Book Announcement:
Values and Music Education
by Estelle R. Jorgensen
|
What values should form the foundation of music education? And once we decide on those values, how do we ensure we are acting on them?
In Values and Music Education, esteemed author Estelle R. Jorgensen explores how values apply to the practice of music education. We may declare values, but they can be hard to see in action. Jorgensen examines nine quartets of related values and offers readers a roadmap for thinking constructively and critically about the values they hold. In doing so, she takes a broad view of both music and education while drawing on a wide sweep of multidisciplinary literature. Not only does Jorgensen demonstrate an analytical and dialectical philosophical approach to examining values, but she also seeks to show how theoretical and practical issues are interconnected.
An important addition to the field of music education, Values and Music Education highlights values that have been forgotten or marginalized, underscores those that seem perennial, and illustrates how values can be double-edged swords.
|
|
|
Book Announcement:
Higher Music Education and the Surrounding World
edited by Sidsel Karlsen and Siw Graabræk Nielsen
|
Pleased to share this open access volume with you: "Higher music education and the surrounding world", with articles in Norwegian and English, published by CERM, the Norwegian Academy of Music, edited by Sidsel Karlsen and Siw Graabræk Nielsen.
|
|
|
International Association for the Study of Popular Music (IASPM) Canada Conference
Graduate Students Sought for Paid Work Opportunities
|
We are seeking Canadian graduate students interested in paid work opportunities during the IASPM-Canada conference, which will run June 10-12 and 15-17.
“Room monitors” x 4
Room monitors will provide support to presenters and session Chairs during virtual sessions. This will include assistance with Zoom technology (e.g., help sharing screens, muting audience members, admitting audience members, etc.). Room monitors may also be tasked with getting messages to the conference manager or local arrangements co-chairs if additional assistance is required. Stipend: $500 for approximately 25 hours of work + free conference registration.
Bloggers x 3
Bloggers will each write 1 or 2 blog posts for the IASPM-Canada website and social media channels about some aspect of the IASPM-Canada conference. Bloggers will negotiate with each other to limit repetition across blog posts. Stipend: $250 per blogger + free conference registration.
If you are interested in either or both of these jobs, please apply to heather_sparling@cbu.ca with a letter indicating:
- Which job you are interested in (you may apply for both);
- Any experiences relevant the job (e.g., tech support experience for room monitors, publishing experience for bloggers);
- The extent of your fluency in French and/or English;
- Your contact information;
- For the room monitor positions, your availability during the conference.
The deadline for applications is June 1.
Please note that you are encouraged to register for the conference prior to May 31 to take advantage of the early bird rate. If you are selected for a position, your registration fee will be refunded.
|
|
|
Electronic Journal of Music in Education (LEEME)
Challenges of Music Education in the Global South
|
Monograph 6th. (December 2021): Challenges of Music Education in the Global South.
The countries of the Global North have a certain political-economic stability, while the countries of the Global South have a lower level of socio-political development, leading to a lack of respect for the inalienable rights of the Universal Declaration of Human Rights. In this scenario, educational-musical research also has to overcome a series of socio-economic obstacles in order to be disseminated: the countries of the Global South do not have enough researcher-doctors, the universities of the Global North do not usually research phenomena that have taken place in the Global South, the publishers of the Global North tend to reject manuscripts from the Global South because they perceive the findings as not very novel, and the countries of the Global South insist on promoting colonialist music pedagogies due to the lack of access to up-to-date information. Therefore, we invite submissions that describe, question or deepen the educational-musical realities occurring in the Global South, with the aim of documenting what is lived in different latitudes, opening dialogues of brotherhood between the North and South Division.
Reception of works until: June 30, 2021. Only those documents sent through journal's site will be accepted.
|
|
|
Special Issue of Global Hip Hop Studies (GHHS)
"Knowledge Reigns Supreme"
|
Special Issue: ‘“Knowledge Reigns Supreme”: The Fifth Element in Hip Hop Culture’
Global Hip Hop Studies (GHHS) is a peer-reviewed, rigorous and community-responsive academic journal that publishes research on contemporary as well as historical issues and debates that surround hip hop music and culture around the world.
The Special Issue’s remit
Deejaying; emceeing; breaking; graffiti: these are commonly considered hip hop’s four core elements. While hip hop contains multiple elements beyond its core, many hip hop artists, activists and fans worldwide understand and recognize a ‘fifth element’ as knowledge. This naming practice shows us how hip hop communities understand the importance of the history, values and artistry of the culture beyond their own temporal-spatial borders. With roots in the Universal Zulu Nation in the 1970s (Chang 2005), hip hop’s fifth element includes aims of self-realization (‘knowledge of self’), empowerment and information about the history of the genre as well as its key practitioners (Gosa 2015; Alim, Haupt, Williams 2018).
The fifth element is somewhat elusive in terms of definition and systematic study because of its multimodal nature: knowledge manifests itself through live performances and cultural texts ripe for academic study, such as recordings, films, music videos and social media. Rappers often refer to metaphors of education, such as KRS-One as ‘The Teacha’, ‘backpack rappers’ and ‘schooling’ someone, in addition to emphasizing the importance of sharing hip hop histories and social messages. Knowledge also appears in educational practices, such as artist–scholar knowledge exchanges, (critical) hip hop pedagogy, and the very field of hip hop studies (Chetty and Turner 2018; Turner 2017; Emdin 2010; Lamont Hill 2009; Love 2019; Petchauer 2011; Söderman 2011; Snell and Söderman 2014). Rollefson demands that knowledge in hip hop must ‘be accessed through local knowledge and practice’ (2017: 233).
Until now, full recognition of the fifth element has faced two challenges. First, academic studies of the flows of hip hop knowledge are either absent or reserved for a small number of those working in education departments. Second, practitioners outside the academy often view hip hop scholarship and other institutionalized knowledge practices (often justifiably) with a certain level of scepticism. This Special Issue of Global Hip Hop Studies thus addresses questions about the role of knowledge in global hip hop culture: how is it mediated across other elements, social groups and cultural borders? How is knowledge passed on from one hip hop generation to another? What is the role of hip hop knowledge in educational institutions around the globe and how can it be used for the benefit of artists and the community? What can we as researchers, activists and artists learn from knowledge practices in global hip hop culture?
We invite contributions from a variety of disciplines, including musicology, pedagogy, cultural studies, ethnomusicology, visual studies, media studies, history, sociology and other relevant fields. We are particularly keen to bring artists and scholars together to co-produce new methods for hip hop education while welcoming a wide range of perspectives and definitions around the intentionally broad concept of hip hop’s fifth element.
|
|
|
Maryland Music Educators' Association (MMEA)
2021 July Virtual Conference
|
Twelve state Music Education Associations (MEAs) across the United States have partnered with Maryland MEA to host the 2021 Virtual Conference on July 13-15, 2021.
Have you registered yet?
- 72 hours of sessions spread across three days
- All sessions will be hosted live between 11:00 a.m. and 4:45 p.m. ET daily
- Recordings available to registered attendees for one year after the conference
- Professional Development Certificate valued at "15 contact hours."
The 2021 July Virtual Conference features a diverse array of breakout session presenters! View the schedule and register: http://bit.ly/JulyMusicEdConf
|
|
|
Cultural Diversity in Music Education (CDIME) Conference 2021
Solidarity and Exclusion
|
The Cultural Diversity in Music Education (CDIME) conference has provided a platform for the exchange of practices, experiences, research and philosophies on cultural diversity in music education (broadly conceived) since 1992. The conference is organized this year from South Africa, a country that has a long and public struggle with issues of cultural and social solidarity and exclusion.
Within these struggles, music has been recognized as a powerful way to foster a sense of solidarity or even social cohesion. For example, music can facilitate the formation of empathetic bonds within a group through closely coordinating the actions, breathing and heart rhythm of individuals (Koelsch, 2013). Through means such as these, people who music together can form strong bonds that may last a lifetime. However, such strong bonds may also allow the formation of boundaries that exclude or preclude social contact with those who are not part of the group (Corte & Edwards, 2008). Music educators who are interested in diversity face these issues on a larger or smaller scale within their classrooms, studios, schools, universities, education departments, and curricula. The 15th CDIME conference hopes to explore the processes, theories, tensions, difficulties, or possibilities of navigating solidarity and exclusion within in a music education that aims at cultural diversity.
We therefore invite proposals for papers, demonstrations, or musical performances that consider this topic broadly conceived, addressing issues of social cohesion or solidarity and/or social exclusion or proscription within music education. The conference welcomes submissions from a wide range of disciplines, and intersections between music education and other music disciplines such as (ethno)musicology, community music, music theory, music therapy, and performance studies are welcomed, as well as broader transdisciplinary perspectives drawing on disciplines such as philosophy, sociology, psychology, anthropology, politics or geography.
Conference plan
The global lockdowns have forced the reconsideration of many practices, and with limited travel conferences have also had to adapt. In the past, conferences have been in themselves forces of exclusion, with access granted to those with means to travel, creating exclusive spaces which propagate global inequalities and reinforce systemic bias. While this is mitigated by online conferences, the issues of scheduling a live online conference create significant logistical issues, as well as requiring large amounts of data and stable internet, which are not guaranteed in all parts of the world. For these reasons, CDIME will experiment this year in creating an asynchronous and distributed conference format. Accepted presenters will be asked to submit a video recording of their paper, demonstration or performance that will be posted in a central online space and distributed through social media channels during the months of October and November. It is hoped that discussion on these platforms will mimic the engagement that is such an essential aspect of in-person conferences. A handful of synchronous online discussions will also be held based on pre-defined topics drawn from the pool of submissions. Dates and times for these sessions will be confirmed closer to the time and communicated to all applicants.
Submission of proposals
Abstracts of papers (or proposals for demonstrations or for musical performances) of no more than 500 words, written in English, should be submitted to cdime-conference@nwu.ac.za before 15 June 2021. Proposals will be blind reviewed by two reviewers on the basis of quality, originality, engagement and relevance to the conference aim and theme. Accepted applicants will be notified in August and will be expected to submit their video recordings before 15 September.
The conference is free of charge, and applicants are encouraged to use the money they would have spent on conference fees on employing a videographer and/or editor, or paying towards such a service for another participant who may not have access. The organizing committee will be happy to put participants in contact with each other for this to take place.
References
Corte, U., & Edwards, B. (2008). White power music and the mobilization of racist social movements. Music and Arts in Action, 1(1), 4–20.
Koelsch, S. (2013). From social contact to social cohesion—The 7 Cs. Music and Medicine, 5(4), 204–209. https://doi.org/10.1177/1943862113508588
|
|
|
Visiting Lecturer in Music Education
University of North Texas
|
Position Summary
4/4 teaching load. Teach classes as assigned by the Chair of the Division of Music Education, such as elementary-general methods, introduction to music education, secondary methods, and/or music for elementary education majors. Assist with placement and supervision of student teachers. Contribute to the Division, College, and University through service as appropriate.
Minimum Qualifications
Doctorate in music education (candidates who have reached ABD status will be considered). Expertise as an elementary-general music educator. A minimum of 3 years teaching experience in the elementary-general music classroom.
Preferred Qualifications
Evidence of successful college teaching; evidence of potential to work with public and private school music teachers in settings such as guest clinics, professional music education conferences, and in-service workshops. Experience and expertise in one or more elementary-general music education methods is desirable (e.g., Orff, Kodály, Dalcroze, MLT).
Area of Specialty
Elementary-General Music Education
Special Instructions to Applicants
Submit a letter of application, curriculum vitae, link to a teaching video (elementary-general classroom setting is preferred) as Other Document, and contact information for three references to the online application system. Contact: Dr. Sean Powell, Chair of the Division of Music Education (sean.powell@unt.edu).
Quicklink for Applications
|
|
|
Assistant Teaching Professor in Music Education (Bassoon/Band) Montana State University School of Music
The School of Music seeks qualified individuals to provide non-tenurable, in-person instruction in music education and applied music (bassoon) and directing a lower division band.
Duties and Responsibilities
Music Education/Bassoon/University Band:
Teach academic courses in music education
Teach the applied bassoon studio, consisting of both music and non-music majors
Direct the University Band
Teaching on-campus
Advising, evaluating and assisting students
Curriculum and/or course development
Other responsibilities that vary with the instructional needs of the school
Required Qualifications – Experience, Education, Knowledge & Skills
Master's degree in music education, Master's degree in bassoon performance, or Master's degree in wind band conducting
Minimum of 3 years as a K-12 public music educator
Bassoon Performance experience and/or graduate study on bassoon
Successful studio teaching experience
Experience or potential as a college-level music instructor
Preferred Qualifications – Experience, Education, Knowledge & Skills
Doctorate or ABD in Music Education, Bassoon Performance or Band conducting.
Successful teaching experience at the college level.
Successful teaching experience in bassoon at the college level.
Successful band conducting at the college level.
Desired Start Date
August 1, 2021
Screening of applications will begin on 06/01/2021; however, applications will continue to be accepted until an adequate applicant pool has been established.
Special Instructions
A cover letter of application that describes your experience in the areas of Music Education, Bassoon, Conducting, as well as addressing how you meet the required and preferred qualifications;
A curriculum vitae or professional resume identifying relevant experience, and
A list of the three current academic or professional references (please list in the Professional References section of the online application).
For applications and further details visit here.
|
|
|
Assistant Teaching Professor (Vocal Coaching/Collaborative Piano) University of Missouri, Kansas City |
JOB DESCRIPTION:
Responsibilities will vary, based on the needs of the Vocal Studies Area and the expertise of the successful candidate, including: applied lesson vocal coaching, opera coaching, accompanying graduate level voice recitals (DMA, MM, Artist Certificate, Performers Certificate), teaching undergraduate-level courses in vocal diction (German, French, Italian) and graduate-level courses in vocal literature (German, French, American/British), musical preparation/conducting for opera scenes/chamber operas; coaching students in their collaborative piano activities; contribute to the enhancement of all facets of the Performance Division; collaborate musically and artistically, both within and outside of the university; contribute to the performance, academic, and service environments characteristic of a Conservatory within a university; enrich the cultural and civic environment of the diverse Kansas City metropolitan community.
QUALIFICATIONS:
Demonstrated successful experience as a vocal coach/collaborative pianist in a university and/or professional opera setting; record of professional activity as a vocal coach/collaborative pianist at a regional level; comprehensive knowledge across all genres and styles of vocal repertoire; working knowledge of all primary singing languages and proficiency in IPA instruction, vocal diction and vocal literature; master’s degree in collaborative piano or piano performance required, DMA in Collaborative Piano or commensurate experience preferred; experience with operatic conducting desirable.
DATE OF APPOINTMENT: September 1, 2021
APPLICATION MATERIALS TO BE SUBMITTED ONLINE: Application form, application letter and curriculum vitae including educational background, previous academic appointments and artistic credentials. See position posting at UMKC Human Resources website:
Use search keywords "vocal coach."
REVIEW OF APPLICATIONS: Review of application materials will begin June 4th, 2021, and will continue until the position is filled.
|
|
|
Lecturer and Associate Director of Bands
University of Georgia
|
The Hugh Hodgson School of Music at the University of Georgia (UGA) seeks an experienced artist teacher for a limited-term appointment as lecturer and associate director of bands wherein they will conduct the Wind Symphony, teach conducting and/or related courses, and contribute broadly to a large, comprehensive university band program. This is a full-time (9-month), benefits-eligible, non-tenure- track appointment expected to conclude after one academic year.
Start Date: August 1, 2021.
Responsibilities
- Serve as conductor/instructor and artistic director of one of the three auditioned wind bands, with potential for additional conducting opportunities.
- Engage in outreach and recruitment activities on campus and throughout the region.
- Teach courses in conducting.
- Teach courses in wind ensemble literature and pedagogy.
- Mentor graduate and undergraduate students as appropriate.
- Collaborate with other band faculty in administration of the band area including its middle school (December) and high school (January) outreach events.
- Other duties as assigned.
Qualifications:
- A terminal degree in conducting (e.g., DMA). Candidates with a master’s degree in conducting may be considered with documentation of exceptional professional expertise and accomplishment. Candidates without a terminal degree must be approved by the university for an exception before hire.
- Evident commitment to diversity, inclusion, and anti-racism
- Prior teaching experience: 1) Minimum of one year of university teaching in conducting, and/or 2) Minimum two years’ experience teaching bands at the secondary level.
- Expertise and ability to teach in additional areas.
- Demonstrated excellence in performance.
- Record of creativity in concert programming and/or performance projects.
- Enthusiasm for working collaboratively with administration, faculty, staff, students, and other community members.
- Other qualities such as curiosity, flexibility, and empathy that add value to a dynamic music institution, contribute to the preparation of students for 21st-century careers, and enable the candidate’s leadership of relevant artistic projects in a community known for its music and arts culture.
- Currently legally eligible to work in the United States.
To apply:
Application materials should include a CV, Cover Letter, an unofficial transcript of the highest degree earned, and link(s) to 15 minutes of video consisting of performance and rehearsal footage. Application documents must be uploaded to the UGAJobs link (https://www.ugajobsearch.com/postings/198836) with search committee reviews beginning June 25, 2021.To ensure full consideration, please apply by June 25. Additional materials, including reference letters, will be requested of finalists. Questions about the application process can be directed at Edith Hollander (somadmin@uga.edu or 706-542-2701); questions about the position can be directed at Dr. James Naigus (naigus@uga.edu).
|
|
|
Lecturer in Music and Music Education
University of Wolverhampton
|
The School of Performing Arts at the University of Wolverhampton is seeking to make a number of key appointments to support delivery of its newly-validated suite of music courses.
Applications are invited from suitably qualified candidates for the post of lecturer in music and music education.
The school is seeking to appoint an excellent lecturer with proven experience of higher education teaching to undergraduate and postgraduate degree levels in a range of areas in music. You will have significant evidence of professional practice in the field, with a specific focus on working in a range of educational contexts.
The ability to deliver specialist modules in any of the following is desirable: music pedagogy, performance, composition, contextual studies. You will ideally have experience of supporting students through teaching placements. An ability to lead ensemble and choral work and accompany student recital performances would also be desirable.
You will have a passion for the subject and possess an enthusiasm that inspires confidence from students and builds rapport with University colleagues and external clients.
For an informal discussion regarding this post please contact Helen Rudge, Deputy Head of the School of Performing Arts: h.rudge@wlv.ac.uk
For further details and applications visit here.
|
|
|
Lecturer in Music Education
University of Reading
|
The University of Reading is pleased to invite applications for the post of Lecturer in Secondary Music Education.
You will manage, teach and develop Subject Specialism and Curriculum Music across our Secondary Music ITE programmes and contribute to music education teaching across a range of undergraduate and postgraduate programmes. You will supervise School Direct Music trainees on school experience, contribute to programme recruitment and interviewing activities, act as a Personal Tutor to undergraduate students and supervise undergraduate dissertations and, where appropriate, postgraduate dissertations.
Essential skills required are:
• Undergraduate degree in Music (any specialism) essential, with Master’s degree in Music (any specialism) or Education preferred.
• Professional experience of teaching with Music Technology to secondary students.
• UK Qualified teacher status, and at least 5 years teaching experience teaching Music in Secondary School, including KS3, GCSE and A level or BTEC Music.
• Professional experience mentoring trainee and early career teachers
Interviews w/c 28th June 2021
For further details and applications visit here.
|
|
|
|
|
|
|
|
