The Role of the In-and-About Music Educators Clubs

1958 ◽  
Vol 44 (3) ◽  
pp. 70
Author(s):  
E. Arthur Hill
Keyword(s):  
Music Educators

Commentary: Music Learning and Teaching During Adolescence: Ages 12–18

2012 ◽  
pp. 435-440
Author(s):  
Gary Spruce ◽  
Oscar Odena
Keyword(s):  
Young People ◽  
Teaching And Learning ◽  
Music Educators ◽  
Music Teaching ◽  
Music Learning ◽  
Learning And Teaching ◽  
Key Issues ◽  
The Way

This article focuses on music teaching and learning during the adolescent years by identifying and exploring key issues, concepts, and debates that particularly impact on, or are significant for, the musical experiences and development of young people during this period of their lives. A number of key themes emerge from the discussions that cause us to question assumptions about the role of music in the lives of adolescents, including how young people use and relate to music, and the way music educators can best meet the challenges of addressing young people's musical and wider needs in the range of contexts in which their musical learning and experiences take place.

Jazz Drums

2019 ◽  
pp. 219-230
Author(s):  
Gregory Evans
Keyword(s):  
Music Educators ◽  
Drum Set ◽  
Sound Sources

It is no secret that music educators are faced with unique challenges when engaging young musicians who play drum sets. Many educators aren’t drummers themselves, which can create fear and uncertainty and ultimately lead them to avoid, rather than embrace, the wonderful and exciting world of jazz percussion. This chapter provides conceptual and technical approaches to understanding the role each component of the drum set contributes to the ensemble, as well as the role of the drum set in its entirety. It also touches on how dynamics can change the function and style of a groove as well as creative ways to encourage students to move beyond pattern playing. In particular, discussion and examples are provided regarding setup, sound sources, keeping time, functioning within the rhythm section, transitioning from timekeeping to improvising, and various rhythms and grooves.

Eurhythmics, Sufficient Space, and the Role of Environment in the Child’s Development

2019 ◽  
Vol 105 (4) ◽  
pp. 37-44
Author(s):  
Bonnie Schaffhauser Jacobi
Keyword(s):  
Classroom Environment ◽  
Educational Philosophy ◽  
Music Educators ◽  
Theoretical Background ◽  
Reggio Emilia ◽  
Music Instruction ◽  
Music Learning ◽  
Learning Space ◽  
Sufficient Space

Sufficient space is integral to high-quality music instruction, but what makes our space “sufficient”? This article provides historical and theoretical background about the role of space in learning and the use of movement as a tool for learning music. When their input is sought, children order space as a high priority within a school and frequently reference aesthetic aspects of the environment. The structure of the educational philosophy of Reggio Emilia (a municipality in northern Italy) is proposed as a model for ways that music educators can envision learning space. By elevating the classroom environment to the level of a “third educator” and inviting input from the child, we may be able to better address challenges of space and build music-learning environments that exceed “sufficiency.”

Characteristics of expert vocalists’ practice

2021 ◽  
pp. 025576142110639
Author(s):  
Nancy L. Summitt ◽  
Brian N. Weidner
Keyword(s):  
Music Educators ◽  
Strategy Use ◽  
Vocal Health ◽  
Planning Time ◽  
Practice Survey ◽  
Practice Opportunities ◽  
Specific Practice ◽  
Holistic Practice ◽  
Further Development

This study investigated expert vocalists’ approaches to practice in terms of planning, time, and strategy usage. Participants were 79 university voice professors and members of professional choirs. The researchers sent each participant the Vocal Practice Survey (VPS)which collected data on the participants’ professional backgrounds, attitudes toward specific practice strategies, and personal practice habits. Results indicated variety in expert vocalists’ approaches to practice, including number of practice sessions per week, length of practice sessions, and structure of practice sessions. Most participants reported using practice resources, especially a piano and a mirror. Participants reported a broad range of frequency in strategy use, with holistic practice strategies dominating. Comments from participants indicated that group rehearsals also served as individual practice opportunities, that there were differences between students’ and experts’ practice, and that an important role of practice was facilitating vocal health. The findings of this study provide a point of reference for comparing vocal practice to instrumental practice and for further development of research of vocal musicians at varying levels of expertise. The researchers also provide recommendations for music educators regarding the instruction and promotion of effective individual vocal practice.

Jazz Ensembles

2019 ◽  
pp. 843-862
Author(s):  
C. Michael Palmer
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Music Educators ◽  
Jazz Pedagogy ◽  
Instrumental Music Education ◽  
Art Form ◽  
Musical Cultures ◽  
Jazz Ensembles ◽  
Jazz Theory

This chapter acknowledges the growth of jazz ensembles in instrumental music education and the value of preparing future music educators to teach jazz. It situates jazz pedagogy in an authentic, experiential framework, emphasizing the important role of the rhythm section and what it means to be culturally literate through improvisation. Topics such as jazz theory, swing feel, and jazz styles are examined. The chapter also discusses a paradigm shift in the conceptualization of music education, whereby an interpreter-performer perspective is replaced by a creator-performer perspective. Musicians’ roles as composers and improvisers in the jazz idiom suggest learning this art form is relevant for developing creative performers who may then be able to participate in a variety of other musical cultures.

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