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Music teachers usually encourage their students to examine contemporary songs either through biographical studies of artists and composers or from particular stylistic perspectives. It is not uncommon for instructors to link these two elements: Louis Armstrong with jazz, B.B.King with blues, James Brown with soul sounds, and Johnny Cash with country music. The following bibliographic resource guide suggests that the investigation of record labels can broaden student understanding of the modern music industry by integrating artist/genre information with specific city images (Memphis), special studio bands (Booker T. and the M.G.'s), successful record company moguls (Berry Gordy), and efforts by performers like The Beatles to secure artistic independence (Apple). Business teachers, social studies instructors, and popular culture researchers can stimulate innovative and integrated learning opportunities by focusing on ... Alligator, Apple, Atlantic, Motown, Stax, and Sun., Record labels represent specific segments of larger music industry interests. For example, Tamla and Gordy were small units of the Motown Recording Corporation empire during the 1960s. The managerial or [...]

The need for a new approach to studio instruction becomes evident when the current state of the profession and the effects of typical teaching methods are considered. In a profession [...]

A variety of theoretical and analytical approaches are employed to analyze 'Water and Clouds over Xiao Xiang'. Some of the salient structural features of Xiao Xiang are emphasized and how they interact, creating elegant unities and separations is discussed.

The present study investigated the influence of acoustical characteristics on the implicit learning of statistical regularities (transition probabilities) in sequences of musical timbres. The sequences were constructed in such a way that the acoustical dissimilarities between timbres potentially created segmentations that either supported ($1) or contradicted ($2) the statistical regularities or were neutral ($3). In the learning group, participants first listened to the continuous timbre sequence and then had to distinguish statistical units from new units. In comparison to a control group without the exposition phase, no interaction between sequence type and amount of learning was observed: Performance increased by the same amount for the three sequences. In addition, performance reflected an overall preference for acoustically similar timbre units. The present outcome extends previous data from the domain of implicit learning to complex nonverbal auditory material. It further suggests that listeners become sensitive to statistical regularities despite acoustical characteristics in the material that potentially affect grouping.

Although the music education profession recognizes the importance of world musics, providing meaningful experiences in non-Western musics for preservice teachers remains a challenge. In the project described here, preservice teachers [...]

The teacher wondered ... what the problem was. (1) Her students had been having such difficulties with finding research materials for their papers. Perhaps it was the assignments themselves, which [...]

I have had the privilege of working with bibliographic instruction and information literacy at St. Olaf College for more than twenty years. (1) As a liberal arts college, our institution [...]

In the dozen years since the 1990 MENC preconference symposium on Multicultural Approaches to Music Education in Washington, D.C., music educators have continued to recognize the need to include a [...]

Introduction One goal of multicultural music education is to introduce a variety of musical cultures in a manner that goes beyond clever or unusual class activities. To do so requires [...]

Alternative instruments and non-Western genres are finding their way into the K 12 music curriculum. Going beyond the traditional ensembles of band, choir, and orchestra, alternative groups offer students and [...]

If you are looking for an interesting multicultural project for the music classroom, studying the didjeridu is a wonderful introduction to Australian Aboriginal music. Building and playing the didjeridu is [...]

Experience is often the best teacher. Music methods professors provide their students with knowledge they will need for successful and productive teaching careers. However, there is no knowledge better than [...]

This study is a description of the error correction process in 40 instrumental music rehearsals taught by 10 teachers, each of whom was observed conducting 4 consecutive rehearsals. A total [...]

The purpose of this study was to examine the effect of changing the magnitude of rubato in a musical performance on the perceived musicianship inherent in a music performance. Subjects [...]

Musical activities are an important part of a preschool student's education. Some preschool models rely on the preschool teacher delivering music instruction, while other models have a music educator providing [...]

Children learn to walk gradually. It starts early in life when they figure out (on their own) how to turn over, and it continues as they crawl, 'furniture walk,' and [...]

Children love to more and dance from a very young age! During these early years they have no inhibitions and their creative juices seem to flow endlessly. All it takes [...]

General music receives more attention now than in recent years, perhaps due to the academic community's return to basics. It might be beneficial for us to look at general music [...]

Two independent groups, one consisting of college-level studio music teachers (n = 127) and the other of music majors (n = 134), completed a written survey containing 10 questions about [...]

The purpose of this study was to examine use of class time in elementary general music classes in relation to the nine voluntary National Standards for Music Education. Elementary music [...]

Another music education methods class--what learning will occur from the teacher-student partnership? What tacit and overt information will the teacher share with the students? How will the students' observations and [...]

Beginning in 1995, our careers as music teacher educators led us to become engaged in the design and implementation of professional development partnerships in music education. These partnerships are modeled [...]

The singer Joan La Barbara's career as a composer, performer, and sound artist has been devoted to exploring the human voice as a multifaceted instrument, going beyond its traditional boundaries to create works for voices, instruments, and interactive technologies. As a pioneer in the field of contemporary classical music and sound art, she has developed a unique vocabulary of experimental and extended vocal techniques, including the multiphonics, circular singing, ululation, and glottal clicks that have become her signature sounds. Tracing her development as a performer and composer, La Barbara discusses her collaborations with American composers including John Cage, Morton Feldman, Alvin Lucier, Morton Subotnick, Philip Glass, and Steve Reich, and describes the musical world of New York in the 1970s. KEYWORDS: New York school, extended techniques, vocal music, minimalism, performance art, technology

The purpose of this investigation was to examine the effects that modeling, self-evaluation, and self-listening have on junior high school instrumentalists' music performance and attitude about practice. The pretest/posttest 2 [...]

New technology and multiculturalism has diversified the instruments found in music class. More schools are teaching musics from non-western civilizations. In addition, technological advances are making instruments smaller and there are more electronic instruments.