bm in music education
mm in music education
mm in music therapy ( traditional/combined equivalency-masters programs )
phd in music education
rank i in music education
graduate certificate in orff schulwerk
certificate in music theory pedagogy
master of music in music education degree
this degree will now be possible to complete in three summers if internet courses are included. see this page for more information.
master of music therapy degree
this degree program consists of two options : a traditional masters program for students with undergraduate degrees in music therapy, and a combined equivalency-masters option for students with degrees in related fields who wish to pursue music therapy. students who participate in the combined equivalency-masters program will take all the necessary perquisite coursework to enable them to sit for the board certification exam prior to completion of the masters degree itself. click here for information about the music therapy program at uk.
Selasa, 20 Agustus 2013
bachelor of music in music education
music education at the university of kentucky is a joint program between the school of music and the college of education. however, except for a series of three professional education courses, all classes are taught by music professors. music education majors may choose between a vocal/elementary general music track or a instrumental ( band/orchestra ) track. uk subscribes to the philosophy that training in music education should be as practical and hands-on as possible. consequently, the curriculum includes a series of undergraduate seminars that integrate the real experiences of the music teacher in the elementary or secondary schools with the development of skills for becoming an outstanding teacher. from the practical experience of conducting and rehearsing the school band, chorus or orchestra to the development of a highly personal philosophy of teaching music, these seminars provide a rich foundation on which to build a successful career. in addition to the seminars, the music education majors also specialize in the teaching of general music in the elementary school with emphasis on the orff-schulwerk approach, the vocal majors with two principal courses, the instrumental majors with one. an elementary music education laboratory, complete with instruments, music books, method materials, and technological equipment is part of the lucille little fine arts library and is used extensively by music education students at all levels and by elementary education students from the college of education. a comprehensive study of brass, woodwind, percussion and string instruments are included in the curriculum at varying degrees, depending on the specialization and student background. a rich environment of successful school programs in lexington/fayette county and surrounding counties provide students with a wealth of opportunities for observations throughout their sophomore and junior years and for their semester-long student teaching experience.
the school of music is particularly proud that alumni in music education are teaching in the public schools of some 26 states around the country as well as in prestigious positions at major universities such as ucla, university of florida, florida state university, syracuse university, university of colorado, colorado state university, middle tennessee university and the university of kentucky as well as a number of smaller colleges and universities.
for music education majors at uk, even though preparation for teaching is a primary goal, it is equally important that all students are expected to be well-trained musicians. in most cases, there is sekurang-kurangnya difference between the performance and academic expectations for music education majors and those who are classified as performance majors. an outstanding performance faculty in voice, keyboard, strings, woodwinds, brass and percussion provides superior instruction for all music education majors. relative to the development of musicianship for all music education majors is the experiences of playing in outstanding performing organizations, including the university chorale, university choristers, the men’s and women’s choirs, the symphony orchestra, the wind ensemble, the symphonic band, the wildcat marching band, and two nationally renowned jazz ensembles.
uk prides itself in educating not only superior teachers but superior teachers/musicians as well. currently, approximately 50% of the undergraduate music majors at uk are music education majors.
the school of music is particularly proud that alumni in music education are teaching in the public schools of some 26 states around the country as well as in prestigious positions at major universities such as ucla, university of florida, florida state university, syracuse university, university of colorado, colorado state university, middle tennessee university and the university of kentucky as well as a number of smaller colleges and universities.
for music education majors at uk, even though preparation for teaching is a primary goal, it is equally important that all students are expected to be well-trained musicians. in most cases, there is sekurang-kurangnya difference between the performance and academic expectations for music education majors and those who are classified as performance majors. an outstanding performance faculty in voice, keyboard, strings, woodwinds, brass and percussion provides superior instruction for all music education majors. relative to the development of musicianship for all music education majors is the experiences of playing in outstanding performing organizations, including the university chorale, university choristers, the men’s and women’s choirs, the symphony orchestra, the wind ensemble, the symphonic band, the wildcat marching band, and two nationally renowned jazz ensembles.
uk prides itself in educating not only superior teachers but superior teachers/musicians as well. currently, approximately 50% of the undergraduate music majors at uk are music education majors.
Selasa, 06 Agustus 2013
the benefits of music education
a boy getting a piano lessonwhether your child is the next beyonce or more likely to sing her solos in the shower, she is bound to benefit from some form of music education. research shows that learning the do-re-mis can help children excel in ways beyond the basic abcs.
more than just music
research has found that learning music facilitates learning other subjects and enhances skills that children inevitably use in other areas. “a music-rich experience for children of singing, listening and moving is really bringing a very serious benefit to children as they progress into more resmi learning, ” says mary luehrisen, executive director of the national association of music merchants ( namm ) foundation, a not-for-profit association that promotes the benefits of making music.
making music involves more than the voice or fingers playing an instrument ; a child learning about music has to tap into multiple skill sets, often simultaneously. for instance, people use their ears and eyes, as well as large and small muscles, says kenneth guilmartin, cofounder of music together, an early childhood music development program for infants through kindergarteners that involves parents or caregivers in the classes.
more than just music
research has found that learning music facilitates learning other subjects and enhances skills that children inevitably use in other areas. “a music-rich experience for children of singing, listening and moving is really bringing a very serious benefit to children as they progress into more resmi learning, ” says mary luehrisen, executive director of the national association of music merchants ( namm ) foundation, a not-for-profit association that promotes the benefits of making music.
making music involves more than the voice or fingers playing an instrument ; a child learning about music has to tap into multiple skill sets, often simultaneously. for instance, people use their ears and eyes, as well as large and small muscles, says kenneth guilmartin, cofounder of music together, an early childhood music development program for infants through kindergarteners that involves parents or caregivers in the classes.
welcome to music education
our nyu music education program is dedicated to developing artistic, reflective, and creative music educators for careers in schools, the community and private settings.
our bm, ma, and phd music education majors perform and study with new yorks finest classical, jazz, music theater, world music performers, and artist-teachers.
through our programs you have access to :
an internationally renowned faculty of music education scholars
greenwich village and new york city, the cultural capital of the world
supervised teaching placements and internships in new yorks finest public, private, and community music schools
diverse learners in multicultural environments
unparalleled music technology facilities
nyus study abroad programs in prague, florence, and 25 other cities on four continents
arts education consortiums including music, art, dance and theater
all of these opportunities take full advantage of a warm and collegial department of music and performing arts professions that offers an exceptional range of program electives including performance, music technology, composition, educational theatre, dance education, music therapy, music theatre and classical voice, jazz studies, and more.
the nyu steinhardt teacher education program is fully accredited by the teacher education accreditation council.
our bm, ma, and phd music education majors perform and study with new yorks finest classical, jazz, music theater, world music performers, and artist-teachers.
through our programs you have access to :
an internationally renowned faculty of music education scholars
greenwich village and new york city, the cultural capital of the world
supervised teaching placements and internships in new yorks finest public, private, and community music schools
diverse learners in multicultural environments
unparalleled music technology facilities
nyus study abroad programs in prague, florence, and 25 other cities on four continents
arts education consortiums including music, art, dance and theater
all of these opportunities take full advantage of a warm and collegial department of music and performing arts professions that offers an exceptional range of program electives including performance, music technology, composition, educational theatre, dance education, music therapy, music theatre and classical voice, jazz studies, and more.
the nyu steinhardt teacher education program is fully accredited by the teacher education accreditation council.
Jumat, 26 Juli 2013
the role of music education and world music
following recent headlines that school music programmes and services are under threat due to funding cuts, it has set us off wondering how the uk music education curriculum is suited to the teachings of musics of the world.
music education is evidently changing - with more musics and opportunities open to school pupils. the curriculum does not only house the history and practice of western art practice. nevertheless, there is still a heavy emphasis on classical training of school pupils. why is this ? it perhaps has something to do with the fact that the overwhelming majority of music teachers have degrees based on classical music. as a result, the classical artworks ( particularly with regard to bach and beethoven ) still represent the pinnacle of musical value. as a result, the focus on classical music tuition cannot be disregarded.
on the other hand, music other than western classical is still worryingly considered as extracurricular. music education should be delivered through the community. the implementation of diverse musics in the school curriculum is evident. nevertheless, whether support for all genres of music is indeed equal is questionable. support should be there for any musical role ; this includes the aspiring dj or virtuoso the hardanger fiddle player.
perhaps the biggest issue with uk music education is the implementation of the western scale ( explored in bobby mcferrins example ). together with this, the study of harmonic theory, western art practice history, the basics of conducting, and a proficiency in performance supposedly equip the pupil with musical fluency. these skills, although obviously useful, are not necessarily applicable to the learning of diverse musics of the world.
it reopens the question of what music education in schools is for. the most significant constant is that music teaches school pupils to work together and creates a space for individual and personal development. nevertheless, this year the government has pared back its biaya for music services from £82. 5m a year to just £60m. let us hope that even with the planned cuts, music education in schools can become even more wide and diverse.
here is a clip of bobby mcferrin and an example of musical education at work. in this example, they are exploring the expectations of musical tones and movement. it regards the relationship between neurology and the written or sounded score through the basis of a common understanding.
music education is evidently changing - with more musics and opportunities open to school pupils. the curriculum does not only house the history and practice of western art practice. nevertheless, there is still a heavy emphasis on classical training of school pupils. why is this ? it perhaps has something to do with the fact that the overwhelming majority of music teachers have degrees based on classical music. as a result, the classical artworks ( particularly with regard to bach and beethoven ) still represent the pinnacle of musical value. as a result, the focus on classical music tuition cannot be disregarded.
on the other hand, music other than western classical is still worryingly considered as extracurricular. music education should be delivered through the community. the implementation of diverse musics in the school curriculum is evident. nevertheless, whether support for all genres of music is indeed equal is questionable. support should be there for any musical role ; this includes the aspiring dj or virtuoso the hardanger fiddle player.
perhaps the biggest issue with uk music education is the implementation of the western scale ( explored in bobby mcferrins example ). together with this, the study of harmonic theory, western art practice history, the basics of conducting, and a proficiency in performance supposedly equip the pupil with musical fluency. these skills, although obviously useful, are not necessarily applicable to the learning of diverse musics of the world.
it reopens the question of what music education in schools is for. the most significant constant is that music teaches school pupils to work together and creates a space for individual and personal development. nevertheless, this year the government has pared back its biaya for music services from £82. 5m a year to just £60m. let us hope that even with the planned cuts, music education in schools can become even more wide and diverse.
here is a clip of bobby mcferrin and an example of musical education at work. in this example, they are exploring the expectations of musical tones and movement. it regards the relationship between neurology and the written or sounded score through the basis of a common understanding.
musics at home, in the community and abroad
it is possible to categorise musics that we listen to into three broad bands : musics at home, in the community and abroad. these three bands, situations for encountering musics, also suggest three different angles. the first suggests an encounter on our own grounds, on our own terms, from our own cultural perspective, whatever that is defined to be. from the particular angle of the community, which includes formalised music education, multiple perspectives, as opposed to that identified from the first angle, are brought to bear. at this level, other music culture perspectives are juxtaposed, as it were on each other, with the consequence that multiple perspectives can coexist at the same time although individuals may extend their own perspectives on musics in the community. the final context suggests the imposition of a personal culture perspective on the musics of other cultures, on musics whose origin is traced to a foreign or alien source, to a place that is abroad. it would appear that as we can only be at one place at one time in a physical sense, when abroad, there may be only two main music cultural perspectives operating when we apprehend musics that we are relatively unfamiliar with - that is, our own, plus that in which the music is operating. however, this may be a simplified understanding of reality.
we can paint a scenario that involves what happens in our homes, at school and in the wider community. teenagers and other children, at home, have their own musical worlds that consist of what they engage with on their own, with others through the media, the internet, and so on. it would appear that children have a degree of choice in determining some of the musics they encounter in the wider community. but at school, a different aspect of the jigsaw is brought into place through the compulsory diet that they have little control or choice over, one that seems to be at odds with other aspects of their lives. to an extent, the musics that people encounter abroad, or musics from abroad need not be different from musics at home, perhaps, except for the fact that the encounter in the musics original home is more likely to be on a live basis. it would seem that we are obsessed with the origin of some musics, particularly non-western musics, and herein lies a masalah. however, for some people such musics are not alien or foreign ; rather, they may be additional musical cultures that they experience with which they are fully engaged, including even at home.
in the case of britain, the fact that it is, like many other countries of the world, a multicultural society perhaps needs to be fully accepted within an educational system which is still too narrowly skewed towards a particular perspective. this will need to change if formalised music education is to do justice to the rich and diverse musical traditions that have found their home in britain. when i went to britain to read for a degree in music, 2 the situation was very different. over a period of more than 25 years, i have experienced a changed climate within the wider community and, to an extent, in the educational system. however, i have found serious impediments in my attempts to promote the use of african musics in educational institutions during this period.
we can paint a scenario that involves what happens in our homes, at school and in the wider community. teenagers and other children, at home, have their own musical worlds that consist of what they engage with on their own, with others through the media, the internet, and so on. it would appear that children have a degree of choice in determining some of the musics they encounter in the wider community. but at school, a different aspect of the jigsaw is brought into place through the compulsory diet that they have little control or choice over, one that seems to be at odds with other aspects of their lives. to an extent, the musics that people encounter abroad, or musics from abroad need not be different from musics at home, perhaps, except for the fact that the encounter in the musics original home is more likely to be on a live basis. it would seem that we are obsessed with the origin of some musics, particularly non-western musics, and herein lies a masalah. however, for some people such musics are not alien or foreign ; rather, they may be additional musical cultures that they experience with which they are fully engaged, including even at home.
in the case of britain, the fact that it is, like many other countries of the world, a multicultural society perhaps needs to be fully accepted within an educational system which is still too narrowly skewed towards a particular perspective. this will need to change if formalised music education is to do justice to the rich and diverse musical traditions that have found their home in britain. when i went to britain to read for a degree in music, 2 the situation was very different. over a period of more than 25 years, i have experienced a changed climate within the wider community and, to an extent, in the educational system. however, i have found serious impediments in my attempts to promote the use of african musics in educational institutions during this period.
musical cyclicalities
the ways in which cyclicality operates in different musical traditions is such that it may be helpful to use the plural form of the term in describing the concept. the cyclicalities inherent in african, indian and indonesian musics are markedly different. apart from the different types and styles of gamelan, there are interlocking patterns, related to a melody ( balungan ) or theme, and the operation of larger scale structures, cycles within cycles. in indian classical music, one can highlight rhythmic cyclicality in the tabla part with its bols within the talas ( tal ) system. in conjunction with this, there is the raga system dealing with a meta-cycle involving moods, time and seasons. and, in african musics, we have a different type of rhythmic interlocking involving cycles in cycles, based on a timekeeping part, unchanging repetitive parts, and on pre-composed and improvised patterns.
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