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Charles Fowler (1931-1995) was an important thinker whose reconstructionist philosophy of music education represents an untold view worthy of examination in the modern context. Fowler described the philosophy in his dissertation completed in 1964, based on the reconstructionist theory of Theodore Brameld. He outlined seven major objectives stating how music education can impact students, schools, and communities, and can serve as an agent of social change. This perspective was the basis for Fowler's pragmatic and progressive outlook throughout his 45-year career as teacher, researcher, writer, and arts advocate. His philosophy is presented here as another critical viewpoint of music teaching and learning, and for its impact on those who experience it. Following an introduction to Fowler and his connections to reconstructionism, his seven objectives for music education are presented, along with samples of writing showing his consistent philosophical beliefs over time, concluding with a review of his thinking while considering the future through a lens of the past. While prevailing viewpoints center on aesthetic, praxial, and pedagogical views, Fowler's reconstructionist philosophy is worthy of inclusion in the history of music education as he argued for a sociological perspective that predates most viewpoints commonly read in the field today.

The birth of American music education is often attributed solely to Lowell Mason in Boston. His younger brother Timothy, however, was also active at the same time in Cincinnati. This study traces the roots of music education in both cities, but highlights the rarely cited accomplishments of Timothy Mason and his colleagues. Using historical method, the study compares efforts in each city through early advocacy speeches, parallel innovative work by each brother, and actions of local school boards who provided support for music in the schools. Unique features and findings of the study include consideration of selected early education meetings and music presentations, bringing lesser-known music meetings and advocates to light, and the important proclamations that resulted. A most compelling element, however, is further detail about how Timothy Mason succeeded in bringing music education to Cincinnati schools, perhaps even ahead of his more famous brother. (Contains 34 endnotes.)

Online study in music teacher education at the master's degree level has existed for more than a decade, with hundreds of music teachers pursuing professional development or completing their graduate degrees in this format. The purpose of this study was to examine music teachers who have and who have not participated in online graduate music education regarding their perceptions of these programs. The conceptual theory known as connectivism (Siemens, 2005), highlighting properties of Autonomy, Diversity, Interactivity, and Openness, guided data collection and analysis. We used a quantitative survey method through a researcher-developed instrument. Distributed nationally, 807 (2.1%) respondents offered their perspectives, with analysis via rank order, correlation, and confirmatory factor analysis linked to the theoretical framework. Results suggest that teachers find value in elements of online education that include content, pedagogy, convenience and flexibility, professional development, and career advancement. With regard to the facets of connectivism, Autonomy contributed the largest amount of variance followed by Diversity, Interaction, and Openness. The results of this study warrant consideration as distance music education in graduate settings will likely continue to grow in the coming years. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses various reports within the issue on topics including the aspects of music learning related to home environment, family background and parenting style, the relationship of a music teacher relative to social and emotional lives of her students and how to develop a capstone course for music education majors.

An introduction is presented in which the editor discusses various reports within the issue on topics including the impact of mindful listening on the experience of learning music, the issue of identity in the music teachers, and the relationship between melody and the reproduction of rhythm patterns.