What It Means to Be a Music Supervisor

1927 ◽  
Vol 14 (1) ◽  
pp. 35
Author(s):  
Mabelle Glenn
Keyword(s):  
Music Supervisor

Music Supervisor/Administrator

1982 ◽  
Vol 69 (2) ◽  
pp. 66-66
Author(s):  
Charles L. Freebern
Keyword(s):  
Music Supervisor

A New Challenge to the Music Supervisor

1931 ◽  
Vol 18 (2) ◽  
pp. 14
Author(s):  
Augustus D. Zanzig
Keyword(s):  
Music Supervisor

Elsie Shawe, Music Supervisor in St. Paul, Minnesota (1898–1933)

2004 ◽  
Vol 52 (4) ◽  
pp. 328-342
Author(s):  
Sondra Wieland Howe
Keyword(s):  
Public Schools ◽  
Music Education ◽  
Music Teachers ◽  
National Level ◽  
The United States ◽  
National Accounts ◽  
Music Curriculum ◽  
School Music ◽  
The Board Of Directors ◽  
Music Supervisor

Elsie Shawe (1866–1962), supervisor of music in St. Paul, Minnesota, for thirty-five years, is an example of a music supervisor in the United States who was active in the formative years of the Music Supervisors National Conference (MSNC). Although she is cited only briefly in national accounts, there is a substantial amount of material on her career in local archives. In the St. Paul Public Schools, Shawe supervised classroom teachers, organized the school music curriculum, and conducted performances in the community. She served as a church organist and choir director in St. Paul and was president of the Minnesota Music Teachers Association. At the national level, Shawe was an officer of the NEA Department of Music Education and a member of the board of directors of the MSNC. Through her committee work, Shawe promoted the standardization of patriotic national songs.May 5, 2004November 10, 2004.

scholarly journals Music technologist paradigms in music technology educationMüzik teknolojisi eğitiminde müzik teknoloğu paradigması

2018 ◽  
Vol 14 (4) ◽  
pp. 4838
Author(s):  
Seyhan Canyakan
Keyword(s):  
Qualitative Research ◽  
Technology Education ◽  
Research Methods ◽  
Full Text ◽  
Qualitative Research Methods ◽  
Music Technology ◽  
Career Stages ◽  
Wide Range ◽  
Business Opportunities ◽  
Music Supervisor

AimThe aim of this study is to inform the individuals who will prefer career steps for the departments because of the fact that music technology education in our country is not yet widespread on license basis and to give information about the field and to explain what career stages can be after graduating from department. In addition, a subordinate purpose of the study is to determine the qualities of the technologist candidate prepared for the music technology and to help him to prepare the appropriate qualities.MethodIt is one of the biggest misconceptions encountered today that music technology education is only concerned with dealing with voice recordings or with tone. As a result of this study, it is tried to be explained that the related education is divided not only into these two fields but also to more than one subfield. For this reason, discussions were held on what should be the career orientations of the music technology that benefited from the ideas of Phillips (2013), Middleton (2008), Wells (2001), Hosken (2011) and D'Escriv'an (2012). The method used in this study contains qualitative research methods as well as literature review.ResultAs a result of this research, music technology education has been seen as an indispensable element in today's music industry and it has resulted in a wide range of fan business opportunities from music supervisor, music composer, foley artist to music technologist who is not only on voice recording and tone recording. As a result of the study, it is concluded that preliminary studies have been completed that individuals who plan career in the field of music technology education will have more knowledge about their fields of study.Extended English abstract is in the end of Full Text PDF (TURKISH) file. ÖzetAmaçBu çalışmanın amacı, ülkemizde müzik teknolojisi eğitimi lisans bazında henüz yaygın olmaması nedeniyle bölümlerle ilgili kariyer basamaklarını tercih edecek bireylere alan ile ilgili bilgi vermek, bölümünden mezun olduktan sonra hangi kariyer basamaklarında olabileceklerini açıklamaktır. Ayrıca çalışmanın bir alt amacı müzik teknolojisine hazırlanan teknolog adayının sahip olması gereken niteliklerin belirlenmesi ve bu niteliklere uygun hazırlığını sağlamasına yardımcı olmaktır.YöntemGünümüzde müzik teknolojisi eğitiminin yalnız ses kayıt işiyle uğraşmak ya da tonmaystır olmakla ilgili olduğu sorunsalı karşılaşılan en büyük yanlış anlaşılmalardan biridir. Bu çalışma sonucunda ilgili eğitimin sadece bu iki alanla değil birden fazla alt alana ayrıldığı anlatılmaya çalışılmıştır. Bu nedenle Phillips (2013), Middleton (2008), Wells (2001), Hosken (2011), D’Escriv´an’ın (2012) fikirlerinden yararlanılmış ve müzik teknolojisi eğitimi gören müzik teknoloğunun kariyer yönelimlerinin ne olması gerektiğiyle ilgili tartışmalar yapılmıştır. İlgili bu çalışmada kullanılan yöntem Literatür taramasının yanısıra nitel araştırma yöntemlerini içerisinde barındırmaktadır.SonuçYapılan bu araştırma sonucunda müzik teknolojisi eğitiminin günümüz müzik endüstrisi içerisinde vazgeçilmez bir unsur olduğu görülmüş, müzik teknoloğunun işinin sadece ses kayıt ve tonmaysterlik üzerine olmadığı müzik süpervizörlüğünden, besteciliğe, foley artistine kadar çok geniş yelpazade iş olanaklarının olduğu sonucuna varılmış, müzik teknolojisi eğitimi alanında kariyer planlayan bireylerin çalışma alanları hakkında daha çok bilgi sahip olacağı öngürüsüyle çalışma tamamlanmıştır. 

The Changing Status of the Music Supervisor

1936 ◽  
Vol 22 (4) ◽  
pp. 18-19
Author(s):  
Archie N. Jones
Keyword(s):  
Music Supervisor
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