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1. STTEPping in the Right Direction? Western Classical Music in an Orchestral Programme for Disadvantaged African Youth (EJ799116)
Author(s):
van Niekerk, Caroline; Salminen, Sanna
Source:
Intercultural Education, v19 n3 p191-202 Jun 2008
Pub Date:
2008-06-00
Pub Type(s):
Journal Articles; Reports - Descriptive
Peer-Reviewed:
Yes
Descriptors: Classical Music; Music Activities; Disadvantaged Youth; Foreign Countries; Music Theory; Outreach Programs; Program Descriptions; Self Concept; Cultural Awareness; Power Structure
Abstract: This article looks at STTEP, an outreach project currently housed at the University of Pretoria, which concentrates on the teaching of western orchestral instruments, plus background areas such as music theory, to disadvantaged children and youth from a variety of townships around Pretoria, South Africa. STTEP's direction can well be described as "right"--pupils are already surrounded by all kinds of global phenomena, and their formal music studies in western classical music are not making them forget their roots. In fact, the contrary has been found to be the case and some interesting cultural fusions are already seen--always a sign of a living culture. (Contains 1 figure and 7 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
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2. Teaching Leadership (EJ789918)
Leshnower, Susan
Gifted Child Today, v31 n2 p29-35 Spr 2008
2008-00-00
Descriptors: Academically Gifted; Leadership Training; Student Leadership; Interpersonal Relationship; Group Instruction; Music; Classical Music; Group Dynamics; Nonverbal Communication; Communication Skills; Communication (Thought Transfer); Interpersonal Communication; Creativity; Thinking Skills; Secondary Education; Higher Education
Abstract: When thinking of leaders, people usually think of those in positions of power, such as political leaders, religious leaders, or student leaders. Yet, leaders can be found in all spheres of life, and leadership behaviors can be learned particularly in a small-group format (Hellriegel, Jackson, & Slocum, 2005). This article presents ideas and exercises to teach leadership skills to gifted students using a small-group format. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
3. A Response to Two Problems in Music Education: The Young Australian Concert Artists Programme of the Australian Youth Orchestra (EJ784329)
Kartomi, Margaret
Music Education Research, v10 n1 p141-158 Mar 2008
2008-03-00
Journal Articles; Reports - Evaluative
No
Descriptors: Music Education; Private Sector; Classical Music; Music Activities; Cultural Isolation; Audiences; Musicians; Educational Practices; Social Justice; Educational Opportunities; Outreach Programs
Abstract: Two practical problems faced by national youth organisations devoted to the transmission of European classical music-making across the generations are: (1) how to assist individual pre-professional young musicians to enter their desired career path; and (2) how, in the interests of social justice, to provide access to music-educational opportunities for young people in areas of relative geographical remoteness and cultural isolation. This article analyses the effectiveness of the urban-regional interface and educational practice of one unique partial solution to the two problems: the chamber music development and regional outreach programme called Young Australian Concert Artists (YACA), presented since 1999 by the Australian Youth Orchestra (AYO). The article analyses the programme's philosophical framework and its ethical and educational aims, as well as examining its logistics. The research indicates that its provider, AYO which fulfils government and private sector demands for full accountability, needs additional funding to enable it to fulfil its role in responding to the two problems. An assessment model is proposed, based on the expectations of YACA's six groups of stakeholders: AYO, the regional music centre, a pre-professional chamber group, professional tutors, the regional ensemble, and regional communities and audiences. (Contains 1 figure and 10 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
4. Towards a General Model of Skills Involved in Sight Reading Music (EJ784327)
Kopiez, Reinhard; Lee, Ji In
Music Education Research, v10 n1 p41-62 Mar 2008
Journal Articles; Reports - Research
Descriptors: Music Reading; Musicians; Classical Music; Thinking Skills; Reading Achievement; Multiple Regression Analysis; Memory; Reading Ability; Information Processing; Reaction Time; Predictor Variables; Models
Abstract: Sight reading is a functional skill which is essential for all musicians involved in particular fields of western classical music culture. In the last decade, expertise theory has shown that time spent on activities is a good predictor for later achievement in a domain. However, this study is based on the hypothesis that general and elementary cognitive skills as well as practice-related skills must be considered in the explanation of outstanding sight-reading achievement. Different component skills involved in sight reading were attributed to one of three categories: (a) general cognitive skills (working memory, short-term music memory, short-term numerical memory, and Raven's D Matrices); (b) elementary cognitive skills (speed tapping, simple reaction time, trilling speed, and speed of information processing); (c) practice-related skills (practicing solo, sight reading, and inner hearing skills). This resulted in a total set of 23 predictors. These tests were used to evaluate the potential correlates of sight-reading ability. A pre-recorded pacing melody paradigm was used for the sight-reading tasks. Multiple regression analysis revealed that the best combination of predictors is trilling speed, sight-reading expertise acquired up to the age of 15, speed of information processing, and inner hearing. These four predictors can explain 59.6% of variance. Excellence in sight reading is, therefore, the result of a combination of components assumed to be practice-related (sight-reading expertise and inner hearing) and practice-unrelated (speed of information processing). Trilling speed is interpreted in terms of an intersection between task-specific training and practice-independent advantages in movement speed. Our proposed "general model" of sight reading is the completion of our "dynamic model" that appeared in an earlier issue of this journal. (Contains 7 tables.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
5. New World Symphony and Discord (EJ783438)
Horowitz, Joseph
Chronicle of Higher Education, v54 n18 pB18 Jan 2008
2008-01-11
Descriptors: Music Education; Classical Music; Musicians; Profiles; Social History
Abstract: In this article, the author features the life and works of Antonin Dvorak, a Czech classical musician. In the throes of a New World epiphany, Dvorak has espoused a future for American music based on "negro melodies." For three years, beginning in the fall of 1892, Dvorak found himself embroiled in a sustained and often bitter debate over issues of race and national identity that pitted against each other the two cities in which American classical music was born. In Boston, he was denounced as "negrophile" while he was embraced as a mentor of genius in New York. Dvorak, a self-made butcher's son, was appointed by educational visionary Jeannette Thurber to direct the National Conservatory of Music in New York. Enticed by a salary he could not refuse, Dvorak started to show Americans "the promised land and kingdom of a new and independent art, in short, to create national music." Dvorak was responsible for pushing for a broad understanding of music in America--the music sources, its audience, and its relationship to culture and society. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
6. Cultivating Demand for the Arts: Arts Learning, Arts Engagement, and State Arts Policy. Summary (ED502644)
Zakaras, Laura; Lowell, Julia F.
RAND Corporation
Information Analyses; Reports - Descriptive
N/A
Descriptors: Play; Visual Arts; Classical Music; Art Education; Theaters; Public Policy; Policy Formation; Dance; Music; Singing; Skill Development; State Government; Public Agencies; Government Role; Supply and Demand; State Aid; Nonprofit Organizations; Financial Support
Abstract: The findings summarized in this report are intended to shed light on what it means to cultivate demand for the arts, why it is necessary and important to cultivate this demand, and what state arts agencies (SAAs) and other arts and education policymakers can do to help. The research considered only the benchmark arts central to public policy: ballet, classical music, jazz, musical theater, opera, theater, and the visual arts. It specifically addressed four questions: (1) what role does demand play in the creation of a vibrant nonprofit cultural sector? (2) what role does arts learning play in the cultivation of demand? (3) what does the current support infrastructure for demand look like, and does it develop in individuals the skills needed to stimulate their engagement with the arts? and (4) how and to what extent have SAAs supported demand in the past, and how can they improve their effectiveness in this role. (Contains 1 figure.) [For the full report, see ED502643.] Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
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7. Enculturation Effects in Music Cognition: The Role of Age and Music Complexity (EJ810667)
Morrison, Steven J.; Demorest, Steven M.; Stambaugh, Laura A.
Journal of Research in Music Education, v56 n2 p118-129 2008
Descriptors: Music Education; Classical Music; Memory; Comparative Analysis; Children; Adults; Cultural Influences; Cultural Differences; Familiarity; Grade 5; Elementary School Students; College Students; Age Differences
Abstract: The authors replicate and extend findings from previous studies of music enculturation by comparing music memory performance of children to that of adults when listening to culturally familiar and unfamiliar music. Forty-three children and 50 adults, all born and raised in the United States, completed a music memory test comprising unfamiliar excerpts of Western and Turkish classical music. Examples were selected at two levels of difficulty--simple and complex--based on texture, instrument variety, presence of simultaneous musical lines, and clarity of internal repetition. All participants were significantly better at remembering novel music from their own culture than from an unfamiliar culture. Simple examples from both cultures were remembered significantly better than complex examples. Children performed as well as adults when remembering simple music from both cultures, whereas adults were better at remembering complex Western music. The results provide evidence that enculturation affects one's understanding of music structure before adulthood. (Contains 1 figure, 1 table, and 4 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
8. Amateuring in Music and Its Rivals (EJ804688)
Regelski, Thomas A.
Action, Criticism, and Theory for Music Education, v6 n3 p22-50 Nov 2007
2007-11-00
Descriptors: Music Education; Classical Music; Audiences; Musicians; Specialization; Aesthetics; Trend Analysis; Role; Music
Abstract: With its focus on reason and science, the 18th century began a history of increased specialization. As a result, professional degrees and certificates eventually came to define and control practices that had once been the domains of amateurs. By the end of the 19th century, many practices of lay enthusiasts had been pushed aside; where they were not actually outlawed (e.g., to protect the public), their continuing practice was accorded a lowly status by specialists. This was particularly the case for Classical music; but other musics were also even further demoted by the ideas of "good music" and "good taste" promoted by the new aesthetic theory of the late 18th century. Music, thus, was increasingly left to the professionals, of whom there were more and more, representing more and more specialties. Today, even "popular" musics have their specialists. As a result of these broad trends to specialization, music's role in people's lives today consists more often of passive consumption than of active, enthusiastic participation. The stigma attached to amateurs, and the cultural pedigree behind it, are increasingly major problems for the health and well-being of music and music education in society today, professional musicians abound. Yet the richness of the "music world" depends on far more, and amateurs--including especially audiences--are the key. In this article, the author begins by scrutinizing the amateur "status" and proposes alternative understandings to serve as bases for resurrecting or rehabilitating musical amateuring. He also shows that amateuring is a valid socio-musical practice in its own right, one that warrants a central "curricular focus" within school and community music education. Along the way the author also surveys what and who the "rivals" are to musical amateuring. (Contains 56 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
9. Improving Students' Memory for Musical Compositions and Their Composers: Mneme that Tune! (EJ816815)
Carney, Russell N.; Levin, Joel R.
College Student Journal, v41 n4 p918-925 Dec 2007
2007-12-00
Descriptors: Music Education; Music Appreciation; Mnemonics; Control Groups; Classical Music; Learning Strategies
Abstract: Students enrolled in music appreciation and music history courses may find it difficult to remember composers' names and the titles of their compositions--particularly when retrieval is prompted by corresponding classical music themes. We sought to develop and validate a mnemonic approach in which musical themes were first recoded as more concrete referents, and then meaningfully associated with names and titles. Undergraduates were randomly assigned to either "own best method" or mnemonic conditions in both experiments. In Experiment 1, students associated composers and composition titles. In Experiment 2, students associated musical themes and composers' names (Day 1), and themes, names, and titles (Day 2). In all statistical comparisons, students using the mnemonic approach statistically outperformed corresponding "own best method" control groups. Our positive findings are of special note in Experiment 2, where classical music themes prompted students to identify titles and composers' names. To our knowledge, this is the first research to validate a mnemonic approach of this sort. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
10. Carving out Their Own Niche (EJ780749)
Lum, Lydia
Diverse: Issues in Higher Education, v24 n8 p18-20 May 2007
2007-05-31
Descriptors: Role Models; Visual Arts; Classical Music; Artists; Art; Asian Americans; Asian Studies; Social Change; Art Expression; Profiles
Abstract: Asian-American performers were few and far between when Dr. Oliver Wang was growing up in the 1970s and '80s. Looking back, Dr. Wang, an assistant professor in sociology at California State University-Long Beach, says the lack of artists may have been the result of a lack of role models, since Asian immigrants did not begin to arrive in the United States in large numbers until after immigration laws eased in the mid-1960s. Observers say Asian-Americans have tended to gravitate towards classical music and visual arts instead of verbal art forms like acting and singing. That is not a surprise, given that many traditional Asian cultures are reproachful of speaking out, says Dr. Peter Kiang, director of Asian-American studies at the University of Massachusetts-Boston. All this is changing fast though, and Black cultural expression is one of the many influences fueling Asian American artistry. This article takes a look at three notable Asian-American artists. They are: (1) IBU, the Asian-American rhythm-and-blues band, formed in the Chicago area in 2001, that has captured the attention of college-age audiences and the recording industry; (2) spoken word poet Bao Phi, a native of Vietnam who has drawn much material from growing up alongside Blacks and American Indians in one of Minneapolis's poorest neighborhoods; and (3) Nobuko Miyamoto whose career has gone from Broadway to Hollywood to community activism and on to socially conscious performance art. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
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