This book is a summary of the practice of music advocacy. It is a compilation of research and experience gained from 30 years experience by one of the nation's most successful advocates for music education. It provides the music educator, administrator, school board member, and community advocate with step-by-step procedures for saving and building school music programs.
Across the US, school budgets are tightening and music programs, often the first asked to compromise in the name of a balanced budget, face a seemingly grim future. Monetary restrictions combined with an increasing focus on test scores have led to heavy cuts in school music programs. In many cases, communities and teachers untrained in advocacy are helpless in the face of the school board, with no one willing and comfortable to speak up on their behalf. In Advocate for Music : A Guide to User-Friendly Strategies, Lynn M. Brinckmeyer, respected educator and past president for the National Association for Music Education, provides a manual for music teachers motivated to advocate but lacking the experience, resources, or time to acquire the skills to do so effectively. It will serve as a toolkit for advocating, and also for sharing resources, strategies and ideas useful for educating everyone - from community members to political representatives - about the immediate and long-term benefits of music education. In Advocate for Music , Brinckmeyer draws on a lifetime of arts advocacy to provide answers to the questions so many teachers have but are afraid - or simply too busy - to ask. A simple, hands-on guidebook for becoming an effective advocate for the arts, Advocate for Music is structured around six key questions: what is advocacy? Why focus on it? Who should do it? How does one do it? Where should we advocate? And when should we advocate? Readers will have access to step-by-step guidelines and strategies on how to engage others, and themselves, in a variety of levels of advocacy activities. In addition to granting access to compelling research projects, the book will provide models of letters, webinars, research findings, printed documents, websites and contact information useful for communicating with local, state and national decision makers. Working in an informal, hands-on manner, Brinckmeyer lays out advice on who to work with and what to do: providing concrete examples of advocacy tactics from ideas on how to cooperate with the gym teacher to a sample speech for the holiday concert. As she walks the reader through the a myriad of real-life examples and practical answers to her central questions, Brinckmeyer shows that every educator, parent, family member, and administrator can and should be engaged in advocating to maintain, and support, the right for today's children and adolescents to have access to high quality music education. Advocate for Music is an important book not only for all pre-service and inservice music teachers, but aso for state MEA leaders and staff, administrators, parents, community members, and all those involved with arts or education associations.
Environmental sustainability and human cultural sustainability are inextricably linked. Reversing damaging human impact on the global environment is ultimately a cultural question, and as with politics, the answers are often profoundly local. Cultural Sustainabilities presents twenty-three essays by musicologists and ethnomusicologists, anthropologists, folklorists, ethnographers, documentary filmmakers, musicians, artists, and activists, each asking a particular question or presenting a specific local case study about cultural and environmental sustainability. Contributing to the environmental humanities, the authors embrace and even celebrate human engagement with ecosystems, though with a profound sense of collective responsibility created by the emergence of the Anthropocene. Contributors: Aaron S. Allen, Michael B. Bakan, Robert Baron, Daniel Cavicchi, Timothy J. Cooley, Mark F. DeWitt, Barry Dornfeld, Thomas Faux, Burt Feintuch, Nancy Guy, Mary Hufford, Susan Hurley-Glowa, Patrick Hutchinson, Michelle Kisliuk, Pauleena M. MacDougall, Margarita Mazo, Dotan Nitzberg, Jennifer C. Post, Tom Rankin, Roshan Samtani, Jeffrey A. Summit, Jeff Todd Titon, Joshua Tucker, Rory Turner, Denise Von Glahn, and Thomas Walker
A lot can happen with 10 minutes of musical practice a day. Self-disciplined, compassionate, responsible, collaborative, confidant, and proud. These are all characteristics of children who play musical instruments. What's more, the benefits of music education reach far beyond the lesson and well into all aspects of adulthood.This book will help your child reap the rewards of opening that case; together, you will learn what music can teach:* Every child is naturally talented.* Consistent practice is the key to success.* Parents and music educators are partners in the learning process.* How to remove barriers to successful practice.* The importance of giving your child ownership of their learning.With the right approach, your child will do much more than grow in musical proficiency, they will become the person they were meant to be.
Fifteen essays explore the life of an unparalleled figure in the musical and cultural life of twentieth-century Ireland. Brian Boydell (1917-2000) was one of twentieth-century Ireland's leading composers and something of a Renaissance man to boot. He became a household name not only for his music and outspoken support of the expansion of Irish cultural identity, but for the many hats he wore as a broadcaster, professor, performer, and long-term member of Ireland's Arts Council. The recent centenary of his birth stimulated fresh interest in Boydell's many compositions and his role as a multidimensional figure in Ireland's musical and cultural life. The fifteen essays collected here focus both on his music--from his earliest orchestral works to his pioneering compositions for Irish and concert harp--and on his more varied contributions, including his musicological research, his involvement as a founding member of the Music Association of Ireland, his professorship at Trinity College Dublin, and his radio career. Creative Impulses, Cultural Accents also draws on Boydell's private papers to illuminate little-known corners of his life, like his interest in painting. This essay collection is a celebratory salutation to an entirely fascinating figure who contributed immensely to the cultural evolution of a modern nation.
In The Musician's Way, veteran performer and educator Gerald Klickstein combines the latest research with his 30 years of professional experience to provide aspiring musicians with a roadmap to artistic excellence. Part I, Artful Practice, describes strategies to interpret and memorize compositions, fuel motivation, collaborate, and more. Part II, Fearless Performance, lifts the lid on the hidden causes of nervousness and shows how musicians can become confident performers. Part III, Lifelong Creativity, surveys tactics to prevent music-related injuries and equips musicians to tap their own innate creativity. Written in a conversational style, The Musician's Way presents an inclusive system for all instrumentalists and vocalists to advance their musical abilities and succeed as performing artists.
How do the arts stack up as a major discipline? What is their effect on the brain, learning, and human development? How might schools best implement and assess an arts program? Eric Jensen answers these questions--and more--in this book. To push for higher standards of learning, many policymakers are eliminating arts programs. To Jensen, that's a mistake. This book presents the definitive case, based on what we know about the brain and learning, for making arts a core part of the basic curriculum and thoughtfully integrating them into every subject. Separate chapters address musical, visual, and kinesthetic arts in ways that reveal their influence on learning. What are the effects of a fully implemented arts program? The evidence points to the following: * Fewer dropouts * Higher attendance * Better team players * An increased love of learning * Greater student dignity * Enhanced creativity * A more prepared citizen for the workplace of tomorrow * Greater cultural awareness as a bonus To Jensen, it's not a matter of choosing, say, the musical arts over the kinesthetic. Rather, ask what kind of art makes sense for what purposes. How much time per day? At what ages? What kind of music? What kind of movement? Should the arts be required? How do we assess arts programs? In answering these real-world questions, Jensen provides dozens of practical, detailed suggestions for incorporating the arts into every classroom. Note: This product listing is for the Adobe Acrobat (PDF) version of the book.
Culturally Responsive Teaching in Music Education presents teaching methods that are responsive to how different culturally specific knowledge bases impact learning. It is a pedagogy that recognizes the importance of including students’ cultural references in all aspects of learning. Designed to be a supplementary resource for teachers of undergraduate and graduate music education courses, the book provides examples in the context of music education, with theories presented in Section I and a review of teaching applications in Section II. Culturally Responsive Teaching in Music Education is an effort to answer the question: How can I teach music to my students in a way that is culturally responsive? This book serves several purposes, by: • Offering theoretical/philosophical frameworks of social justice • Providing practical examples of transferring theory into practice in music education • Illustrating culturally responsive pedagogy within the classroom • Demonstrating the connection of culturally responsive teaching to the school and larger community
Instrumental Music Education: Teaching with the Musical and Practical in Harmony, 2nd Edition is intended for college instrumental music education majors studying to be band and orchestra directors at the elementary, middle school, and high school levels. This textbook presents a research-based look at the topics vital to running a successful instrumental music program, while balancing musical, theoretical, and practical approaches. A central theme is the compelling parallel between language and music, including "sound-to-symbol" pedagogies. Understanding this connection improves the teaching of melody, rhythm, composition, and improvisation. The companion website contains over 120 pedagogy videos for wind, string, and percussion instruments, performed by professional players and teachers, over 50 rehearsal videos, rhythm flashcards, and two additional chapters, "The Rehearsal Toolkit," and "Job Search and Interview." It also includes over 50 tracks of acoustically pure drones and demonstration exercises for use in rehearsals, sectionals and lessons. New to this edition: • Alternative, non-traditional ensembles: How to offer culturally relevant opportunities for more students, including mariachi, African drumming, and steel pans. • More learning and assessment strategies • The science of learning and practicing: How the brain acquires information • The philosophies of Orff and El Sistema, along with the existing ones on Kodály, Suzuki, and Gordon. • The Double Pyramid of Balance: Francis McBeth’s classic system for using good balance to influence tone and pitch. • Updated information about copyright for the digital age Evan Feldman is Conductor of the Wind Ensemble and Associate Professor of Music at the University of North Carolina at Chapel Hill Ari Contzius is the Wind Ensemble Conductor at Washingtonville High School, Washingtonville, NY Mitchell Lutch is Associate Professor of Music and Director of Bands at Central College in Pella, Iowa
This edited collection develops the Strong Program’s contribution to the sociological study of the arts and places it in conversation with other cultural perspectives in the field. Presenting some of the newest and most original research by both renowned figures and early career scholars, the volume marks a new stage in the development of the cultural sociology of art and music. The chapters in Part 1 set new agendas by reflecting on the field’s history, presenting theoretical innovations, and suggesting future directions for research. Part 2 explores aesthetic issues and challenges in the creation, experience, and interpretation of art and music. Part 3 focuses on the material environments and social settings where people engage with art and music. In Part 4, the contributors examine controversies about music and contestation over artistic matters, whether in the public sphere, in the American judicial system, or in an emerging academic discipline. The editor’s introduction and Ron Eyerman's afterword place the chapters in context and reflect on their collective contribution to meaning-centered sociology.
