The undergraduate years are a special time of life for many students. They are a time for study, yes, but also a time for making independent decisions over what to do beyond formal education. This book is based on a nine-year study of collegiate a cappella - a socio-musical practice that has exploded on college campuses since the 1990s. A defining feature of collegiate a cappella is that it is a student-run leisure activity undertaken by undergraduate students at institutions both large and small, prestigious and lower-status. With rare exceptions, participants are not music majors yet many participants interviewed had previous musical experience both in and out of school settings. Motivations for staying musically involved varied considerably - from those who felt they could not imagine life without a musical outlet to those who joined on a whim. Collegiate a cappella is about much more than singing cover songs. It sustains multiple forms of inequality through its audition practices and its performative enactment of gender and heteronormativity. This book sheds light on how undergraduates conceptualize vocation and avocation within the context of formal education, holding implications for educators at all levels.
In this practical resource, authors Matthew L. Garrett (he/him) and Joshua Palkki (he/him) encourage music educators to honor gender diversity through ethically and pedagogically sound practices across choral, instrumental, and general ...
This book is not an antidote to the lack of uniformity in popular music education – it is a celebration of it.
Based on topics that frame the debate about the future of professional music education, this book explores the issues that music teachers must confront in a rapidly shifting educational landscape.
A chi2 test report gave the Pearson coefficient value of 7.326 df = 9. Table 9.6: Cross-tabulation of age-range by own aural skills Rate own Not strong Fair to Better than Very Totals aural skills at all average average good Age range ...
Despite the often rich music listening lives of students, normative music education “does not legitimize listening for pleasure” (Bartel 2004a: xiv). Instead, “guided listening activities” require students to “listen for” ...
This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children's lives through play, games, ...
“Music as Socio-Cultural Behavior: Implications for Cross-Cultural Education—A Case Study.” PhD diss., Columbia University. ... “High-School Music Teachers' Meanings of Teaching World Music.” MM thesis, Queen's University.
As for their own (future) roles, some of these beginning music teacher education students asserted that the “central ... lives was to lead people to an appreciation for music since “music is the passion” of their lives, something they ...
Successful teaching, then, is seen in the lasting musical difference made in the musical dispositions and thus the lives of students as a result of their school music studies. And it is seen in the collective effect of such a ...
Undergraduates can come to know a variety of music through diverse musicking encounters with others toward a common goal of making music. UNESCO's four pillars of learning address learning to know, to do, to be, and to live well.