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.
Jumat, 26 Juli 2013
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.
Rabu, 24 Juli 2013
music service
the music service provides instrumental and vocal tuition in schools. the service aims to provide every school child with the opportunity to learn music and to inspire in young people a lifelong passion for the subject.
the service is headed by maggie richardson and has 11 full-time and four part-time teachers who travel between schools.
these specialist, experienced teachers offer guitar, woodwind and brass tuition to children aged nine ( year 5 ) and above and string tuition to younger children where a teacher is available. voice, percussion and drumkit lessons are available to secondary school students.
from the very beginning, all students are encouraged work towards a series of graded awards, starting with red and blue badges as preliminary stages before going on to more graded exams.
when they attain the relevant standard, young people can take, free of charge, the department of education and children’s own exams at grades one to four. as they progress, they can take external exams through the associated board of the royal schools of music, trinity/guildhall college of music and rockschool.
the service is headed by maggie richardson and has 11 full-time and four part-time teachers who travel between schools.
these specialist, experienced teachers offer guitar, woodwind and brass tuition to children aged nine ( year 5 ) and above and string tuition to younger children where a teacher is available. voice, percussion and drumkit lessons are available to secondary school students.
from the very beginning, all students are encouraged work towards a series of graded awards, starting with red and blue badges as preliminary stages before going on to more graded exams.
when they attain the relevant standard, young people can take, free of charge, the department of education and children’s own exams at grades one to four. as they progress, they can take external exams through the associated board of the royal schools of music, trinity/guildhall college of music and rockschool.
Kamis, 04 Juli 2013
music education can help children improve reading skills
studying children the two us elementary schools, one of which routinely trained children in music and one that did not, piro and ortiz aimed to investigate the hypothesis that children who have received keyboard instruction as part of a music curriculum increasing in difficulty over successive years would demonstrate significantly better performance on measures of vocabulary and verbal sequencing than students who did not receive keyboard instruction.
several studies have reported positive associations between music education and increased abilities in non-musical ( eg, linguistic, mathematical, and spatial ) domains in children. the authors say there are similarities in the way that individuals interpret music and language and “because neural response to music is a widely distributed system within the brain…. it would not be unreasonable to expect that some processing networks for music and language behaviors, namely reading, located in both hemispheres of the brain would overlap. ”
the aim of this study was to look at two specific reading subskills – vocabulary and verbal sequencing – which, according to the authors, are “are cornerstone components in the continuum of literacy development and a window into the subsequent successful acquisition of proficient reading and language skills such as decoding and reading comprehension. ”
using a quasi-experimental design, the investigators selected second-grade children from two school sites located in the same geographic vicinity and with similar demographic characteristics, to ensure the two groups of children were as similar as possible apart from their music experience.
children in the intervention school ( n=46 ) studied piano formally for a period of three consecutive years as part of a comprehensive instructional intervention program. children attending the control school ( n=57 ) received no resmi musical training on any musical instrument and had never taken music lessons as part of their general school curriculum or in private study. both schools followed comprehensive balanced literacy programmes that integrate skills of reading, writing, speaking and listening.
all participants were individually tested to assess their reading skills at the start and close of a standard 10-month school year using the structure of intellect ( soi ) measure.
results analyzed at the end of the year showed that the music-learning group had significantly better vocabulary and verbal sequencing scores than did the non-music-learning control group. this finding, conclude the authors, provides evidence to support the increasingly common practice of “educators incorporating a variety of approaches, including music, in their teaching practice in continuing efforts to improve reading achievement in children”.
however, further interpretation of the results revealed some complexity within the overall outcomes. an interesting observation was that when the study began, the music-learning group had already experienced two years of piano lessons yet their reading scores were nearly identical to the control group at the start of the experiment.
several studies have reported positive associations between music education and increased abilities in non-musical ( eg, linguistic, mathematical, and spatial ) domains in children. the authors say there are similarities in the way that individuals interpret music and language and “because neural response to music is a widely distributed system within the brain…. it would not be unreasonable to expect that some processing networks for music and language behaviors, namely reading, located in both hemispheres of the brain would overlap. ”
the aim of this study was to look at two specific reading subskills – vocabulary and verbal sequencing – which, according to the authors, are “are cornerstone components in the continuum of literacy development and a window into the subsequent successful acquisition of proficient reading and language skills such as decoding and reading comprehension. ”
using a quasi-experimental design, the investigators selected second-grade children from two school sites located in the same geographic vicinity and with similar demographic characteristics, to ensure the two groups of children were as similar as possible apart from their music experience.
children in the intervention school ( n=46 ) studied piano formally for a period of three consecutive years as part of a comprehensive instructional intervention program. children attending the control school ( n=57 ) received no resmi musical training on any musical instrument and had never taken music lessons as part of their general school curriculum or in private study. both schools followed comprehensive balanced literacy programmes that integrate skills of reading, writing, speaking and listening.
all participants were individually tested to assess their reading skills at the start and close of a standard 10-month school year using the structure of intellect ( soi ) measure.
results analyzed at the end of the year showed that the music-learning group had significantly better vocabulary and verbal sequencing scores than did the non-music-learning control group. this finding, conclude the authors, provides evidence to support the increasingly common practice of “educators incorporating a variety of approaches, including music, in their teaching practice in continuing efforts to improve reading achievement in children”.
however, further interpretation of the results revealed some complexity within the overall outcomes. an interesting observation was that when the study began, the music-learning group had already experienced two years of piano lessons yet their reading scores were nearly identical to the control group at the start of the experiment.
cbdna symposium on instrumental music education
the art of instrumental music teaching
symposium statement of purpose
the goal of every artist teacher in the medium of instrumental music should be the development of musical skills and appreciation. this symposium develops the premise that through making music, through developing experiences with and about music, and through the education of future artist teachers, the potential for realizing a society that values music can be maximized.
the college band directors national association, ( cbdna ) in cooperation with the instrumental music teacher educators ( imte ) and ithaca college school of music, propose the ithaca college symposium on instrumental music education. the primary focus of this symposium is the education of college level instrumental music teachers and their role in the development of a comprehensive school instrumental music program. there are three components to this event. the first is a philosophical and practical examination of contemporary music teacher education as it relates to instrumental music in the schools. what are the roles of college and university conductors and instrumental music teacher educators in the preparation of future public school teachers ? the second component addresses the curriculum of instrumental music teacher education. what are we preparing future public school instrumental music educators to do ? the final component is a conducting/teaching workshop with a unique focus. these sessions will examine what experiences including but not limited to expressive conducting can encourage the development of musical skills and appreciation.
outline of symposium
there will be daily plenary sessions attended by all involved led by a recognized authorities discussing philosophical perspectives of cbdna and imte. this collaboration is a key and unique element to this symposium.
there will be sessions offered by invited members of cbdna and imte devoted to curriculum development as they relate to the realities of contemporary school music. how do we recruit the artist teacher ? when and where does this take place ? sessions will have a goal to develop a purpose statement defining an exemplar curriculum for instrumental music education including the roles of the college/university instrumental conductors and the instrumental music teacher educator.
the pedagogical component will be multi-faceted and robust. it will focus on the teaching and rehearsing of students in various traditional and nontraditional configurations and address/demonstrate the use of specific pedagogical techniques.
the symposium will be offered in conjunction with the ithaca college northeast wind conducting symposium. the symposium wind ensemble, along with the local high school band will be used in lab situations throughout the week.
open session roundtable discussions aimed at coordinating research and practice will infuse the week.
it is hoped that a sourcebook will be published that delineates the sessions on the philosophy and strategy for instrumental music education in the schools based on this symposium.
clinicians tba – there will be a call for papers along with invitations to great teachers identified by both cbdna and imte for their direct involvement.
in addition to the above, the schedule will include addressing the concept of instrumental music education in which band and orchestra are components. there will be discussions on instrumentation and how to make it possible to expand student participation. invitations will be extended to publishers and composers because they have the influence to determine what happens.
symposium statement of purpose
the goal of every artist teacher in the medium of instrumental music should be the development of musical skills and appreciation. this symposium develops the premise that through making music, through developing experiences with and about music, and through the education of future artist teachers, the potential for realizing a society that values music can be maximized.
the college band directors national association, ( cbdna ) in cooperation with the instrumental music teacher educators ( imte ) and ithaca college school of music, propose the ithaca college symposium on instrumental music education. the primary focus of this symposium is the education of college level instrumental music teachers and their role in the development of a comprehensive school instrumental music program. there are three components to this event. the first is a philosophical and practical examination of contemporary music teacher education as it relates to instrumental music in the schools. what are the roles of college and university conductors and instrumental music teacher educators in the preparation of future public school teachers ? the second component addresses the curriculum of instrumental music teacher education. what are we preparing future public school instrumental music educators to do ? the final component is a conducting/teaching workshop with a unique focus. these sessions will examine what experiences including but not limited to expressive conducting can encourage the development of musical skills and appreciation.
outline of symposium
there will be daily plenary sessions attended by all involved led by a recognized authorities discussing philosophical perspectives of cbdna and imte. this collaboration is a key and unique element to this symposium.
there will be sessions offered by invited members of cbdna and imte devoted to curriculum development as they relate to the realities of contemporary school music. how do we recruit the artist teacher ? when and where does this take place ? sessions will have a goal to develop a purpose statement defining an exemplar curriculum for instrumental music education including the roles of the college/university instrumental conductors and the instrumental music teacher educator.
the pedagogical component will be multi-faceted and robust. it will focus on the teaching and rehearsing of students in various traditional and nontraditional configurations and address/demonstrate the use of specific pedagogical techniques.
the symposium will be offered in conjunction with the ithaca college northeast wind conducting symposium. the symposium wind ensemble, along with the local high school band will be used in lab situations throughout the week.
open session roundtable discussions aimed at coordinating research and practice will infuse the week.
it is hoped that a sourcebook will be published that delineates the sessions on the philosophy and strategy for instrumental music education in the schools based on this symposium.
clinicians tba – there will be a call for papers along with invitations to great teachers identified by both cbdna and imte for their direct involvement.
in addition to the above, the schedule will include addressing the concept of instrumental music education in which band and orchestra are components. there will be discussions on instrumentation and how to make it possible to expand student participation. invitations will be extended to publishers and composers because they have the influence to determine what happens.
music education research international ( meri )
mission
music education research international ( meri ) aims to disseminate recent research that contributes to global views of music education, which contains two different meanings. first, a global view pertains to various peoples, musics, or activities in music education worldwide. it cuts across geographic, cultural, political, and international boundaries. second, a global view is a comprehensive view in music education. it refers to a broad definition of music education, in all settings ( e. g., community, home, school, individual, and group ), at all age levels from prenatal through the entire lifespan, and with regard to all aspects of music.
scope
music education research international ( meri ) is an annual refereed research journal published online. contributions must be based on the extant literature and may be qualitative, quantitative, or mixed in design, and in exceptional circumstances may also include philosophical, historical, theoretical, or synthesis writing. in all cases, submissions must contribute to knowledge in music education by providing new insights, inferences, and/or implications. submissions should include clear statements of purpose, method, result, conclusion, and implication. furthermore, it may publish invited speeches of the suncoast music education research symposium ( smers ).
music education research international ( meri ) aims to disseminate recent research that contributes to global views of music education, which contains two different meanings. first, a global view pertains to various peoples, musics, or activities in music education worldwide. it cuts across geographic, cultural, political, and international boundaries. second, a global view is a comprehensive view in music education. it refers to a broad definition of music education, in all settings ( e. g., community, home, school, individual, and group ), at all age levels from prenatal through the entire lifespan, and with regard to all aspects of music.
scope
music education research international ( meri ) is an annual refereed research journal published online. contributions must be based on the extant literature and may be qualitative, quantitative, or mixed in design, and in exceptional circumstances may also include philosophical, historical, theoretical, or synthesis writing. in all cases, submissions must contribute to knowledge in music education by providing new insights, inferences, and/or implications. submissions should include clear statements of purpose, method, result, conclusion, and implication. furthermore, it may publish invited speeches of the suncoast music education research symposium ( smers ).
benefits of music education
1. early musical training helps develop brain areas involved in language and reasoning. it is thought that brain development continues for many years after birth. recent studies have clearly indicated that musical training physically develops the part of the left side of the brain known to be involved with processing language, and can actually wire the brains circuits in specific ways. linking familiar songs to new information can also help imprint information on young minds.
2. there is also a causal link between music and spatial intelligence ( the ability to perceive the world accurately and to form mental pictures of things ). this kind of intelligence, by which one can visualize various elements that should go together, is critical to the sort of thinking necessary for everything from solving advanced mathematics problems to being able to pack a book-bag with everything that will be needed for the day.
3. students of the arts learn to think creatively and to solve problems by imagining various solutions, rejecting outdated rules and assumptions. questions about the arts do not have only one right answer.
4. recent studies show that students who study the arts are more successful on standardized tests such as the sat. they also achieve higher grades in high school.
5. a study of the arts provides children with an internal glimpse of other cultures and teaches them to be empathetic towards the people of these cultures. this development of compassion and empathy, as opposed to development of greed and a me first attitude, provides a bridge across cultural chasms that leads to respect of other races at an early age.
6. students of music learn craftsmanship as they study how details are put together painstakingly and what constitutes good, as opposed to mediocre, work. these standards, when applied to a students own work, demand a new level of excellence and require students to stretch their inner resources.
7. in music, a mistake is a mistake ; the instrument is in tune or not, the notes are well played or not, the entrance is made or not. it is only by much hard work that a successful performance is possible. through music study, students learn the value of sustained effort to achieve excellence and the concrete rewards of hard work.
8. music study enhances teamwork skills and discipline. in order for an orchestra to sound good, all players must work together harmoniously towards a single goal, the performance, and must commit to learning music, attending rehearsals, and practicing.
9. music provides children with a means of self-expression. now that there is relative security in the basics of existence, the challenge is to make life meaningful and to reach for a higher stage of development. everyone needs to be in touch at some time in his life with his core, with what he is and what he feels. self-esteem is a by-product of this self-expression.
10. music study develops skills that are necessary in the workplace. it focuses on doing, as opposed to observing, and teaches students how to perform, literally, anywhere in the world. employers are looking for multi-dimensional workers with the sort of flexible and supple intellects that music education helps to create as described above. in the music classroom, students can also learn to better communicate and cooperate with one another.
11. music performance teaches young people to conquer fear and to take risks. a little anxiety is a good thing, and something that will occur often in life. dealing with it early and often makes it less of a problem later. risk-taking is essential if a child is to fully develop his or her potential.
2. there is also a causal link between music and spatial intelligence ( the ability to perceive the world accurately and to form mental pictures of things ). this kind of intelligence, by which one can visualize various elements that should go together, is critical to the sort of thinking necessary for everything from solving advanced mathematics problems to being able to pack a book-bag with everything that will be needed for the day.
3. students of the arts learn to think creatively and to solve problems by imagining various solutions, rejecting outdated rules and assumptions. questions about the arts do not have only one right answer.
4. recent studies show that students who study the arts are more successful on standardized tests such as the sat. they also achieve higher grades in high school.
5. a study of the arts provides children with an internal glimpse of other cultures and teaches them to be empathetic towards the people of these cultures. this development of compassion and empathy, as opposed to development of greed and a me first attitude, provides a bridge across cultural chasms that leads to respect of other races at an early age.
6. students of music learn craftsmanship as they study how details are put together painstakingly and what constitutes good, as opposed to mediocre, work. these standards, when applied to a students own work, demand a new level of excellence and require students to stretch their inner resources.
7. in music, a mistake is a mistake ; the instrument is in tune or not, the notes are well played or not, the entrance is made or not. it is only by much hard work that a successful performance is possible. through music study, students learn the value of sustained effort to achieve excellence and the concrete rewards of hard work.
8. music study enhances teamwork skills and discipline. in order for an orchestra to sound good, all players must work together harmoniously towards a single goal, the performance, and must commit to learning music, attending rehearsals, and practicing.
9. music provides children with a means of self-expression. now that there is relative security in the basics of existence, the challenge is to make life meaningful and to reach for a higher stage of development. everyone needs to be in touch at some time in his life with his core, with what he is and what he feels. self-esteem is a by-product of this self-expression.
10. music study develops skills that are necessary in the workplace. it focuses on doing, as opposed to observing, and teaches students how to perform, literally, anywhere in the world. employers are looking for multi-dimensional workers with the sort of flexible and supple intellects that music education helps to create as described above. in the music classroom, students can also learn to better communicate and cooperate with one another.
11. music performance teaches young people to conquer fear and to take risks. a little anxiety is a good thing, and something that will occur often in life. dealing with it early and often makes it less of a problem later. risk-taking is essential if a child is to fully develop his or her potential.
introduction to classical music
classical music is probably more familiar than we might at first imagine. indeed, nowadays it is all around us, whether it be in restaurants, supermarkets, lifts, for advertising or as theme and incidental music on television. a great deal of film music either directly uses or draws from the classical tradition ; a good example of the former might be 2001 : space odyssey, and of the latter, the many scores john williams has composed in recent years for such blockbusters as the star wars and indiana jones trilogies.
in the vast and wide-ranging world of classical music there is truly something there for everyone - pieces which once discovered represent the start of an exciting and irresistible journey which will provide a lifetimes listening pleasure. for example, those who are particularly excited by hearing instrumentalists working at full stretch will thrill to the likes of liszt and paganini, or if something a little more reserved and self-contained is required, the chamber music of haydn or mozart would be a good starting point. if a full symphony orchestra in overdrive is more to your taste then tchaikovsky or richard strauss could well fit the bill, whereas those who have already warmed to vivaldis four seasons might well try the music of some of the great italians contemporaries such as handel, johann sebastian bach or domenico scarlatti. whatever your tastes may be, there has never been a better time to start building a classical music collection on cd.
any attempt to define what is meant literally by the term classical music is fraught with difficulty. how does one encapsulate in just a few words a musical tradition which encompasses such infinite varieties of style and expression, from the monastic intonings of gregorian chant to the laid-back jazz inflections of gershwins rhapsody in blue, from the elegant poise of mozarts eine kleine nachtmusik to the despairing, heightened emotionalism of tchaikovskys pathetique symphony ? one is treading on very dangerous ground indeed if one pre-supposes that it is simply superior to other musical types such as popular, jazz, rock and the like, let alone the music of other cultures.
in general popular music may be as clear in expression as the longer examples of classical music. one important difference, however, lies in the logical connection that exists in classical music between the beginning and end, with the latter a logical extension and development of the former. popular music, on the other hand, tends to present its material without development, the music ending when interest is exhausted.
sadly, whilst classical music is socially undivisive in itself, it has unfortunately become associated in most peoples minds with the intellectual elite. even now, and with certain honourable exceptions, the attending of a live concert can be an intimidating ( not to say costly ) experience for the uninitiated, especially in that most jealously guarded of establishments, the opera house. the wonderful thing about the technological age in which we live, and particularly the advent of the compact disc, is that we can bypass all irrelevant social and intellectual pretence, and enjoy in the comfort of our own home ( often at far less biaya ) some of the finest music ever composed.
in the vast and wide-ranging world of classical music there is truly something there for everyone - pieces which once discovered represent the start of an exciting and irresistible journey which will provide a lifetimes listening pleasure. for example, those who are particularly excited by hearing instrumentalists working at full stretch will thrill to the likes of liszt and paganini, or if something a little more reserved and self-contained is required, the chamber music of haydn or mozart would be a good starting point. if a full symphony orchestra in overdrive is more to your taste then tchaikovsky or richard strauss could well fit the bill, whereas those who have already warmed to vivaldis four seasons might well try the music of some of the great italians contemporaries such as handel, johann sebastian bach or domenico scarlatti. whatever your tastes may be, there has never been a better time to start building a classical music collection on cd.
any attempt to define what is meant literally by the term classical music is fraught with difficulty. how does one encapsulate in just a few words a musical tradition which encompasses such infinite varieties of style and expression, from the monastic intonings of gregorian chant to the laid-back jazz inflections of gershwins rhapsody in blue, from the elegant poise of mozarts eine kleine nachtmusik to the despairing, heightened emotionalism of tchaikovskys pathetique symphony ? one is treading on very dangerous ground indeed if one pre-supposes that it is simply superior to other musical types such as popular, jazz, rock and the like, let alone the music of other cultures.
in general popular music may be as clear in expression as the longer examples of classical music. one important difference, however, lies in the logical connection that exists in classical music between the beginning and end, with the latter a logical extension and development of the former. popular music, on the other hand, tends to present its material without development, the music ending when interest is exhausted.
sadly, whilst classical music is socially undivisive in itself, it has unfortunately become associated in most peoples minds with the intellectual elite. even now, and with certain honourable exceptions, the attending of a live concert can be an intimidating ( not to say costly ) experience for the uninitiated, especially in that most jealously guarded of establishments, the opera house. the wonderful thing about the technological age in which we live, and particularly the advent of the compact disc, is that we can bypass all irrelevant social and intellectual pretence, and enjoy in the comfort of our own home ( often at far less biaya ) some of the finest music ever composed.
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 budget 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 budget 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.
welcome to piano studies
in piano studies at nyu steinhardt, we develop performers with distinctive artistic profiles, skilled as solo and collaborative players and fluent in musical styles from the 18th, 19th, 20th, and 21st centuries. the innovative b. m. and m. m. programs draw dedicated musicians interested in intensive conservatory-style training. the ph. d. in piano performance attracts successful pianists who wish to develop an area of specialization in preparation for distinguished performing careers, university teaching, and scholarly publication. our pianists enjoy the diverse offerings of a highly eclectic music department within the academic setting of a major research university.
piano students :
work closely with renowned artist faculty
perform in solo recitals, concerto performances, chamber recitals, master classes, interstudio showcases, studio classes, and salon evenings
participate in our nationally-regarded artist master class series ; recent guests include garrick ohlsson, ursula oppens, alan feinberg, andre laplante, julian martin, sarah davis buechner, malcolm bilson, jon kimura parker, jeremy denk, john oconor, and sara rothenberg
additional events showcasing nyu steinhardt pianists include festivals such as passion and madness ( featuring schumann and his contemporaries ), the festival of spanish and latin-american piano music, tutte le corde : piano music after 1950, and bach night, featuring performances of the complete well-tempered clavier.
the department of music and performing arts offers a warm, collegial atmosphere in which pianists enjoy the support of a dedicated faculty and their peers. our unparalleled reputation, faculty, and location in the heart of new york city provide students with the opportunities and contacts necessary to launch successful professional careers in the concert hall, the academy, and the music business. the department also offers elective training in music technology, music education, and music business to best prepare our pianists personally and professionally for rewarding careers in todays extraordinary and ever-changing musical universe.
piano students :
work closely with renowned artist faculty
perform in solo recitals, concerto performances, chamber recitals, master classes, interstudio showcases, studio classes, and salon evenings
participate in our nationally-regarded artist master class series ; recent guests include garrick ohlsson, ursula oppens, alan feinberg, andre laplante, julian martin, sarah davis buechner, malcolm bilson, jon kimura parker, jeremy denk, john oconor, and sara rothenberg
additional events showcasing nyu steinhardt pianists include festivals such as passion and madness ( featuring schumann and his contemporaries ), the festival of spanish and latin-american piano music, tutte le corde : piano music after 1950, and bach night, featuring performances of the complete well-tempered clavier.
the department of music and performing arts offers a warm, collegial atmosphere in which pianists enjoy the support of a dedicated faculty and their peers. our unparalleled reputation, faculty, and location in the heart of new york city provide students with the opportunities and contacts necessary to launch successful professional careers in the concert hall, the academy, and the music business. the department also offers elective training in music technology, music education, and music business to best prepare our pianists personally and professionally for rewarding careers in todays extraordinary and ever-changing musical universe.
the benefits of music education
whether 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.
language development
“when you look at children ages two to nine, one of the breakthroughs in that area is music’s benefit for language development, which is so important at that stage, ” says luehrisen. while children come into the world ready to decode sounds and words, music education helps enhance those natural abilities. “growing up in a musically rich environment is often advantageous for children’s language development, ” she says. but luehrisen adds that those inborn capacities need to be “reinforced, practiced, celebrated, ” which can be done at home or in a more resmi music education setting.
according to the children’s music workshop, the effect of music education on language development can be seen in the brain. “recent studies have clearly indicated that musical training physically develops the part of the left side of the brain known to be involved with processing language, and can actually wire the brain’s circuits in specific ways. linking familiar songs to new information can also help imprint information on young minds, ” the group claims.
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.
language development
“when you look at children ages two to nine, one of the breakthroughs in that area is music’s benefit for language development, which is so important at that stage, ” says luehrisen. while children come into the world ready to decode sounds and words, music education helps enhance those natural abilities. “growing up in a musically rich environment is often advantageous for children’s language development, ” she says. but luehrisen adds that those inborn capacities need to be “reinforced, practiced, celebrated, ” which can be done at home or in a more resmi music education setting.
according to the children’s music workshop, the effect of music education on language development can be seen in the brain. “recent studies have clearly indicated that musical training physically develops the part of the left side of the brain known to be involved with processing language, and can actually wire the brain’s circuits in specific ways. linking familiar songs to new information can also help imprint information on young minds, ” the group claims.
music education major
the student majoring in music education will develop skills, concepts, and methodologies in the following areas : music, including music theory and composition, musicianship, history, arranging, orchestration, improvisation, and conducting ; teaching with technology ; solo performance techniques acquired through private instrumental or vocal study ; vocal and instrumental techniques, pedagogy, and literature related to solo and ensemble performance ; and the relationship of music to other fields of knowledge. the student will demonstrate these competencies through an actual field experience, a student teaching practicum for one semester in a public school environment. the student will work under a cooperating teacher and a college supervisor, and will be evaluated against the standards for teaching licensing as prescribed by the massachusetts state department of education.
through study and interaction with instructors and supervisors, the student will develop an aesthetic vision of excellence in teaching that will enable him/her to analyze and think critically about teaching and learning, and in turn to foster students creative and analytical skills, design various evaluative procedures, and use the results of these procedures to assess the effectiveness of instruction. the student will develop the ability to work effectively in groups through collaborative interaction with peers, students, and instructors, and to communicate clearly, understandably, and appropriately with teachers, students, and parents.
the field of music education is a constantly changing one, and the student will develop sufficient kontent, and theoretical and pedagogical skills, to cope with and readily adapt to changes in the field due to discoveries of ongoing research in learning as well as social, economic, and cultural changes.
through study and interaction with instructors and supervisors, the student will develop an aesthetic vision of excellence in teaching that will enable him/her to analyze and think critically about teaching and learning, and in turn to foster students creative and analytical skills, design various evaluative procedures, and use the results of these procedures to assess the effectiveness of instruction. the student will develop the ability to work effectively in groups through collaborative interaction with peers, students, and instructors, and to communicate clearly, understandably, and appropriately with teachers, students, and parents.
the field of music education is a constantly changing one, and the student will develop sufficient kontent, and theoretical and pedagogical skills, to cope with and readily adapt to changes in the field due to discoveries of ongoing research in learning as well as social, economic, and cultural changes.
guitar education
the guitar program at usu provides many special courses for guitar students. as section of the program, we teach fingerboard theory, guitar pedagogy, guitar history, and guitar ensembles. on campus, we've got many acoustic and electric guitar ensembles that perform often. besides the regular classroom instruction, we've got exciting guitar workshops and seminars. a few of those are conducted by johnny smith, tommy tedesco, the romeros and lots of more. after leaving the guitar program, our graduates often is found doing several diverse and exciting things.
if you do are inquisitive about turning into a neighborhood in our guitar program, please contact us therefore we can send you a list of needed categories for our guitar major with performance emphasis and the guitar major with education emphasis. if you do would like, we could have the university send you more information about tuition, housing, loans, grants, scholarships, work study, etc.
if you do are inquisitive about turning into a neighborhood in our guitar program, please contact us therefore we can send you a list of needed categories for our guitar major with performance emphasis and the guitar major with education emphasis. if you do would like, we could have the university send you more information about tuition, housing, loans, grants, scholarships, work study, etc.
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