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Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views

muse.jhu.edu/224140 world Music
shared by meghankelly492 on 22 Jul 19 - No Cached
  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
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  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
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"Can't We Just Change the Words?": EBSCOhost - 1 views

web.b.ebscohost.com/...detail Music Theory Test Review UFMUE
shared by meghankelly492 on 24 May 19 - No Cached
  • The idea of wanting to be true to the music of a culture, to the people of that culture, and to one's students in teaching is at the heart of the discussion of authenticity.
  • However, teaching music without attention to its cultural context is a problem in several respects: it risks misrepresenting the musical practice being studied, it fails to take advantage of the potential benefits of culturally infused music teaching, and it promotes a conception of music as isolated sonic events rather than meaningful human practices.2 Discussion about this struggle to balance accurate performance practice with accessibility has focused on the concept of authenticity
  • The definitions of authenticity represented in the music education literature fall into four models: the continuum model; the twofold historical/personal model; the threefold reproduction, reality, and relevance model; and the moving-beyond-authenticity model.
  • ...10 more annotations...
  • how does each author use authenticity as a strategy for making or justifying decisions in music education?
  • authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation
  • since the original loses some of its essential qualities in a simplification.5
  • His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions
  • Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).
  • Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"
  • Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.
  • Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.
  • Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.
  • "World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.
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Music That Represents Culture: Selecting Music with Integrity: EBSCOhost - 4 views

web.a.ebscohost.com/...detail world Music
shared by meghankelly492 on 24 May 19 - No Cached
  • The term authenticity has been applied to music in various ways. It might be used to describe a piece of music (recorded, notated, performed); the process by which the music is taught and learned ( through recordings, live models, notation); or the manner in which it is performed (venue, dress, behaviors).
  • In other words, authenticity lies within the perceptions of the individual.
  • Anthony Palmer, who teaches music education at Boston University, has said that music with "absolute authenticity" is performed (a) by and for members of the culture; (b) in a typical setting, as determined by the members of the culture; (c) with instruments specified by the creator(s) of the music; and (d) in its original language.[ 8] Inarguably, and as Palmer recognizes, attaining this level of authenticity is impossible in a school music program (unless we consider "school music" residing within a unique culture of its own). In school, music is separated from its primary source many times over. Music is passed from its primary source (composer, grandmother) to an intermediary (arranger, performer, notation, recording) and channeled through a publisher or presenter to the teacher and finally to students. To confound matters, there are variants of melodies, lyrics, dances, games, and performance styles.
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  • Ethnomusicologist Bruno Nettl explains that "societies differ, however, in their attitude toward musical stability; to some it is important that a song remain stable and unchanged, while in others individual singers are encouraged to have their personal versions."
  • but he believes educators must determine at what point that musical experience is no longer acceptable as representative of that culture.
  • Having clear visions of educational goals and the broad curriculum is vital to making these determinations.
  • Bennett Reimer states, "Those inner workings are themselves the project of cultural systems, so they must be revealed in their contexts, historical, cultural, and political, in order to be grasped appropriately; that is, 'knowing about' becomes an essential ingredient of artistry and of listening."[ 15] For example, children might not fully understand the meaning of "Take Me Out to the Ball Game" unless they understand what baseball is or realize that the song is traditionally sung at baseball games.
  • text in an unfamiliar language should include a translation so students understand the meaning of the words.
  • However, a culturally valid work is not necessarily bias free; and conversely, bias-free music is not necessarily culturally valid.
  • Selecting the best music to represent a culture in an unbiased manner is a process of discovery. You will first need to educate yourself before you can educate others.
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Legislation and Common Law Impacting Assessment Practices in Music Education - Oxford H... - 1 views

www.oxfordhandbooks.com/...oxfordhb-9780190248130-e-39 world Music
shared by meghankelly492 on 02 Mar 20 - No Cached
  • Russell and Austin (2010) have claimed that in music education, a system of benign neglect in assessment practices has been allowed to endure, even though there has (p. 4) been a long-term, consistent call for reform, for more meaningful assessments, and for policymakers to adapt to laws as they are enacted and court rulings as they are handed down.
  • ead to the growing body of scholarship in educational law, the evolving and more active role courts are taking in impacting educational practices,
  • chapter is to inform music teachers about contemporary court cases that have resulted in rulings on assessment issues in educational settings, and how these rulings impact assessment in the music classroom.
  • ...13 more annotations...
  • in teacher preparation programs and in professional development activities so that students and in-service music educators will better be able to negotiate the increasingly litigious educational world
  • egal issues facing music educators remain one of the least important topics of conversation for preservice music educators.
  • how active they have been willing in inserting their decisions in school-based assessment policy.
  • Historically, courts have been somewhat deferential to school leaders and have not been willing to hear too many cases dealing with educational law and assessment.
  • Based on this decision, courts would be more likely to defer to school leaders in making their final rulings.
  • distinguish issues are purely academic from those that are purely disciplinary.
  • s. Three basic factors must exist for constitutional due process to exist: a student must have proper notice, a student must be given the chance to be heard, and the hearing should be conducted in a fair manner
  • The court decided that denying a student of education, regardless of the amount of time, could not be considered an inconsequential thing and claimed that a person’s right to education was equitable to the rights to liberty and property. In the majority decisions, the Supreme Court justices argued:
  • The US Supreme Court’s decision in Goss created the opportunity for students, parents, and their representatives to challenge not only disciplinary suspensions and expulsions but also other decisions by school officials that may affect liberty or property rights, including grades and grading policies.
  • that of courts taking a more active role and deferring less often to school leaders.
  • Because of these high stakes (real or imagined),
  • little more than attendance and participation, others feel that grades must represent academic achievement and that “allowing non-academic factors to affect academic grades distorts the truth about students’
  • however, because music is addressed minimally in these laws, their enactment has had minimal direct impact on music educators’ assessment practices.
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Grants for Music Education Programs across the United States - 1 views

www.fendermusicfoundation.org/...index.cfm Grants Music
shared by Marc Patton on 27 Jun 12 - Cached
  • Marc Patton on 27 Jun 12
     
    The Fender Music Foundation awards grants to 501c3 and governmental organizations. Qualifying applicants are established, ongoing and sustainable music programs in the United States, which provide music instruction for people of any age who would not otherwise have the opportunity to make music.
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eChalk: Teaching resources for interactive whiteboards and data projectors - 2 views

www.echalk.co.uk/...taster.htm interactive periodic table chemistry tetris
shared by Virginia Meadow on 23 Sep 09 - Cached
lolaemam liked it
  • Virginia Meadow on 23 Sep 09
     
    Powerful interactive resources designed for whole-class teaching. Online educational games, classroom resources and lesson activities for interactive whiteboards and data projectors. Put some fun into your lessons with our exceptional science, maths, English language, literature, history, music physical education and modern foreign languages software." />/css/resourceList.css
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The fantasies driving school reform: A primer for education graduates - The Answer Shee... - 5 views

www.washingtonpost.com/...gIQA5vwzLU_blog.html education reform poverty teachers gr8 speech research black minority poor
shared by Steve Ransom on 14 May 12 - No Cached
  • Richard Rothstein
  • In truth, this conventional view relies upon imaginary facts.
  • Let me repeat: black elementary school students today have better math skills than white students did only twenty years ago.
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  • As a result, we’ve wasted 15 years avoiding incremental improvement, and instead trying to upend a reasonably successful school system.
  • But the reason it hasn’t narrowed is that your profession has done too good a job — you’ve improved white children’s performance as well, so the score gap persists, but at a higher level for all.
  • Policymakers, pundits, and politicians ignore these gains; they conclude that you, educators, have been incompetent because the test score gap hasn’t much narrowed.
  • If you believe public education deserves greater support, as I do, you will have to boast about your accomplishments, because voters are more likely to aid a successful institution than a collapsing one.
  • In short, underemployment of parents is not only an economic crisis — it is an educational crisis. You cannot ignore it and be good educators.
  • equally important educational goals — citizenship, character, appreciation of the arts and music, physical fitness and health, and knowledge of history, the sciences, and literature.
  • If you have high expectations, your students can succeed regardless of parents’ economic circumstances. That is nonsense.
  • health insurance; children are less likely to get routine and preventive care that middle class children take for granted
  • If they can’t see because they don’t get glasses to correct vision difficulties, high expectations can’t teach them to read.
  • Because education has become so politicized, with policy made by those with preconceptions of failure and little understanding of the educational process, you are entering a field that has become obsessed with evaluating only results that are easy to measure, rather than those that are most important. But as Albert Einstein once said, not everything that counts can be counted, and not everything that can be counted, counts.
  • To be good educators, you must step up your activity not only in the classroom, but as citizens. You must speak up in the public arena, challenging those policymakers who will accuse you only of making excuses when you speak the truth that children who are hungry, mobile, and stressed, cannot learn as easily as those who are comfortable.
  • Steve Ransom on 14 May 12
     
    An important read for anyone who truly wants to understand what's really important in education and the false reform strategies of our current (and past) administration.
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Online Music Creator - Aviary.com's Roc - 71 views

advanced.aviary.com/...music-creator music education author creativity sound
shared by Roland Gesthuizen on 26 May 12 - No Cached
  • Roland Gesthuizen on 26 May 12
     
    "Use Aviary's music creator to simulate dozens of musical instruments including piano, guitars and drums. Create music loops and patterns for use in Aviary's audio editor (Myna) or as ring tones."
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The association of music experience, pattern of practice and performance anxiety with p... - 0 views

journals.sagepub.com/...0255761415597151 world Music
shared by meghankelly492 on 30 Aug 19 - No Cached
  • Music inexperience, changed pattern of practice and performance anxiety are associated with playing-related problems in child instrumentalists and are therefore important issues for music education.
  • Research on adult musicians has adopted these models and identified individual intrinsic factors such as age and gender, music performance anxiety and enjoyment, extrinsic factors such as music practice habits and type of instrument played and intrinsic–extrinsic interaction factors such as playing posture, technique and student–teacher interaction which influence the development of PRMP.
  • The aim of this study was to describe the music practice of child instrumentalists and determine their associations with playing-related musculoskeletal problems (PRMP), accounting for gender and age
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  • Symptoms of performance anxiety are generally categorized into cognitive (e.g. catastrophic thoughts), behavioral (e.g. avoidance of performance/auditions) and physiological (e.g. dry mouth, shaking arms/hands, increased heart rate) (Plaut, 1990; Salmon, 1990).
  • Shoup (1995) reported performance anxiety negatively affected performance in 55% (234/425) junior high and high school instrumentalists.
  • Over a third of students (36%, 263) reported they experienced the feeling of butterflies most times to always when playing in a concert or competition (Table 1).
  • There was a significant association between gender and the experience of butterflies (χ2 = 32.32, df (4), p < .001) with more females reporting the experience of butterflies than males. There was a significant association between age and reported experience of the feeling of butterflies (F = 9.012, df (3), p < .001), with older children reporting the experience of butterflies more than younger children.
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Music For Educators and Trainers - Lifesounds, Inc. - 4 views

www.musicandlearning.com music educators trainers resources education
shared by Carl Bogardu on 23 Jun 11 - Cached
Ron McKee liked it
  • Carl Bogardu on 23 Jun 11
     
    Resource for the music educator plus music w/user rights
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Using "Music Writing" to Trigger Creativity, Awareness and Motivation | Edutopia - 7 views

www.edutopia.org/...gger-creativity-jeffrey-pflaum music writing edutopia
shared by Elizabeth Resnick on 12 Apr 12 - No Cached
  • Elizabeth Resnick on 12 Apr 12
     
    The Contemplation Writing Project, as I came to call it, uses an innovative form of writing called "Music Writing" to develop intra- and interpersonal communication skills (EI), creative self-expression (journal or therapeutic writing), thinking, character education, identity and values clarification in young people through music, writing, discussion and self-assessments.
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Animoto - Education Video Slideshows - 88 views

animoto.com/education tech videos 2.0 21stcentury
shared by Cheryl Corte on 23 Nov 09 - Cached
    • Kalin Wilburn
      Kalin Wilburn on 20 May 11
       
      Create an unlimited amount of full length videos with a FREE educator plus account.
    • Neel Brown
      Neel Brown on 25 Jul 11
       
      Kalin, I don't see how to sign up for the educator upgrade?
  • videos and presentations. It takes just minutes to create a video which can bring your lessons to life.
  • Animoto makes it easy to share your videos via email, on a blog/website, exported to YouTube, or downloaded to a computer for use in presentations.
  • ...1 more annotation...
  • images, video clips, music and text.
    • dawhiting
      dawhiting on 22 Jun 12
       
      could students use to create quick "process" math videos?
    • Cheryl Corte
      Cheryl Corte on 12 Nov 12
       
      Definitely. Choose the right template to build your math videos. Add music (background), Animoto does the rest. Sign-up for an Educators account to create Math videos throughout the year.
  • Traci Grandgeorge on 23 Nov 09
     
    sign up for education account
  • ...1 more comment...
  • Kalin Wilburn on 28 Jul 11
     
    Neel, You must sign up for an educator account and they automatically give you an Educator Plus account for 184 days, along with a promo code that you can share with up to 50 other individuals (typically students), after the 184 days it only costs $5.00/month or $30/yr. They also offer a referral program so that you can earn an upgraded account for FREE but each referral has to become a paying subscriber.
  • Donna Canuel on 28 Jul 11
     
    I also am having trouble finding how to sign up for the educator.'s account. I follow the links but they do ot offer the educator option. Any ideas?
  • dawhiting on 22 Jun 12
     
    could student use free version to make quick videos - you only get 30 seconds for free ... but I think that would work toward being concise and planning ahead
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The Code of Best Practices in Fair Use for Media Literacy Education - 60 views

www.centerforsocialmedia.org/...r-use-media-literacy-education copyright fair use media educational technology
shared by Randolph Hollingsworth on 25 Oct 10 - Cached
  • when they occur within a restricted-access network, do enjoy certain copyright advantages
  • we as a society give limited property rights to creators to encourage them to produce culture; at the same time, we give other creators the chance to use that same copyrighted material, without permission or payment
  • Did the unlicensed use "transform" the material taken from the copyrighted work by using it for a different purpose than that of the original, or did it just repeat the work for the same intent and value as the original? • Was the material taken appropriate in kind and amount, considering the nature of the copyrighted work and of the use?
  • ...21 more annotations...
  • If the answers to these two questions are "yes," a court is likely to find a use fair
  • whether the use will cause excessive economic harm to the copyright owner
  • the purpose of copyright—to promote the advancement of knowledge through balancing the rights of owners and users.
  • In some cases, this will mean using a clip or excerpt; in other cases, the whole work is needed. Whenever possible, educators should provide proper attribution and model citation practices that are appropriate to the form and context of use.
  • educators should provide reasonable protection against third-party access and downloads
  • educators using concepts and techniques of media literacy should be free to enable learners to incorporate, modify, and re-present existing media objects in their own classroom work
  • Students’ use of copyrighted material should not be a substitute for creative effort
  • Students should be able to understand and demonstrate, in a manner appropriate to their developmental level, how their use of a copyrighted work repurposes or transforms the original.
  • but cannot rely on fair use when their goal is simply to establish a mood or convey an emotional tone, or when they employ popular songs simply to exploit their appeal and popularity
  • material that is incorporated under fair use should be properly attributed wherever possible
  • attribution, in itself, does not convert an infringing use into a fair one.
  • If student work that incorporates, modifies, and re-presents existing media content meets the transformativeness standard, it can be distributed to wide audiences under the doctrine of fair use.
  • When sharing is confined to a delimited network, such uses are more likely to receive special consideration under the fair use doctrine
  • there are no cut-and-dried rules (such as 10 percent of the work being quoted, or 400 words of text, or two bars of music, or 10 seconds of video).
  • Transformativeness, a key value in fair use law, can involve modifying material or putting material in a new context, or both
  • Copyright Act itself makes it clear that educational uses will often be considered fair because they add important pedagogical value to referenced media objects.
  • If educators or learners want to share their work only with a class (or another defined, closed group) they are in a favorable position
  • if work is going to be shared widely, it is good to be able to rely on transformativeness
  • courts have found that asking permission and then being rejected has actually enhanced fair use claims.
  • We don’t know of any lawsuit actually brought by an American media company against an educator over the use of media in the educational process
  • Lack of clarity reduces learning and limits the ability to use digital tools. Some educators close their classroom doors and hide what they fear is infringement; others hyper-comply with imagined rules that are far stricter than the law requires, limiting the effectiveness of their teaching and their students’ learning.
  • Randolph Hollingsworth on 08 Jun 12
     
    Good place to look for guidelines about use of media
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Is Music the Key to Success? - NYTimes.com - 61 views

www.nytimes.com/...-music-the-key-to-success.html music success Education Business
shared by Steven Szalaj on 13 Oct 13 - No Cached
  • Steven Szalaj on 13 Oct 13
     
    It is amazing the number of people who attribute their success to a significant background in music.  Granted, I am a music teacher, but there seems to be more and more articles/stories/studies that point to a correlation.  It is not a particularly causal relationship (that is really hard to prove), but there is definitely a relation.
1More

IMSLP/Petrucci Music Library: Free Public Domain Sheet Music - 11 views

imslp.org music education ufmue scores
shared by spdrmn7 on 15 Feb 19 - No Cached
  • spdrmn7 on 15 Feb 19
     
    Sheet music domain. Most music is free to print and easily accessible. Scores range from printed to handwritten and for several different instruments.
2More

Resisting Elephants Lurking in the Music Education Classroom - Thomas A. Regelski, 2014 - 2 views

journals.sagepub.com/...0027432114531798 world Music
shared by meghankelly492 on 08 Aug 19 - No Cached
  • An elephant in the room” refers to an obvious problem that remains unmentioned and is suffered silently. Music education has many such ‘elephants’ in its classrooms, and music teacher educators often seem resigned to working around them or worry about confronting them. Others are in collusion with these ‘elephants.’
  • This problem stems from the elephantine belief that a music educator must first and foremost be a good musician and that such training is sufficient to being a good teacher.
2More

High Tech- Low Budget Technology Options For The Music Classroom - MusicEdMagic.com - 78 views

www.musicedmagic.com/...s-for-the-music-classroom.html edtech technology digital links tools resources software hardware education music
shared by Tanya Hudson on 04 Dec 12 - No Cached
  • chadcriswell on 04 Dec 12
     
    A large and growing list of free or low cost software and hardware alternatives that music educators can use in their classrooms instead of the high priced commercial stuff.
  • Tanya Hudson on 06 Dec 12
     
    Huge compilation of links to technology for music teachers!
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Making iBooks in iBooks Author for Music Education: 7 bookry.com - YouTube - 23 views

www.youtube.com/watch iBookAuthor Tutorial YouTube Bookry widget
shared by Roland Gesthuizen on 14 Oct 13 - No Cached
  • Roland Gesthuizen on 14 Oct 13
     
    "I made this series of tutorial videos for my course "Technology in Music Education" at the Sydney Conservatorium of Music. "
1More

Classics for Kids - 81 views

classicsforkids.com classics education music classics for kids interactive listening history resources
shared by Jason Schmidt on 26 Oct 10 - Cached
  • Jason Schmidt on 26 Oct 10
     
    Great music education resource. Provides the opportunity to listen to classical music and gives excellent support materials.
1More

"Talking Up Music Education" Podcast | NAMM Foundation - 1 views

www.nammfoundation.org/...alking-music-education-podcast music theory; education ufmue
shared by spdrmn7 on 15 Feb 19 - No Cached
  • spdrmn7 on 15 Feb 19
     
    Great podcast for teachers looking for ideas and opportunities to share and utilize in the classroom or to build a sense of community regarding music in schools.
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