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Journal articles on the topic 'Music education advocacy'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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1

Elpus, Kenneth. "Improving Music Education Advocacy." Arts Education Policy Review 108, no. 3 (January 2007): 13–18. http://dx.doi.org/10.3200/aepr.108.3.13-18.

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2

Hallam, Susan. "HOW TO ADVOCATE FOR MUSIC: Personal stories of music education advocacy." International Journal of Music Education 23, no. 2 (August 2005): 144–48. http://dx.doi.org/10.1177/0255761405052410.

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3

Bess, David M., and Robert E. Fisher. "Arts Advocacy in Music Education." Music Educators Journal 80, no. 1 (July 1993): 17–22. http://dx.doi.org/10.2307/3398649.

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4

Mark, Michael L. "A History of Music Education Advocacy." Music Educators Journal 89, no. 1 (September 2002): 44–48. http://dx.doi.org/10.2307/3399884.

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5

Shorner-Johnson, Kevin. "Building Evidence for Music Education Advocacy." Music Educators Journal 99, no. 4 (May 23, 2013): 51–55. http://dx.doi.org/10.1177/0027432113483838.

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6

Reimer, Bennett. "The danger of music education advocacy." International Journal of Music Education 23, no. 2 (August 2005): 139–42. http://dx.doi.org/10.1177/0255761405052409.

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7

Payne, Phillip D., Frederick Burrack, Kelly A. Parkes, and Brian Wesolowski. "An Emerging Process of Assessment in Music Education." Music Educators Journal 105, no. 3 (March 2019): 36–44. http://dx.doi.org/10.1177/0027432118818880.

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An effective assessment process can improve student performance, guide instructional decisions, and advocate for a music program. Strategies include designing and administering reliable and valid measures of student learning and using assessments to enhance feedback, longitudinal documentation of assessment results for accountability, and a transparency of assessment processes and findings for increased advocacy. An emerging process of assessment is inherent through the Model Cornerstone Assessments and contributes to an evolving assessment culture within K–12 music education.
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8

Mark, Michael L. "WHY MUSIC? Essays on the importance of music education and advocacy." International Journal of Music Education 23, no. 2 (August 2005): 94–98. http://dx.doi.org/10.1177/0255761405052399.

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9

Chan, Clare Suet Ching, and Zaharul Lailiddin Saidon. "Advocating for The Sustainability of Semai Indigenous Music Through The Collaborative Creation of New Traditional Music: A Participatory Action Research (PAR) Methodology." Harmonia: Journal of Arts Research and Education 21, no. 1 (June 7, 2021): 9–22. http://dx.doi.org/10.15294/harmonia.v21i1.28715.

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This article provides a critical reflection on the participatory approach methodology and the collaborative creation approach used in an advocacy project to sustain the musical heritage of the indigenous Semai community in Malaysia. These approaches were examined through the medium of an advocacy project that aimed to stimulate the interest of Semai youth in traditional music through relevance, engagement, and connection with their current musical interest and skills. The intention of the project was to also co-create new traditional music with the Semai youth through live musical interaction, improvisation and jam sessions with the research team. This article explored the research team’s use of the “Participatory Action Research” (PAR) method, which involved planning, action, observation, reflection, and revision during the initial stages of our advocacy project. Our findings suggest a narrative style in discussing advocacy processes because they occur in a lateral than the linear or cyclical format used in current action research models. Findings also reveal that any attempts to advocate change in the community would firstly require an established relationship of trust, respect, and belief in the research team. The research team would have to have had prior involvement, commitment, and dedication to the community before members of the team could influence change among the community. A self-review of the research team’s effort to co-create new traditional music with Semai youth led to the conclusion that co-creation between musicians of different musical training would require a “new” compositional method that negotiates Western musical composition techniques with the oral tradition of creating music.
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10

Mahlmann, John J. "Recent Directions in Music Education: Advocacy, Reform, And Research." NASSP Bulletin 80, no. 581 (September 1996): 8–9. http://dx.doi.org/10.1177/019263659608058105.

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11

Lehman, Paul. "Advocacy for music education: ten tips to protect and strengthen your music program." International Journal of Music Education 23, no. 2 (August 2005): 175–78. http://dx.doi.org/10.1177/0255761405052421.

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12

Stamou, Lelouda. "Plato and Aristotle on Music and Music Education: Lessons From Ancient Greece." International Journal of Music Education os-39, no. 1 (May 2002): 3–16. http://dx.doi.org/10.1177/025576140203900102.

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The purpose of this paper is to discuss the Athenian views of music and music education as these are presented in the works of the ancient Greek philosophers Plato and Aristotle and to suggest ways in which the issues raised by them are still relevant for music education today. Their philosophical and practical views on music education, apart from being an excellent and very up-to-date source for advocacy, can also initiate thoughts and promote solutions on problems that still remain unsolved. During the study, of their works, the reader surprisingly realizes that these philosophers had stated 2,500 years ago what the music education community has, just recently, come to realize concerning the value of music education, children's musical development, and instructional strategies in music.
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13

Peterson, Amber Dahlén. "The Impact of Neuroscience on Music Education Advocacy and Philosophy." Arts Education Policy Review 112, no. 4 (August 2011): 206–13. http://dx.doi.org/10.1080/10632913.2011.592475.

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14

Bowman, Wayne. "To what question(s) is music education advocacy the answer?" International Journal of Music Education 23, no. 2 (August 2005): 125–29. http://dx.doi.org/10.1177/0255761405052406.

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15

Austin, James R., and Deborah Reinhardt. "Philosophy and Advocacy: An Examination of Preservice Music Teachers' Beliefs." Journal of Research in Music Education 47, no. 1 (April 1999): 18–30. http://dx.doi.org/10.2307/3345825.

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16

FAUTLEY, MARTIN, and REGINA MURPHY. "Music education in a time of austerity." British Journal of Music Education 33, no. 1 (March 2016): 1–3. http://dx.doi.org/10.1017/s0265051716000061.

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We have discussed in these editorials before the broad range of interests that music education encompasses (Fautley and Murphy, 2015a). The range that we described therein is a strength of our discipline. We are, however, now living in troubling times, and the global downturn in the economy is having effects in all sorts of ways on many aspects of our lives, both personal and professional. Music education is not immune from these changes. We are living through a time of austerity, and in many jurisdictions, the refrain has been ‘we're all in this together’ as a way of explaining away government decisions or unpopular economic strategies. But are we? It is in times of austerity that we often feel that we need to make the case for music education even louder than we have done before. Yet herein lies one of our problems. Many music educators feel in these times of austerity that music education is under threat, and that the proper course of action under such circumstances to take is to increase activities related to advocacy. This is problematic in a number of ways, as we shall now discuss.
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17

Hsiao, Feilin, Shelly Zeiser, Daniel Nuss, and Keith Hatschek. "Developing effective academic accommodations in higher education: A collaborative decision-making process." International Journal of Music Education 36, no. 2 (September 7, 2017): 244–58. http://dx.doi.org/10.1177/0255761417729545.

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This case study describes a collaborative decision-making process for developing effective academic accommodations for a music major with a disability, whose prior accommodations suggested by the Disability Support Services (DSS) failed to address her needs. Cross-departmental collaboration between the DSS and the School of Music, as well as dynamic interactions among students with disabilities (SWDs), faculty members, peer tutors, and DSS specialists are emphasized. Multiple sources of information were collected, including in-depth/semi-structured interviews and a review of all relevant documentation such as case reports, weekly logs, email correspondence, results of psychological testing and academic portfolio contents. The themes that emerged from the data include resistance to the unknown, the language of negotiation, the decision-making process, and transformation (with three sub-themes: from fear of stigmatization to self-advocacy, from resentfulness to acceptance and commitment, and from reaction to pro-action). Key elements contributing to the collaborative process consist of effective communication among all members, the promotion of self-advocacy skills for SWDs, and faculty’s recognition of SWDs’ potential to succeed and while engaging flexible methods for delivering course content and assessing outcomes. A framework for delivering viable services for music majors with disabilities is outlined and discussed.
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Leung, Bo Wah. "WHERE AND WHAT: Resources, tips and support information for music education advocacy." International Journal of Music Education 23, no. 2 (August 2005): 166–74. http://dx.doi.org/10.1177/0255761405052420.

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19

Branscome, Eric E. "The Impact of Education Reform on Music Education: Paradigm Shifts in Music Education Curriculum, Advocacy, and Philosophy fromSputnikto Race to the Top." Arts Education Policy Review 113, no. 3 (July 2012): 112–18. http://dx.doi.org/10.1080/10632913.2012.687341.

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20

Gee, Constance Bumgarner. "The “Use and Abuse” of Arts Advocacy and Consequences for Music Education." Arts Education Policy Review 103, no. 4 (March 2002): 3–21. http://dx.doi.org/10.1080/10632910209600294.

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21

Regelski. "Resisting Aesthetic Autonomy: A “Critical Philosophy” of Art and Music Education Advocacy." Journal of Aesthetic Education 53, no. 2 (2019): 79. http://dx.doi.org/10.5406/jaesteduc.53.2.0079.

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22

Symes, Colin. "A sound education: the gramophone and the classroom in the United Kingdom and the United States, 1920–1940." British Journal of Music Education 21, no. 2 (June 24, 2004): 163–78. http://dx.doi.org/10.1017/s0265051704005674.

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The advent of the gramophone transformed the cultural conditions of contemporary music, including the way it was taught. For a considerable period of time, musicians and music educators disparaged the gramophone. The members of the musical appreciation movement were more sympathetic and helped transform the gramophone's educational image during the 1920s and 1930s. They argued that the gramophone, contrary to its detractors, might stem the appeal of popular music. As is clear from the sentiments of those espousing the pedagogic uses of the gramophone – which are analysed in this paper – their advocacy went far beyond music and was part of a broader cultural agenda, which included arresting the moral dangers associated with popular music.
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23

Hines, Jasmine. "Incorporating intersectional musicality within the classroom: Black feminism through Nina Simone and Janelle Monáe." Journal of Popular Music Education 4, no. 3 (November 1, 2020): 311–28. http://dx.doi.org/10.1386/jpme_00034_1.

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In an age of social justice advocacy within education, the work of Black women continues to be excluded from the hegemonic educational canon despite the long history of Black feminists advocating for the eradication of systemic oppressive systems in education. By examining the livelihoods and music created by Black feminist musicians, music educators may begin to reflect on how Black women’s positionality within society has had a direct influence on the music they created within a White culturally dominant society. The purpose of this article is to conceptualize how the intersectional musicality of Nina Simone and Janelle Monáe – informed by the conceptual framework of Black Feminist Thought – can speak to the experiences that Black girls and women face within music education and society.
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24

Kos, Ronald P. "Policy and the K–12 Music Teacher: A Literature Review." Update: Applications of Research in Music Education 37, no. 1 (February 20, 2018): 20–29. http://dx.doi.org/10.1177/8755123318758837.

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Music teaching lies at the intersection of policy, research, and practice. An awareness of policy context and how policies affect teachers is essential for those in the music education profession. In particular, such an understanding can allow teachers to better adapt to and implement policies so that they might maintain and grow their programs and feel more satisfied in their jobs. This review of literature investigates scholarly literature published in music education research journals with implications for teachers’ classroom practice and their professional lives. It includes studies of resources, organizations, and educational reform, teachers and teaching, institutions and actors, and access, in addition to descriptions of policy. Implications for teachers related to policy awareness, access for all students to a variety of musical activities, and music education advocacy are discussed.
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25

McLean, Don, and Dean Jobin-Bevans. "Survey of University-Based Music Programs in Canada." Notes from the Discipline 29, no. 1 (February 3, 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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26

Seybert, John M. "A History of the North American Band Directors’ Coordinating Committee, 1960–1970." Journal of Research in Music Education 60, no. 4 (November 16, 2012): 430–51. http://dx.doi.org/10.1177/0022429412463580.

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The purpose of this study was to investigate the institutional history and documentary evidence of the North American Band Directors’ Coordinating Committee (NABDCC) during the first decade of its existence, from 1960 through 1970. The NABDCC constituted a forum of national band, music industry, and related associations, including the American Bandmasters Association, College Band Directors National Association, and the National Association of Music Merchants, for examining mutual concerns critically and for fostering discussion with experts outside of the wind profession. The research questions addressed the development of the NABDCC, important events in its history, and the specific issues in music education examined by the committee. Important issues in instrumental music that were discussed by the NABDCC included the role of the band in the school curriculum, music advocacy, federal and state legislation, standards-based education, and the inclusion of new musical styles and ensembles. Various themes across these issues emerged from the study, including the difficulties of collaboration within a multifaceted representation of specific interests and the oscillating relationship between music educators and the music industry. The results of this study contribute to enhanced understanding of 1960s instrumental music education, with implications for the present.
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27

Pendergast, Seth. "Understanding Participation in Secondary Music Classes: A Literature Review." Update: Applications of Research in Music Education 39, no. 1 (May 28, 2020): 38–49. http://dx.doi.org/10.1177/8755123320928479.

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Sustaining and increasing participation in secondary music classes has been a regular topic of discourse within the field of music education. Music researchers and professionals have recently addressed specific issues related to music participation such as access to music classes, policy initiatives, and student interest in the music curriculum. This review of literature is an exploration of student enrollment trends in secondary music classes and a broad examination of the many factors that influence student enrollment decisions. In this review of literature, I frame music participation as a complex issue where multiple factors influence enrollment in secondary music classes. Next, research on the structural, interpersonal, and intrapersonal factors that affect music participation are presented. Finally, I address how music teachers and advocacy leaders might direct their efforts to support and increase music participation.
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Carlson, Alexandra. "The Story of Carora: The Origins of El Sistema." International Journal of Music Education 34, no. 1 (December 8, 2015): 64–73. http://dx.doi.org/10.1177/0255761415617926.

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Venezuela’s youth symphony program, the Fundación Musical Simón Bolívar, commonly referred to as “El Sistema,” combines musical achievement with learning important life skills through orchestral practice and performance. Although the history most commonly reported outside Venezuela is of the program’s director, José Antonio Abreu, hosting a rehearsal of music students in a Caracan parking lot in 1975, El Sistema’s origins are equally owed to another orchestra. That same year, arts advocate Juan Martínez founded Venezuela’s first children’s orchestra in the Venezuelan city of Carora alongside three Chileans who previously taught for a similar program in Chile. I show that the two orchestras were frequent collaborators in the 1975–1977 period, a relationship that was essential in securing government and public support for the nascent Venezuelan program. I combine oral history and historiography to detail how the project in Carora began, define its relationship with Abreu’s orchestra in Caracas, and describe its pedagogy, philosophy, and funding. Beyond illuminating a historical narrative that highlights the importance of both national and international cooperation in the development of youth orchestras in Venezuela, this research has broad implications for advocacy and development of musical programs, within and outside schools.
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29

Odendaal, Albi, Sari Levänen, and Heidi Westerlund. "Lost in translation? Neuroscientific research, advocacy, and the claimed transfer benefits of musical practice." Music Education Research 21, no. 1 (June 21, 2018): 4–19. http://dx.doi.org/10.1080/14613808.2018.1484438.

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30

Scheib, John W. "Role Stress in the Professional Life of the School Music Teacher: A Collective Case Study." Journal of Research in Music Education 51, no. 2 (July 2003): 124–36. http://dx.doi.org/10.2307/3345846.

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The theoretical framework of this article is based on the description of occupational role stress by Kahn, Wolfe, Quinn, and Snoek (1964) and Beehr (1987). The present study is an examination of six role stressors: role conflict, role ambiguity, role overload, underutilization of skills, resource inadequacy, and nonparticipation. One midwestern high school's music department in the United States, consisting of four music teachers, served as the study s focus. Data were collected as field notes from observations, transcripts from interviews, and document analysis. While role ambiguity and nonparticipation issues were not of great concern among the participants, issues related to role conflicts, role overloads, underutilization of skills, and resource inadequacy were substantial. The burden of tedious administrative responsibilities (underutilization of skills), the constant need for music education advocacy (role overload), conflicts between personal and professional roles (role conflict), and tension created by scheduling conflicts due to the increasingly busy schedules of students (resource inadequacy) were among the most significant stressors.
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31

Garvis, Susanne. "What is going on in early years music planning? A study of early years teachers' weekly plans." Australasian Journal of Early Childhood 37, no. 2 (June 2012): 122–26. http://dx.doi.org/10.1177/183693911203700216.

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ARTS EDUCATION IS AN Important element of the early years curriculum. Children first learn to express themselves through the arts (dance, drama, media, visual arts and music). Furthermore, numerous studies provide evidence that quality learning experiences in the arts contribute in significant ways to social success and impact positively on a child's academic achievement and long-term education. In Australia, early years teachers are expected to teach arts education. This study explored the weekly planning of 76 early years teachers across kindergartens, preparatory classes and Years 1, 2 and 3 in Queensland, Australia. Settings took a structured ‘curriculum-focused’ approach to learning in the early years, which made the exploration of planning important. Our study looked for segments of time devoted to music throughout the week. Content analysis was used to interpret the weekly plans, with three themes emerging: (1) The majority of the weekly plans were dedicated to literacy and numeracy; (2) Little time was devoted to the teaching of music apart from the scheduled 30-minute music lesson with a specialist teacher in some schools; and (3) Of the limited number of weekly plans that featured music, activities were teacher-directed. These results provide insight to the current understanding and value of music education in the early years curriculum. Key messages can be drawn about the importance of professional development, music advocacy in the early years, and curriculum and policy planning.
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32

BURNARD, PAMELA, and GARY SPRUCE. "Editorial." British Journal of Music Education 29, no. 3 (November 2012): 279–80. http://dx.doi.org/10.1017/s0265051712000435.

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This is a rather different Editorial. It marks the end of five years of editorship. So, a few valedictory remarks will begin and end this piece. When we first took over co-editing the British Journal of Music Education in 2007–2008, from the distinguished editorship of Stephanie Pitts and Gordon Cox, we introduced ourselves alongside contributing authors in the editorial for Volume 25 with articles in a series tackling the contribution of music education research and theory to practice and so signalled our intention as an editorial team to strengthen further the remit of the journal. In this Volume 29, four years on, we feel very pleased to report a significant increase in submissions to the British Journal of Music Education and a welcome further internationalisation of contributions. We now web publish and feature teacher-researcher and school-based research in each issue. The British Journal of Music Education is now featured in the Thomson Reuters Arts & Humanities Citation Index and the Social Science Citation Index. We both feel privileged to have been given the opportunity of working for this highly regarded journal whose reputation has continued to grow and strive to strengthen connections between research and practice, and offer informed and passionate engagement with music education research for empowerment and advocacy.
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33

Schmidt, Patrick. "Developing Our Policy Know-How: Why Policy Should Be Part of Music Educator Identity." Music Educators Journal 107, no. 1 (September 2020): 24–30. http://dx.doi.org/10.1177/0027432120929072.

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Policy is a critical practice that can be a valuable companion to music educators—alongside their pedagogical and content knowledge. This outlook challenges the position that teachers are subject to policy, reclaiming the necessity and value for teachers to see themselves as policy partners or policymakers in practice. The article explores three premises: (1) Today more than ever, policy matters; (2) there are important distinctions between policy and advocacy, and we should understand them and be engaged in both; and (3) expanding music teachers’ policy know-how can positively impact the role they play in school communities. The article offers pathways for policy thinking and action—policy know-how—as a significant element in the education and the professional life of music educators.
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34

McPherson, Gary E., and Susan A. O'Neill. "Students’ motivation to study music as compared to other school subjects: A comparison of eight countries." Research Studies in Music Education 32, no. 2 (December 2010): 101–37. http://dx.doi.org/10.1177/1321103x10384202.

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This study draws on an expectancy-value theoretical framework to examine the motivation (competence beliefs, values and task difficulty) of 24,143 students (11,909 females and 10,066 males, aged 9 to 21 years) from eight countries (Brazil n = 1848; China n = 3049; Finland n = 1654; Hong Kong n = 6179; Israel n = 2257; Korea n = 2671; Mexico n = 3613; USA n = 3072). Music was studied in comparison to five other school subjects (art, mother tongue, physical education, mathematics, science) across three school grade levels that included the key transition from elementary to secondary school. Results indicated that music as a school subject was valued less and received lower task difficulty ratings than other school subjects with the exception of art. Students reported higher competence beliefs for physical education and mother tongue compared to music and lower competence beliefs for mathematics and art. There was an overall decline in students’ competence beliefs and values across the school grade levels for all countries except Brazil. Females reported higher competence beliefs and values and lower task difficulty ratings for music, art and mother tongue than males. Males reported higher competence beliefs and lower task difficulty ratings for physical education and mathematics. There were no gender differences for values in mathematics. Music learners reported higher competence beliefs and values and lower task difficulty across school subjects than non-music learners. Secondary analyses were used to further explore differences within each of the eight countries. Findings suggest that once students have experienced learning to play an instrument or voice, they become more motivated towards other school subjects. Implications of the findings suggest that advocacy aimed at increasing the values that students attach to music as a school subject may encourage more students to become music learners across a wide range of countries.
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Milsom, Amy, Emily Robinson, Shayla Mann, and Amanda D. Rumsey. "Elementary School Counselor Experiences Teaching Lessons on a Related Arts Schedule." Professional School Counseling 24, no. 1 (January 2020): 2156759X2097049. http://dx.doi.org/10.1177/2156759x20970497.

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When and how often school counselors teach lessons varies; sometimes they go into classrooms in collaboration with teacher requests, and other times they have a set schedule rotation in conjunction with nonacademic classes like art, music, or physical education—often referred to as a related arts rotation. In this phenomenological study, we interviewed 10 elementary school counselors regarding their experiences teaching classroom lessons as part of the related arts rotation. Three themes emerged: (a) systemic factors, (b) frustrations, and (c) visibility. We discuss implications for school counselor advocacy.
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36

Shaw, Ryan D. "The Vulnerability of Urban Elementary School Arts Programs: A Case Study." Journal of Research in Music Education 65, no. 4 (November 6, 2017): 393–415. http://dx.doi.org/10.1177/0022429417739855.

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With the intent of improving understanding of cuts to elementary arts programs, the purpose of this research was to investigate how one urban school district (Lansing School District in Lansing, Michigan) eliminated its elementary arts specialists. Research questions were (1) What policy conditions enabled the Lansing School District’s decision to cut its elementary arts specialists? and (2) How did the decision-making process unfold? This instrumental case study drew on policy analysis, and data sources included 18 interviews with former Lansing School District teachers, current employees, and community arts provider representatives as well as related documents and researcher memos. After coding for themes, I used the Advocacy Coalition Framework to organize findings by research question. Findings showed that a confluence of macro- and microlevel policy conditions enabled the cuts, including declining enrollment, budget problems, and a negative perception of elementary arts teachers facilitated by permissive teacher certification/assignment policies. Analysis also showed that the decision-making process was characterized by rival coalitions whose membership was defined by belief systems. Based on the findings, I offer critical reflection on a number of topics and offer general recommendations as well as implications for researchers.
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37

Publicover, Jennifer L., Tarah S. Wright, Steven Baur, and Peter N. Duinker. "Music as a tool for environmental education and advocacy: artistic perspectives from musicians of thePlaylist for the Planet." Environmental Education Research 24, no. 7 (August 11, 2017): 925–36. http://dx.doi.org/10.1080/13504622.2017.1365356.

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38

Leonard, Hakeem. "A Problematic Conflation of Justice and Equality: The Case for Equity in Music Therapy." Music Therapy Perspectives 38, no. 2 (2020): 102–11. http://dx.doi.org/10.1093/mtp/miaa012.

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Abstract A historical basis and a therapeutic foundation are given for understanding the importance of equity when considering contexts of race in music therapy, specifically with African-American or Black clients. Those contexts are broad, including, but not limited to Black clients, Black music, diversity and inclusion, safe spaces, multiculturalism, access to music therapy education, access to services. Examples are given of the Black experience in the United States related to self-definition, self-sufficiency, growth, and resiliency. Both cultural and musical aesthetic contextualization are pointed to, and connections are drawn between the navigation of Black people through different types of oppressive systems, and the negotiation of double-bind dilemmas that try to force Black disembodiment when trying to live authentic personhood in the face of proscriptive and prescriptive forces. Despite this systemic oppression, Black people continue to show a resilience in society as well as therapeutic and health settings, which is seen more readily when therapists and professionals can center in the margins the lived experience of Black clients, decenter themselves where appropriate, and practice a critical consciousness that actively uses counterhegemonic and antiracist practices. As music therapists have begun to understand joining ethics and evidence together through the self-advocacy of some populations, we must do the same while explicitly centering equity in our work with Black clients. If music therapists truly espouse justice, then there should be a critical examination of this in the profession-- in ourselves, our work, our relationship to music, our organizations, and in our education and training.
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39

Lang, Michael, Catherine Laing, Nancy Moules, and Andrew Estefan. "Words, Camera, Music, Action: A Methodology of Digital Storytelling in a Health Care Setting." International Journal of Qualitative Methods 18 (January 1, 2019): 160940691986324. http://dx.doi.org/10.1177/1609406919863241.

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In this technological age, storytelling is moving from oral and written to digital formats, creating many methodological opportunities for researchers and practitioners. This article explores a specific genre of participatory media production, digital storytelling (DST), which could be a valuable research tool to describe, analyze, and understand the experiences of research participants. Digital stories (DS) are short movies that use images, videos, a voice-over, and various video editing techniques to share an important story from the participant’s life. In a health care setting, DS can be used as knowledge translation tools for education and advocacy, as data to be analyzed in the research process, or as a therapeutic intervention, in any combination, depending on the intent of the project. Although an increasing number of health-related research studies indicate using DST, or some variation of it, there is a glaring paucity of methodologically focused manuscripts in the health care literature. This article delineates and describes four primary phases of DST in a health care context as finding the story, telling the story, crafting the story, and sharing the story. Both the creative and technical considerations of DST facilitation are elucidated through specific examples and practical concepts. By drawing from diverse literature such as narratology, film, and psychotherapy, and exploring new creative tools and ideas to help research participants convey meaning, this article provides a starting point for qualitative researchers to explore the use of DST in their own contexts.
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Morgan, Frances, and James Mooney. "‘The Same Trade as Mozart’: Convincing the sceptics of electronic music’s value." Journal of Popular Television 9, no. 1 (March 1, 2021): 55–77. http://dx.doi.org/10.1386/jptv_00041_1.

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In August 1969, the music documentary series Workshop (1964–78) focused on electronic music in a 55-minute-long film titled ‘The Same Trade as Mozart’. Produced and directed by David Buckton, the film included interviews with composers Karlheinz Stockhausen, Tristram Cary and Justin Connolly; BBC Radiophonic Workshop staff Desmond Briscoe, David Cain and John Baker, and the Workshop’s founder, Daphne Oram; and Peter Zinovieff, director of EMS (Electronic Music Studios). It presented electronic music in a number of contexts, such as education, pop production and live performance. Technological change in music has often provoked hostility among the public and critics, and the rapid advancement of electronic music post-Second World War was no exception. Adopting a mode of analysis more commonly encountered in studies of the public communication of science, this article considers ‘The Same Trade as Mozart’ as an attempt by electronic music’s advocates, such as those listed above, to convince sceptics of its value. While sceptical responses to the presence of new technologies in music have been widely noted and theorized by scholars in science and technology studies, we call attention to the strategies employed by the advocates of such technologies to defend themselves against such criticisms, including humour, heuristic explanations and a focus on electronic music’s educational and thus social value. The use of computers in electronic music was a new and contentious development in the field, requiring a greater degree of advocacy from its proponents. We examine how the computer’s role in composition is presented in ‘The Same Trade as Mozart’, compared with other media portrayals of computing in the 1960s. Drawing on theories of filmed musical performance, we discuss how visual tropes of ‘classical’ music are used in ‘The Same Trade as Mozart’ to challenge preconceptions about the relationships between composers, musicians and new technologies.
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Mujulizi, J., and J. Nambasa. "Edutainment As a Means of Cancer Awareness Creation." Journal of Global Oncology 4, Supplement 2 (October 1, 2018): 125s. http://dx.doi.org/10.1200/jgo.18.15500.

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Background: The burden of cancer globally is on the increase and late stage diagnosis is a major challenge in many developing countries, which is partly due to lack of awareness among the population. Research and studies on cancer have been made over generations. The challenge however is the mode of dissemination as the majority of the population, more so the uneducated have a poor reading culture coupled with negative mind set about the facts on cancer thus making traditional cancer awareness medium limited in nature. Aim: It was under such understanding that a group of artist established Friends Crew Africa (FCA) to empower communities through raising awareness and advocacy using creative arts through edutainment to increase on cancer awareness to contribute toward the reduction of the burden of cancer in Uganda. Strategies: FCA adopts and uses multimedia information, education and communication (IEC) interventions including developing music, films, drama and live performances during events, community dialogues, the print and electronic media to carry out comprehensive cancer awareness programs for different target groups. Outcome: FCA has successful disseminated the developed/adapted IEC cancer awareness materials/content like music, films, drama, cancer magazine and brochures on local and international platform like World Cancer Day and community outreaches creating chances for the communities to be informed about cancer and interact with cancer service providers. Conclusion: Basing on the fact that entertainment attracts the attention of the majority; cancer awareness strategy that embeds edutainment stands higher chances of being adapted thus contributing to the reduction of cancer burden. FCA appeals to all organizations and the government to consider investing into edutainment as a means to increase on cancer awareness.
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Hunt, Peggy. "Canadian Society for Education Through Art: Advocacy Through Partnerships and Saskatewan Arts Education Conference: The Community: A Place for Arts in Education (A joint conference presented by Dance Saskatewan Inc., Saskatewan Drama Association, Saskatewan Music Education Association and the Saskatewan Society of Education Through Art; 26–29 October 1994)." Dance Research Journal 27, no. 1 (1995): 63–65. http://dx.doi.org/10.1017/s0149767700004150.

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Kontos, Pia, Mary L. Radnofsky, Phyllis Fehr, Mike R. Belleville, Frances Bottenberg, Mary Fridley, Susan Massad, et al. "Separate and Unequal: A Time to Reimagine Dementia." Journal of Alzheimer's Disease 80, no. 4 (April 20, 2021): 1395–99. http://dx.doi.org/10.3233/jad-210057.

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The rapid emergence of COVID-19 has had far-reaching effects across all sectors of health and social care, but none more so than for residential long-term care homes. Mortality rates of older people with dementia in residential long-term care homes have been exponentially higher than the general public. Morbidity rates are also higher in these homes with the effects of government-imposed COVID-19 public health directives (e.g., strict social distancing), which have led most residential long-term care homes to adopt strict ‘no visitor’ and lockdown policies out of concern for their residents’ physical safety. This tragic toll of the COVID-19 pandemic highlights profound stigma-related inequities. Societal assumptions that people living with dementia have no purpose or meaning and perpetuate a deep pernicious fear of, and disregard for, persons with dementia. This has enabled discriminatory practices such as segregation and confinement to residential long-term care settings that are sorely understaffed and lack a supportive, relational, and enriching environment. With a sense of moral urgency to address this crisis, we forged alliances across the globe to form Reimagining Dementia: A Creative Coalition for Justice. We are committed to shifting the culture of dementia care from centralized control, safety, isolation, and punitive interventions to a culture of inclusion, creativity, justice, and respect. Drawing on the emancipatory power of the imagination with the arts (e.g., theatre, improvisation, music), and grounded in authentic partnerships with persons living with dementia, we aim to advance this culture shift through education, advocacy, and innovation at every level of society.
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Campbell, Patricia Shehan. "How Musical We Are: John Blacking on Music, Education, and Cultural Understanding." Journal of Research in Music Education 48, no. 4 (December 2000): 336–59. http://dx.doi.org/10.2307/3345368.

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The distinguished music scholar John Blacking (1928-1990) made the study of music in culture and the nature of musical thought and behavior his lifelong quest. Although an anthropologist by training and an ethnomusicologist in his academic output, he produced a vast quantity of publications on the nature of musicality and musical development in the Venda children of northern Transvaal, South Africa. There are multiple purposes of this research, starting with a profile of the professional career of John Blacking, from his musical beginnings in England to his South African Odyssey of fieldwork and teaching of music as a social and cultural force, and finally to his teaching and scholarly contributions as an academic powerhouse and articulate advocate for the education of children in and through music in the United Kingdom, the United States, and internationally. An examination follows to gauge the extent of John Blacking's fieldwork and theoretical views relevant to music, education, and culture, with particular attention to Blackings approach to the study of children as a distinctive musical culture and the nature of their musicality, the central role of physical movement and dance as integrated within the musical experience, and the development of world musics in educational programs.
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Shaw, Ryan D. "How Music Education Policies Come to Be and What Teachers Can Do." Music Educators Journal 107, no. 1 (September 2020): 62–67. http://dx.doi.org/10.1177/0027432120945011.

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Policies often directly impact teachers’ lives and practice, requiring them to engage in spite of extremely busy schedules. This article offers encouragement to music educators wanting to be active—and become activists—in education policy. Before becoming active, one must understand how music education policies come to be. I argue that arts education policies mostly come to be indirectly, as an afterthought. This operates in numerous ways, involving collateral damage in other policy-making processes; nongermane, eleventh-hour negotiations; and incomplete or subverted policy implementation. To demonstrate these processes, I reference examples including access to a high-quality music education, content of national and state music standards, and music graduation education requirements. I also offer general recommendations for music educators who wish to advocate for positive change.
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Zhang, Wenzhuo. "Multicultural Ethnic Music Education in Communist China." International Journal of Multicultural Education 19, no. 3 (October 31, 2017): 65. http://dx.doi.org/10.18251/ijme.v19i3.1359.

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The Central Communist Party (CCP) of the People’s Republic of China (PRC) describes China as a unified multinational country. National policies advocate cultural diversity in the educational system with particular emphasis on the notion that diverse ethnic minorities contribute to zhonghua minzu—a single united Chinese nationality. Drawing upon the theoretical frameworks of musical authenticity as well as two tenets of liberalism theory, equal concern and cultural neutrality, the study aims to understand how government-designed national K1–9 music textbooks represent the Chinese ethnic minority’s musical and cultural traditions.
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Ward, Joanna. "DECENTRING AND DISMANTLING: A CRITICAL AND RADICAL APPROACH TO DIVERSITY IN TERTIARY MUSIC EDUCATION." Tempo 74, no. 294 (September 1, 2020): 65–76. http://dx.doi.org/10.1017/s004029822000039x.

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AbstractThis article is a response, informed by my own recent experience of tertiary education in the UK, as well as my work as a composer, performer, researcher and activist, to the collection of articles published in TEMPO 292 addressing issues of diversity in music-making and tertiary music education in Australia. Though interventions have been successful in achieving better gender representation across musical contexts in Australian higher education institutions, I bring into question the long-term legitimacy of such empirical or revisionist approaches. Drawing on a range of feminist, poststructural, queer, and decolonial thought, I explore how conventional approaches to tertiary music education – both in terms of pedagogical methods, as well as assumed or prioritised content – enforce hegemonic and exclusionary value systems, hierarchies, ontologies and epistemologies. I also problematise some of the ways in which neoliberal and capitalist frameworks have become embedded within tertiary music education and advocate a process of destabilising and decentring assumed parameters, outlining how a critical, political and radical approach to music education might look.
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Meadows, Anthony, Anne Schempp, and Bronwen Landless. "Integrating Music Therapy Students into Interprofessional Education: Academic Program Development." Music Therapy Perspectives 38, no. 2 (December 28, 2019): 135–42. http://dx.doi.org/10.1093/mtp/miz024.

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Abstract Interprofessional education (IPE) occurs when students from two or more professions associated with health or social care engage in learning with, from, and about each other. IPE addresses four essential competencies that not only seek to prepare students for interprofessional practice, but also strive to improve the overall quality of healthcare delivery for patients and their families. This article describes the development of an IPE program that fully integrates music therapy students into program-wide and program-to-program IPE events. We identify core components of IPE, describe the development of program-wide and program-to-program events involving undergraduate and graduate music therapy students, and discuss the benefits and challenges encountered during program development. In doing so, we advocate for IPE as a core component of music therapy education and training.
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Spencer, Piers. "John Paynter, 1931–2010: an appreciation." British Journal of Music Education 27, no. 3 (September 22, 2010): 221–23. http://dx.doi.org/10.1017/s0265051710000306.

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John Paynter's death this year has deprived British music education of its most inspirational advocate during the second half of the 20th century. John's teaching in primary and secondary schools during the 1950s played a major role in shaping his vision of music at the heart of the curriculum. With his ear for an apt phrase, John loved to quote American novelist Toni Morrison's description of the wonderful presence and power of music as ‘a way of being in the world’. During the 1960s, John trained teachers in colleges in Liverpool and Chichester, before joining the innovative music department at the University of York, where he remained until his retirement in 1997. It was with the publication in 1970 of Sound and Silence that his years of pioneering work with children and older students came to fruition and the force and originality of his ideas about music education made their first big impact.
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Cooper, Patrick K. "It’s all in your head: A meta-analysis on the effects of music training on cognitive measures in schoolchildren." International Journal of Music Education 38, no. 3 (October 15, 2019): 321–36. http://dx.doi.org/10.1177/0255761419881495.

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The utility of music training in schools has received much attention in the United States. The purported positive cognitive benefits of music training for schoolchildren is one facet which has historically been used to advocate for the existence of public school music programs. The purpose of this study was to conduct a random-effects meta-analysis to measure the overall mean effects of music training on cognitive measures in schoolchildren. Results showed small to medium overall effects ( N = 5,612, k = 100, g = .28, p < .001, 95% confidence interval [CI] [.21, .34]). When compared to active control groups, music training yielded more improvement on a range of cognitive measurements ( g = .21, p < .0001). While some studies did result in large effect sizes, significant moderators related to methodological quality rendered the overall findings non-significant ( g = .08, p = .19, 95% CI [–.04, .20]). Additional moderator analysis showed no clear advantage in one area of cognitive function. Results did not differ by geographical locale or type of music intervention. Overall, results suggested music training may be a positive cognitive intervention for schoolchildren; however, advantages as to the utility of music training compared to other cognitive interventions were less empirically supported.
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