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This paper focuses on the Pelagian Debate of the late 4th Century CE between Augustine of Hippo and the British cleric Pelagius, and its little known or understood relevance to music education practice and scholarship. A transdisciplinary review of theological, historical, pedagogical, and musicological texts suggests that Augustinian notions of sin, goodness, and human nature reflect assumptions embedded in traditional classical music education paradigms. As a contrast, Pelagius' notions of the importance of the "laity," and criticism of church hierarchy, later suppressed and deemed heretical, can be related to tensions between amateur and professional musicians in music and education contexts. This paper will explore this debate, and Augustine's victory, as a means of questioning assumptions embedded in music education discourse concerning talent, discipline, and human capacity for music. In this way, the debate is made relevant not only as a means of enhancing understanding of historical conceptions but also as a lens through which contemporary music education might be interrogated. [ABSTRACT FROM AUTHOR]

Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses Emily Kilpatrick's book, "French Art Song: History of a New Music, 1870-1914," which challenges the perception that French art song is a marginal form of music. Kilpatrick explores the period from the Franco-Prussian War to World War I, examining the relationships between composers and interpreters, the role of salons and conservatories in song dissemination, and the question of transposition. The book also highlights the contributions of specific poets, singers, and the public to the development of French art song during this time. The given text discusses Barbara Kelly Kilpatrick's book, "French Art Song: The Mélodie in the Belle Époque," which explores the development and significance of French art songs during the Belle Époque period. It examines the works of composers such as Gabriel Fauré, Claude Debussy, and poets like Paul Verlaine. The book also discusses the role of the Paris Conservatory in promoting French song and the contributions of women singers. While not covering all important figures in the genre, the book is a valuable resource for scholars, performers, and admirers of French art song. [Extracted from the article]

The article discusses a book titled "Medieval Polyphony and Song" by Helen Deeming and Frieda van der Heijden. The book provides an accessible overview of medieval polyphony and song, covering a period of over 500 years. It is organized geographically, with chapters focusing on different European regions and their musical cultures. The book includes socio-cultural summaries at the beginning of each chapter, providing context for the music discussed. While the book is praised for its clarity and accessibility, some scholars argue that it presents a fixed and uncontested narrative of the musical past, overlooking recent scholarship and debates. Overall, the book offers a valuable introduction to medieval music for readers interested in the subject. [Extracted from the article]

Huaibei Dagu Quyi, an enchanting Chinese musical tradition, unveils a rich tapestry of culture and history deeply embedded in the city of Huaibei. This study aimed to explore the history and development of Huaibei Dagu Quyi as a resource for teaching Chinese music history. The investigation delves into the profound historical and cultural context of Huaibei, tracing its roots to ancient dynasties, while scrutinizing the evolution of Huaibei Dagu Quyi, underscored by its remarkable historical resilience. The diversity within this art form is meticulously categorized, encompassing various forms of Dagu and associated folk arts. Government-led initiatives play a pivotal role in its preservation and promotion, featuring its designation as an intangible cultural heritage, the appointment of custodians, and the establishment of apprenticeship programs and public welfare classes. Employing an interdisciplinary research approach blending anthropology and musicology, the study embraces field investigations, in-depth interviews with key informants, and qualitative data analysis. The findings illuminate the profound cultural significance of Huaibei Dagu Quyi and the contemporary challenges it confronts. Ultimately, the study concludes by offering insightful recommendations for safeguarding this invaluable cultural treasure, ensuring its enduring vitality, and enhancing its contribution to the broader landscape of Chinese music history education. [ABSTRACT FROM AUTHOR]

While music libraries fundamentally face the same preservation concerns as any other library, their collections face unique problems. Sheet music is heavily used in distinct ways, and comes in a wide variety of sizes, shapes, and formats, all of which lead to maintenance issues that apply specifically to these materials. Arguing that genre and use inform the formats and damage we see in sheet music, this paper systematically explores the different features of scores, including bindings, sizes, and uses. I discuss the major preservation issues faced by circulating, printed music collections and suggest possible solutions. [ABSTRACT FROM AUTHOR]

Global Musical Modernisms – the formulation heralds expansion into new arenas of music research. For while certain pairings of the component terms are familiar enough, the concatenation of all three is novel. In music studies, the most notable trend is the flurry of activity around global music history, with study groups in two societies historically focused on Western musics, and one focused on ethnomusicology. Global music history derives strength and in turn strengthens movement towards disciplinary convergence, or at least greater interaction – an important precondition for the study of global musical modernisms. There has also been renewed interest in musical modernism, though not so much, at least at first glance, in the direction of the global, and with less interdisciplinary synergy. By contrast, the global figures very prominently in what has been termed the 'new modernist studies', a field that coalesced in the late 1990s. As one indication, its global turn had gathered enough momentum for Oxford University Press to publish a handbook on 'Global Modernisms' in 2013, just three years after its handbook on 'Modernisms'. Despite aspirations to coverage of modernism in all its forms, the field is populated predominantly by literary scholars, with minimal attention to music. [ABSTRACT FROM AUTHOR]

The article focuses on the emergence of global music history as an academic field and explores key issues within it, including language challenges, the conceptualization of "music" from a Western perspective, political contexts in research methodologies, and historical spatial and temporal scales. The authors delve into the complexities of theorizing global music history, critical reflection on historical contexts, and the incorporation of diverse epistemologies and intersectional perspectives.

Actor training in Western culture evolved as an oral tradition. Formal education appeared in the late-nineteenth century with the work of Konstantin Stanislavski. Despite its relatively brief history, the family tree of theatre pedagogy now consists of many contrasting branches. Several branches contain the creative and educational DNA of an approach to Western music education known as Dalcroze Eurhythmics. Emile Jaques-Dalcroze was a Swiss pianist and composer whose work at the Hellerau Institute near Dresden in Germany had a significant impact on the Modernist movements in theatre and dance, 1911–1914. Historical records show that this embodied method of music learning was disseminated by Hellerau graduates in drama schools and theatre companies around the world. This essay traces four branches on the family tree of theatre pedagogy that are directly influenced by Dalcroze Eurhythmics. These branches include the legacies of Stanislavski in Russia; Jacques Copeau and Suzanne Bing in France; Rudolph Laban and Yat Malmgren in Germany and England; and Sanford Meisner and Anne Bogart in the United States of America. This essay is written from the author's perspective as an actor trainer and music educator in a higher education conservatoire. It offers historical contexts for contemporary pedagogies in actor training. [ABSTRACT FROM AUTHOR]

This forum presents a conversation among seven scholars who explore the theme of discomfort in the emergent field of global music history. Prompted by Yvonne Liao and Olivia Bloechl, co-founders of the American Musicology Society's Global Music History Study Group in 2019, these contributions address ideas of globality by decentering knowledge production and productively engage different ways to resist hegemonic pasts, narratives, and processes entrenched at home, whatever and wherever home may be. This forum thus confronts home-based challenges that resist or obstruct the implementation of this decentering principle: What does it mean to locate a "home" and to identify various "discomforts" in the global musical and sonic spheres? How does the thinking of "home" relative to "discomfort" help to theorize the concepts of agency, locality, temporality, community, regionalism, and nationality? All seven articles share one structural feature--an extensive selfintroduction in the spirit of Jessica Bissett Perea's call for "intertribal visiting protocols" developed by critical Indigenous studies. This grounds each contribution by exposing the contingency of arguments and allows for a weaving of themes of space, boundary, and interconnection across articles. The forum's topics range from world-making to relationality, from cripping musical taste to making Siamese music legible to colonial ears, and from listening for political taboos to problematizing "Latin American" music and theorizing intimacy through the notion of "scale" itself. Writing with candor, all contributors bring global music history into uncomfortable terrains. [ABSTRACT FROM AUTHOR]

This qualitative research study aimed to explore the history of ancient Chinese opera music and analyze musical characteristics as a resource for teaching the history of Chinese opera music in Shanxi Province, China. The study involved three main informants and utilized a range of research methods, including literature review, fieldwork, and interviews. The analysis of the musical characteristics of early Shanxi Daoqing opera included an examination of its historical development, classical singing style, accompanying instruments, performance scenes, and vocal melody. The result suggest that Daoqing opera has undergone significant changes over time, influenced by various factors such as social and cultural trends. The analysis of the musical characteristics of "Qiong Gong Lei" provides insights into the formal structure, tempo, range, and melody contour of Daoqing opera music. Further research is needed to explore the unique features of different regional styles of Chinese opera and the role of technology in preserving and promoting this traditional art form. [ABSTRACT FROM AUTHOR]

The history of music is shaped through narratives that sometimes contain a number of issues regarding cultural stereotypes, historiographic approaches, Eurocentrism or colonialism. For this reason, its transmission and the way it is taught must be the object of study and careful consideration. The present research analyses – on the basis of narratological and organological premises – the contents that shape the discourses underlying the coverage of the ancient period by music education textbooks used in the Spanish compulsory secondary education stage. To this effect, an ad hoc instrument was designed and implemented on 24 coursebooks. The results confirmed that the chronological narrative is the most widely used strategy and that in more than half of the textbooks under examination the history of music begins to be told after Antiquity. Other findings were that the construct of the 'foundational' civilisations of the West is still perpetuated and that an organological narrative is proposed which is inspired by a diffusionist approach. In conclusion, we detect patterns that are controversial and need to be subjected to revision at a time when educational textbooks are a decisive resource that adapts the official curriculum and mediates between the latter and music education teachers. [ABSTRACT FROM AUTHOR]

Subramanian supplies ample and detailed cultural context for Karnatic music performance and pedagogy. Music educators in the U.S. who wish to learn about, demonstrate, or teach Karnatic music have the responsibility to become as informed as possible about the social, historical, and political context of this music. To this end, Lakshmi Subramanian's book provides a compact and thorough background into relevant contexts of Karnatic music, offering any interested music educators a valuable "starting point" towards developing culturally situated and appropriate methodology. [Extracted from the article]

Two-year community colleges (CCs) provide access to higher education for those who might not otherwise have had the opportunity. Research into CCs has seen growth in past years, with a focus on areas of curriculum, such as music history and musicianship; however, research within music education regarding transfer students is remarkably slim. This qualitative case study investigated the experiences of four CC transfer students in music as they transitioned into music education programs at 4-year universities. The primary research question was: How do transfer students in music education describe their experiences making the transition from 2- to 4-year music programs? Current analysis indicates a need for greater communication between different institutions, the presence of transfer-specific systematic barriers for students, and the importance of community and support for transfer music education majors. [ABSTRACT FROM AUTHOR]

Anyone who has had sustained contact with Anglican choirs probably knows music by John Joubert; anyone who hasn't probably doesn't. This article begins by considering the starkness of those divisions between different kinds of canons, framing this in terms of "local" canons that each serve a particular purpose. The local canons of this kind for teaching music theory and history tend to serve a demonstrative role and to prioritize clear-cut examples at the expense of music that handles a wider range of materials in a more complex way. This introductory discussion contextualizes and motivates an analytical vignette on a short piece by Joubert which has a firm standing in the relevant performance canon (Anglican choirs), but which is unknown beyond that. I argue that music theory pedagogy might benefit from adopting this example to get at important but analytically complex issues concerned with post-common-practice uses of pre-common-practice modal materials. [ABSTRACT FROM AUTHOR]

This article explores some of the specific dynamics and processes experienced by Canadian old-time fiddlers as they learn to fiddle in a community of practice (CoP). Based on an analysis of interviews with several fiddlers at the Kenosee Lake Kitchen Party fiddling camp, we explore two elements of fiddling that the fiddlers identified as crucial to the development of expertise as an old-time fiddler: a danceable quality and personalizing a tune. Danceability allowed for historical continuity of the community's practices, while making a tune your own provided a way to introduce new ideas and practices into the CoP, resulting in growth and change. [ABSTRACT FROM AUTHOR]

This article focuses on the role of children's music education in the settlement of Lisbon, Portugal, by "expats," privileged migrants who build community not with others who share an ethnic identity but rather with other international residents of similar class status, a phenomenon accelerated by the advent of remote work. By calling attention to the multicultural and pop aesthetics used in baby music classes at the Music Room, a private music school conducted primarily in English and marketed to expats, I show how expat children are sonically enculturated in cosmopolitan spheres and how expat cultural infrastructure plays a crucial role in promoting expat migration. [ABSTRACT FROM AUTHOR]

Faculties and schools of music in Canada and the United States define their missions narrowly; their curricula continue to be devoted almost exclusively to a music culture created in Europe and exported to colonial and postcolonial settings around the world. These institutions teach an exclusionary aesthetic philosophy rooted in white supremacy, one that results in the unethical exclusion of musicians and musical cultures created by the communities and societies that universities are meant to serve. After analyzing the content of, and the ideas behind, various course syllabi, the author outlines pathways for creating aesthetically and ethically inclusive and anti-racist curricula in music history and music appreciation at music faculties and schools of music in Canada and the United States. [ABSTRACT FROM AUTHOR]

The "unmarked whiteness" at the core of most Canadian and US university music programs is an example of racist policy. Anti-racist actions that identify, describe, and dismantle racism can be productively applied to music history courses by adopting strategies outlined in the work of Kyoko Kishimoto. By exploring knowledge production through the historiography of canonic music, challenging Eurocentrism by teaching Western music as "ethnic," and dismantling the division of white and non-white musics into different disciplines, this article offers an approach to musicultural anti-racism. [ABSTRACT FROM AUTHOR]

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Musicology of Lithuania / Lietuvos muzikologija is the property of Lithuanian Academy of Music & Theatre and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudios Humanisticos. Filologia is the property of Universidad de Leon, Area de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudios Indiana is the property of Ibero-Amerikanisches Institut, Preussischer Kulturbesitz and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As a subject of compulsory education, music predominantly employs musical examples (musical texts and audio excerpts) to accomplish its learning objectives. The cultural capital that is transferred to pupils is determined by the selection and historical approach of quotations in educational materials and by teaching practises. And the bibliography reveals that the historical approach to aesthetic Greek music is of paramount importance. Mixedmethods research was conducted with the purpose of highlighting the cultural and social implications of the content and instruction of music, concentrating on the history of artistic Greek music. In the first section, educational materials were analysed quantitatively via content analysis and qualitatively via critical content analysis. In the second section, teachers' evaluations of the educational content and teaching practises were gathered through a survey, qualitatively analysed, and then triangulated with indicative quantitative questions. The results of each research phase were incorporated into the data analysis and interpretation. Explanatory sequential research design is indicated by the order and relationship of the two sections of the research. The correlation between the results of the first and second segments demonstrates that the educational material determines the content and practises of the educational process. The proportions of the three distinct musical categories -artistic, traditional, and popular- included in educational materials and teaching practises vary. Specifically, Greek music is primarily approached through folk and popular song, the latter of which is frequently mistaken for artistic creation. Greek artistic music has a limited percentage of inclusion, while Western music dominates artistic creation. The historical approach to Greek music is fragmentary and does not align with contemporary music history. In addition, the distinct presence of all three musical categories during the development of Greek history is obscured by the emphasis on specific musical genres and eras, without a clear connection between them. Based on P. Bourdieu's theory of cultural capital, the interpretation of the research results emphasises significant cultural extensions of the music lesson that reproduce social formations of Greek society in the 19th and 20th centuries. [ABSTRACT FROM AUTHOR]

Popular music scholars generally agree that the popular music studies discipline emerged between the mid-1970s and the early 1980s in Western Europe and North America, mainly on the initiative of young sociologists, and that it focuses primarily on modern pop-rock music. Many academics from the former Eastern bloc countries share this narrative. Consequently, the history of popular music's systematic exploration in this region remains largely unknown. Recent years, however, have witnessed growing interest in the history of popular music research in East-Central Europe, as shown by a few (Czech, Slovakian, Polish, and Hungarian) texts, albeit focusing exclusively on local issues. The present study is the first to deal with the history of popular music research between 1918 and 1998 in a wider Central European context, and the Czech lands and Hungary in particular. It provides a detailed analysis of an extensive collection of Czech and Hungarian sources (archival materials and published texts of both an academic and non-academic nature - monographs, individual studies, articles in popular music magazines, and so on). It aims to show the specifics of theoretical reflection on popular music in both states and the manner and extent of the contacts between the respective scholarly communities in light of developments in popular music and cultural policy. [ABSTRACT FROM AUTHOR]

This article discusses the delineation between physiology and music theory in Hermann von Helmholtz's On the Sensations of Tone as a Physiological Basis for the Theory of Music (1863). It takes the phenomenon of 'false relations' as a point of departure to question the methodology Helmholtz devised to study music and hearing. The key to understanding this experimental method is the concept of 'controlled deviation', which is substantiated in two main sections. After providing some background information on the history of music theory, the first section explores 'false relations' within the context of physiological experimentation and hydrodynamics, the two most important areas of Helmholtz's scientific research. The second section of the article is centred on the experimental methods of Helmholtz as used in his investigation of vision and hearing. More specifically, it introduces notions of distortion, defamiliarization and deviation to distinguish levels of physiology that relate to the body and to cognition. As it turns out, music posed specific problems for the researcher. Beyond the ephemerality of sound, the malleability of hearing and of musical aesthetics proved even more of an obstacle for controlled experimentation. The article concludes with a discussion of Hugo Riemann, who continued to explore the central finding of Helmholtz, namely that the rules of music change due to the habits of the listener. [ABSTRACT FROM AUTHOR]

To improve the teaching effect of western music history, the curriculum reform of history education needs to be promoted under the background of the Internet of Things (IoT). At first, a discussion is made on the characteristics of history course, which is combined with the characteristics of teaching data easy to collect under the background of IoT. An analysis is conducted on the related theory of educational data mining. Then, the concept of personalized recommendation is proposed based on deep learning (DL) algorithm. Finally, online and offline experiments are designed to verify the performance of the algorithm from review and investigation, smoothness, and participation of difficulty. The research results show that in terms of offline recommendation accuracy, the average record length in Math data set is 24.5, which is much smaller than that in range data set. The research has obvious innovation significance compared with other studies. In the process of target review and investigation, it is found that the research method here involves a wider range of knowledge and higher reliability. In terms of the difficulty of recommending questions, the Deep Reinforcement Exercise (DRE) recommendation algorithm can adaptively adjust the difficulty of recommending questions. It also allows students to set different learning goals through participation goals. But in the experiments on Math data set, Step 10's recommendation results are not very good, and the difficulty level varies greatly. If the goal setting is high, the problem recommended to students is too difficult, students may answer these questions wrongly, forcing the algorithm to adjust the difficulty adaptively. According to the above results, DRE recommendation algorithm can adapt to different learning needs and customize the recommendation results, thus opening up a new path for the teaching of western music history. Besides, the combination of DL algorithm and western music history teaching design can recommend learning materials, which is of great significance in the teaching of history courses. [ABSTRACT FROM AUTHOR]

This article argues the need to include popular music in the university curriculum, particularly in "Music History" courses taught in music teacher training, but also for any music professional. It is argued that the absence of popular music should be understood as a lack of curricular justice and shows that different initiatives have sought to justify their relevance both as a repertoire and cultural object, associated to socio-cultural approach to music education. The analysis focuses on a selection of University course programs from Chilean institutions and the discussion explores the possibilities of decanonization and decolonization through curricular innovation. [ABSTRACT FROM AUTHOR]

The study of gramophone records is important when acquainting oneself with Mijat Mijatović (1887–1937), who strongly impacted so-called folk music in the Kingdom of Serbs, Croats and Slovenes / Yugoslavia, considering the importance of the records he released during his career. His opus of commercial recordings is the largest of the interwar period in the area and, therefore, it is highly indicative when considering the correlation between the early music industry and ‘local’ culture as a glocal topic. In this study we present numerous sources and a complex critical analysis that resulted in Mijatović’s discography. Special attention has been paid to record companies, the chronology of recordings, the repertoire and collaborating musicians, thus mapping the potential of discography for the study of recorded music and cultural history. [ABSTRACT FROM AUTHOR]

The Arad Conservatory was among the first didactic institutions for the study of music in Europe. Researching its coverage in the local and national press of the time reveals the community's interest in the institution's activities, but also the involvement of the Conservatory in the social and cultural life of Arada. For almost a century, its students and graduates represented the backbone of the musical life in the west of today's Romania, and some of them knew the consecration at the European level. For Arad, the Conservatory represented one of the first solid academic structures, with a reputable teaching staff trained in European music academies. The first media landmarks in the activity of the Arada Conservatory, at its beginnings, including the forms of examination, the subjects of study, the teachers who left their mark on this institution, belong to the specialized weekly "Honmüvész", published in Pest. [ABSTRACT FROM AUTHOR]

Copyright of Erdem is the property of Ataturk Kultur Merkezi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Pierre Baillot (1771–1842) was a central figure in the development of the early nineteenth-century French School of violin playing. This school was itself the source of the twentieth-century Russian and American schools, and all the great players of the modern era can trace their lineage back to Baillot and his colleagues. The French School was the first to systematize violin teaching within an institutional framework with normative aspirations. Its history is bound up with that of the Paris Conservatoire, established in 1795. Work by French scholars of the Conservatoire and its teaching has tended to assert a continuity of ideals and aesthetics across time, even an essential Frenchness, and work by English-language scholars has been more concerned with the influence of the School on developments in playing styles and composition than on the evolution of attitudes to music teaching. This analysis of the language of the two founding pedagogical texts reveals a contested cultural landscape, and explores how a revolutionary institution with lofty principles could be overtaken by cultural change in a few short decades. It finishes by questioning the traditional elision of the French and Franco-Belgian schools, and suggests that Brussels, rather than constituting a mere branch of the Paris school, rescued it from premature irrelevance. [ABSTRACT FROM AUTHOR]

The purpose of this study was to examine the life and work of Frank William Westhoff (1863–1938), a leader in music education during the progressive era (circa 1890s–1950s). Research questions focused on his work as a music supervisor, teacher educator, pedagogue, and textbook author. I also explored Westhoff's contributions to the profession and influence on music education. Westhoff was born in St. Charles County, Missouri, in 1863. He moved to Decatur, Illinois, in 1884, and in 1893 he began supervising music in the city's public schools. From 1901 to 1935, Westhoff served as music instructor at ISNU, where he taught methods classes, directed ensembles, and supervised music in the local public schools. He died in Normal, Illinois, in 1938. Although Westhoff was not as prominent a figure in music education as those who led the field on a national level during his time, he played an important role in sustaining, perpetuating, and expanding school music on a regional basis throughout much of the progressive era. He was a founding member of Music Supervisors' National Conference at Keokuk, Iowa, in 1907, and published numerous compositions and didactic materials, including a statewide curriculum that helped standardize music instruction in Illinois. [ABSTRACT FROM AUTHOR]

This paper presents a contextualization of the history of ska music in Costa Rica, which has a narrow link with the "third wave of ska" at a worldwide level and the development of other music genres in the decade of the 90's in the country. During this period the participation of groups with young people from the neighborhoods from the south of San José Downtown and other parts from the Great Metropolitan Area it's a big highlight. In a sense of discussion, the researchers show a series of annotations that try to find guidance to study of ska music in the country, from its historical context to its importance at a social level. [ABSTRACT FROM AUTHOR]

Copyright of Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal Education Sciences / Revista Ciencias de la Educación is the property of ECORFAN-Mexico S.C. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)