gillespie has developed a series of diagnostic videotapes for string teachers which are now available nationally through the American String Teachers Association.

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Hamann, Donald L., and Joy E. Lawrence. "University Music Educators' Effectiveness as Determined By Public School Music Teachers." Update: Applications of Research in Music Education 12, no. 2 (1994): 21–27. http://dx.doi.org/10.1177/875512339401200204.

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Soto, Amanda Christina, Chee-Hoo Lum, and Patricia Shehan Campbell. "A University—School Music Partnership for Music Education Majors in a Culturally Distinctive Community." Journal of Research in Music Education 56, no. 4 (2009): 338–56. http://dx.doi.org/10.1177/0022429408329106.

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University—community collaborations are a fairly recent phenomenon, which has often been manifested through the establishment of university partnerships with schools. This research sought to document the process and outcomes of a university—school collaboration called Music Alive! in the Valley (MAV), a yearlong partnership between 33 university music education students and faculty with an elementary school within a rural location of a western state. MAV was intended to serve a Mexican American migrant community whose children frequently spoke only Spanish at home and to provide occasions for university students of music education to engage in positive social contact via music performances, participation, and training experiences. An ethnographic method was employed by which observations, interviews, and examination of material culture were assembled over the course of the school year, and an assessment was offered of the benefits and challenges in the creation of a music education partnership in distinctive (and remote) cultural communities.

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Jensen, Julie B. "Music, social learning and senses in university pedagogy: An intersection between art and academe." Arts and Humanities in Higher Education 18, no. 4 (2017): 311–28. http://dx.doi.org/10.1177/1474022217732944.

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Integration of music in an academic university teaching setting is an example of how artistic practice and competences have potentials to resonate beyond the immediate discipline. The article explores music activities as contributing to learning environments for university students, creating shared experiences in groups of diverse learners with different needs. The music activities are discussed in light of challenges in today's university concerning student diversity. Two empirical examples of experiments with music in university teaching at a Danish university are presented. Empirical data were collected by means of qualitative research methods (teaching logs and qualitative surveys) and analysed in a socio-cultural learning perspective. The first empirical example presents music as supporting students relate to each other in the classroom. The second example describes how music may support students' sensory awareness when practising qualitative research like fieldwork. Both examples imply interdisciplinary potentials of putting music into play in university pedagogy.

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Norris, Michael, and John Young. "Half-heard sounds in the summer air: electroacoustic music in Wellington and the South Island of New Zealand." Organised Sound 6, no. 1 (2001): 21–28. http://dx.doi.org/10.1017/s1355771801001042.

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This article traces the evolution of electroacoustic music in Wellington and the South Island of New Zealand. Electroacoustic music has a well-established tradition in New Zealand, dating back to Douglas Lilburn's pioneering work in the early 1960s. The Victoria University of Wellington Electronic Music Studios (VUW/EMS) that Lilburn established in 1966 became a focal point for electronic music activities in the late 1960s and early 1970s. This article examines current approaches to electroacoustic music composition, and discusses the facilities at Victoria University, the University of Canterbury and the University of Otago.

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McLean, Don, and Dean Jobin-Bevans. "Survey of University-Based Music Programs in Canada." Notes from the Discipline 29, no. 1 (2010): 86–104. http://dx.doi.org/10.7202/039112ar.

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Abstract This study provides a compact overview of university-based music programs in Canada based on information gleaned from surveys of institutional members of the Canadian University Music Society (CUMS)—universities, colleges, and conservatories. The surveys took place between 2005 and 2009. The current report focuses on the metrics of enrolment and staffing, and goes on to provide basic data on graduate and undergraduate programs. It is a first step in sharing information that can facilitate informed advocacy in support of music in higher education both within and beyond individual institutions.

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Floyd, Malcolm. "Music Makers: cultural perspectives in textbook development in Kenya, 1985–1995." British Journal of Music Education 20, no. 3 (2003): 291–306. http://dx.doi.org/10.1017/s026505170300545x.

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This article draws on my other writings about developments in the teaching of music in Kenya, and on the decision to promote traditional musics and to make music one of the compulsory examinable subjects at the end of primary school. It considers two textbooks published by Oxford University Press in Nairobi: Music Makers for Standards 7 and 8, by Brian Hocking and me, was issued in 1985, and Music Makers for Standards 5 and 6, this time with George Mutura as co-author, was published in 1989. The music education syllabus was revised in 1993, and both books were adapted to adjust the placing and progression of the material. This case study sets out the background of developments in Kenyan educational policy, notes the changes in curricular music, explores how the adaptation happened in practice, tracks the process, comments on its implications and considers responses to the completed project.

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Kabataş, Mustafa. "How do we learn music? Collecting feedback from Kastamonu University music students." African Educational Research Journal 9, no. 1 (2021): 189–96. http://dx.doi.org/10.30918/aerj.91.21.018.

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The study studied how students studying music at Kastamonu University learn about music and whether they receive additional help in 2020. The first study detailed in this article focused on identifying student perceptions and how they learned music, and aimed to come up with suggestions on how to better meet the needs of music students. To do this, we conducted two focus group interviews with music graduate (N = 6) and undergraduate (N = 4) students. Participants said that the timing of the study should better reflect their work and that the studies should be more disciplinary and better designed for graduate students. They also felt that they did not get enough critical feedback and there was a lack of standardization in the training and concert work. However, the participants also felt that the teachers were helpful, the programming contributed well to their work and the support increased their confidence. Two unexpected findings were that students generally access some form of programming offered by the school rather than take advantage of the diverse offerings, and students have misconceptions about the possibilities the school offers and how to use them. It is hoped that this study will help inform other student academic support services about focus group research for the purpose of collecting music program evaluation and student feedback.

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Lesiuk, Teresa. "Personality and music major." Psychology of Music 47, no. 3 (2018): 309–24. http://dx.doi.org/10.1177/0305735618761802.

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Early research investigating the personality of college-aged student and professional musicians examined traits of music performers, composers, and music teachers. Subsequent research studies followed with examinations of personality in university music programs, several of which employed the Myers-Briggs Personality Inventory (MBTI). The prevalence of MBTI types has not been examined amongst the diversity of music programs currently offered in many universities. The purpose of this study was to examine the prevalence of MBTI psychological type of university music students ( N = 217) across six different music majors (i.e., Music Business, Music Composition, Music Education, Music Engineering, Music Performance, and Music Therapy). The MBTI mental function of Intuitive–Feeling was found to be highly over-represented in the total music sample as compared to national norms, while several other personality preferences significantly dominated or were sparse in the music majors. The findings extend the personality and music research literature and have practical implications for music educators, academic counsellors, college-aged music students, and students who are considering music as a study and career.

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Lund, Helle Nystrup, Lars Rye Bertelsen, and Lars Ole Bonde. "Sound and music interventions in psychiatry at Aalborg University Hospital." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 6, no. 1 (2016): 48–68. http://dx.doi.org/10.7146/se.v6i1.24912.

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This article reports on the ongoing project development and research study ‘A New Sound and Music Milieu at Aalborg University Hospital’. Based on a number of pilot studies in AUH-Psychiatry on how special playlists and sound equipment (sound pillows and portable players) can be used by hospital patients and administered by hospital staff supervised by music therapists, the new project aims to prepare the ground for a systematic application of sound and music in the hospital environment. A number of playlists have been developed, based on theoretical and empirical research in music medicine and music therapy. A special software and hardware design – ‘The Music Star’– has been developed, and installed in combination with a directional line array speaker in patient rooms in two ICUs at the AUH–Psychiatry. The aim of the project is to empower patients to choose music suited to their needs here and now. In the study we focus on how self-selected music may lead to a decrease in anxiety and pain or improved relaxation/sleep. The article describes and discusses the theory-driven development of the sound/music milieu, relevant empirical studies, the novel method of data collection, preliminary results of the project and implications for the future implementation of the model.

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Russell, Maureen. "The Polish Music Center, Thornton School of Music, University of Southern California." Music Reference Services Quarterly 15, no. 4 (2012): 263–74. http://dx.doi.org/10.1080/10588167.2012.729491.

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Winterson, J., and M. Russ. "Understanding the Transition from School to University in Music and Music Technology." Arts and Humanities in Higher Education 8, no. 3 (2009): 339–54. http://dx.doi.org/10.1177/1474022209339962.

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Wehlau, Ruth. "Queen's University." Florilegium 20, no. 1 (2003): 106–8. http://dx.doi.org/10.3138/flor.20.030.

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The situation in the departments: Art History, Classics, English, French, German and Russian, History, Music, Spanish and Italian, and Philosophy all offer medieval courses, but the frequency with which these are offered varies. As a result of retirements, many of the smaller departments either have no medievalist or are unable regularly to offer courses in the medieval field.

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Meyer, Christian. "La Trobe University Library Medieval Music Database." Le médiéviste et l'ordinateur 39, no. 1 (2000): 31–34. http://dx.doi.org/10.3406/medio.2000.1539.

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Houtkin, Andrea. "New Music from the University of Iowa." Computer Music Journal 9, no. 2 (1985): 67. http://dx.doi.org/10.2307/3679666.

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Hayward, Philip. "Centre for Contemporary Music Studies, Macquarie University." Popular Music 18, no. 1 (1999): 149. http://dx.doi.org/10.1017/s0261143000008795.

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Roberts, John H. "The Music Library, University of California, Berkeley." Library Quarterly 64, no. 1 (1994): 73–84. http://dx.doi.org/10.1086/602654.

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Kirkegaard, Joseph. "University of Cincinnati, College Conservatory of Music." Journal of the Acoustical Society of America 115, no. 5 (2004): 2478. http://dx.doi.org/10.1121/1.4782577.

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Reynolds, Cecilia. "Finding the Music: Art in University Leadership." Curriculum Inquiry 32, no. 2 (2002): 171–76. http://dx.doi.org/10.1111/1467-873x.00221.

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Wristen, Brenda G. "Depression and Anxiety in University Music Students." Update: Applications of Research in Music Education 31, no. 2 (2013): 20–27. http://dx.doi.org/10.1177/8755123312473613.

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Adeogun, Adebowale Oluranti. "Towards decolonising university music education in Nigeria." Music Education Research 23, no. 4 (2021): 466–83. http://dx.doi.org/10.1080/14613808.2021.1951193.

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Glover, Jo. "Music, Gender and Education Conference, Bristol University, March 1993." British Journal of Music Education 10, no. 3 (1993): 151–52. http://dx.doi.org/10.1017/s0265051700001698.

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The Music, Gender and Education Conference was organised jointly by Women in Music and Bristol University and held as a weekend event with contributors from a wide field of working contexts and interests in music education. The group of papers which follows is indicative of the breadth of standpoints and approaches to research which were represented.

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Reese, Jill, and Caitlyn L. Derrick. "Children’s concerts: Experiences of university music students and faculty." International Journal of Music in Early Childhood 14, no. 1 (2019): 111–26. http://dx.doi.org/10.1386/ijmec.14.1.111_1.

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This article describes perspectives of university music students and faculty who prepared and facilitated a concert series for young children and their caregivers. We include an introduction to literature regarding listening behaviours of young children and live music experiences specifically designed for young children. We describe the children’s concert series created by music students and faculty at a university in the United States and focus on reflections of the music students and university faculty who prepared and facilitated the concert series. Included are descriptions of benefits and challenges experienced by music students and faculty and staff responsible for creating and administering the concerts. We suggest strategies for developing and facilitating such concerts and suggest avenues for future research related to community engagement via children’s concerts. While these concerts were intended to benefit children in the audience, descriptions of specific benefits for the children are beyond the scope of this article.

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Ramsey, Basil. "Anniversary at City University." Musical Times 132, no. 1781 (1991): 339. http://dx.doi.org/10.2307/966284.

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Furrow, Melissa. "Dalhousie University." Florilegium 20, no. 1 (2003): 125–27. http://dx.doi.org/10.3138/flor.20.038.

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There are only a handful of scholars who have their primary appointments in Dalhousie departments and a primary interest in medieval fields. In French, we have Hans Runte, best known among medievalists for his work on the Seven Sages of Rome, but his more recent publications have been in the field of Acadian letters. In English, we have Hubert Morgan, who works in Middle English, Old Norse, and Old English (romance, saga, and epic are particular interests), and Melissa Furrow, who has finally completed a long labour on reception of romances in medieval England (Expectations of Romance: Drasty Rymyng or Noble Tales, currently under review) and is now returning to an earlier editorial project (Ten Fifteenth-Century Comic Poems) to revise for a new edition with TEAMS. In History, we have Cynthia Neville, well known personally to members of CSM for her extensive work 011 the national and international scene on prize, review, and adjudication committees, and more broadly known through her scholarship on late medieval English legal history and on Scottish social, political, and cultural history. She is the author of Violence, Custom, and Law: The Anglo-Scottish Border Lands in the Later Middle Ages (Edinburgh UP, 1998) and the forthcoming Native Lordship in Anglo-Norman Scotland: The Earldoms of Stratheam and Lennox, 1170-1350 (Four Courts Press). A recent and exciting addition is Jennifer Bain in Music, a music theorist who works on Hildegard of Bingen, and on fourteenth-century music. This tiny number and the clearcut disciplinary boundaries proclaimed by departmental organisation might suggest that medieval study at Dalhousie has fallen off steeply from the days when we had a formally recognised honours degree in Medieval Studies and a bigger pool of faculty. It is true, a bigger pool would be helpful, and the priority within English for the next appointment is for a medievalist. But in various ways medieval studies at Dalhousie does better than it looks as if it should.

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Prof. Mellitus N. WANYAMA; Prof. Frederick B. J. A. NGALA, Joyce M. MOCHERE;. "The Relevance of University Music Curricula to the Requirements of Church Music Job Market in Kenya." Editon Consortium Journal of Curriculum and Educational Studies 2, no. 1 (2020): 250–74. http://dx.doi.org/10.51317/ecjces.v2i1.161.

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In the prevailing global church music job market, church worship ministers or music directors are on high demand as they play a crucial role in church liturgy and other church musical events. Globally, many universities offer programmes on music training and pastoral leadership. In Kenya, such training is predominantly in theological schools with few universities offering such programmes. Currently, there is a growing interest of church musicians in Kenya due to the need to spread the gospel beyond the church walls and to promote ecumenism. For example, churches participate in church crusades, church concerts, and inter-churches music festivals. This strengthens the need for church worship ministers with music and leadership training. Universities in Kenya are, therefore, obligated to offer church music programmes that will enable these worship ministers to fit in the current job market. The discourse on church music, though, is rare in Kenya hence limited literature on the same. The study had an objective of establishing the relevance of university music curricula to the requirements of church music job market in Kenya. Elliot's Praxial theory underpinned the study. The study found out that universities are not keen to include music programmes that are relevant to the music job market. The Simple Matching Coefficient (SMC) of university X and Y music curricula to the requirements of church music job market was 0.00. Both universities did not have a church music program hence missing all the requirements of the given job market. The study recommends that there is a need to develop church music programmes in universities in Kenya, and this can be done in collaboration with the Schools of Theology at the university.

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Journal articles on the topic 'Music at University'

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