Distance technologies in music education: history, trends and prospects

The article devoted to the disclosure of historical facts in distance learning of musical art. Analyzes the methodological and technological problems that teachers faced at different stages of Internet technologies and their implementation in process of teaching music. Revealed the effectiveness of distance learning future musicians. Described the main limitations of online training and ways to avoid them. A conclusion was about the current trends and prospects for development of distance music education.

Understanding Social Justice from the Perspective of Music Education History

Music education history provides a particularly rich site for examining issues of social justice. This chapter examines historical narratives of music education from the perspective of social justice in its changing meanings and manifestations since music entered public education in the United States in the 1830s. The historical analysis sheds light on the way music was advocated in the name of justice—from its power to provide a sociocultural good, maintain social control, contribute to sociopolitical ordering, build international harmony among nations, and represent the interests of marginalized groups, to enriching the lives of youth from lower socioeconomic or underserved populations. By examining social justice within the canon of music education history, it becomes clear that there is an acute need to engage with alternative and radical approaches to reconstructing the past. Implications for researching and teaching music and music education history from a social justice perspective are identified.

Women in Music Education in the United States: Names Mentioned in History Books

The purpose of the study was to determine which women were mentioned most frequently in general United States music education history books and to examine the contexts in which the authors discussed women's work. A survey of individuals interested in music education history was then conducted to determine whether they would recognize the names of these women and whether they would consider them important to the music education field. An examination of five histories revealed 334 citations for 164 women. Only 11 women's names were mentioned five or more times. A questionnaire was sent to 39 respondents, who were invited to rate each of the 11 names for recognition of the woman's name and her work in music education. Agreement regarding name recognition was found to exist between histories and the 28 respondents who returned the questionnaire.