MayDay Group Colloquium 33: Technology and Digital Media
Social Media for Good or Evil in Music Learning and Teaching
University of Windsor, Canada, June 8th-11th, 2022
Proposal deadline in one month!
|
The MayDay Group invites scholars, music makers, educators, and innovators from around the globe to submit proposals to this year’s colloquium centered on the following action ideal:
Technology & Digital Media
We critically examine ways in which humans and technologies interact, and how these interactions contribute to the development and/or destruction of forms of musical knowledge and practice.
Technologies evolve within socio-cultural contexts as responses to shifting needs and modes of encounters among humans and their surrounding environments. The use of technologies alters the very ways in which we interact, communicate, and make meaning of our world—transforming individual and collective perceptions of knowledge, truth, and justice. Yet, surrounding the creation, introduction, manipulation, and use of each technological tool is an ideological bias with the potential to induce benefits and harms. Implementation of existing and emergent technologies must be balanced with ongoing critique of the commodification of musics, teaching, and learning; inequitable distribution of and access to technological resources; and concerns about corporate power and overreach.
The MDG encourages submissions that engage within and beyond the colloquium call. To view the full Call for Proposals, please visit the MDG Colloquium 33 website.
|
|
|
Book Announcement
Music, Leisure, Education: Historical and Philosophical Perspectives
by Roger Mantie
|
This book explores historical and philosophical connections between music, leisure, and education. Specifically, it considers how music learning, teaching, and participation can be reconceptualized in terms of leisure. Taking as its starting point "the art of living" and the ethical question of how one should live, the book engages a wide range of scholarship to problematize the place of non-professional music-making in historical and contemporary (Western) conceptions of the good life and the common good.
|
|
|
Book Announcement
Rethinking Music Education and Social Change
by Alexandra Kertz-Welzel
|
The arts, and particularly music, are well-known agents for social change. They can empower, transform, or question. They can be a mirror of society's current state and a means of transformation. They are often the last refuge when all attempts at social change have failed. But are the arts able to live up to these expectations? Can music education cause social change?
Rethinking Music Education and Social Change offers timely answers to these questions. It presents an imaginative, yet critical approach. At once optimistic and realistic, the book asseses music education's relation to social change and offers a new vision for music education as utopian theory and practice. As an important topic in sociology and political science, utopia offers a new tradition of thinking and a scholarly foundation for music education's relation to social change.
|
|
|
International Society for Music Education (ISME)
35th ISME World Conference now virtual
|
Dear Members of the International Society for Music Education, ISME,
Receive warm greetings from me and the ISME Board trusting that it is well with you. Allow me to start with an appreciation of the number of submissions we have received for the 2022 conference targeting the performances, conference and pre-conference seminar presentations. It is encouraging to see the commitment and resilience that the number and countries of origin of these submissions represent. Congratulations to all who managed to squeeze in time to generate the works that yielded the reports that are contained in the submissions. It is on this note that the Board Executive finds it prudent to confirm matters related to the conference.
Just under two years ago, when Covid-19 struck, ISME was forced to cancel a conference that was ready to go. With the hope that the world would have returned to normality, we embarked on preparing for Brisbane 2022. Unfortunately, the level of normality needed to ensure that we can stage a face-to-face conference with confidence and certainty in 2022 continues to elude us.
The confirmation of the conference being virtual is entirely COVID related and includes consideration of health concerns, the ability or willingness of members to travel, access to travel insurance and the potential continued disruption of travel due to further COVID outbreaks and the impact of lockdowns or other means to control any those outbreaks that governments might choose to apply.
Most importantly is the issue of equity and accessibility as not all countries have the same access to vaccines, which means a face-to-face conference would likely only be accessible for the vaccine-privileged.
By making this decision now we are able to put all our efforts into producing the best possible virtual event that we can while at the same time providing members with certainty prior to opening up the conference registrations.
I therefore write to formally advise the ISME membership that:
-
The 35th ISME World Conference will be held virtually
- The World Conference dates of July 17-22 remain as planned
- The Commission pre-conference seminars will also be held virtually in the days preceding the world conference
- Both the conference and pre-conference seminars will offer all the professional development spaces and activities that members find in the regular face-to-face conferences
- The scheduling of sessions will ensure that all members have access to synchronous content during sociable hours each day of the conference
- This decision also allows ISME to meet the professional needs of its members through fully recognised presentations, proceedings and, albeit in a different format, the opportunity to network with others across the entire global ISME membership
- The move to virtual presentation format does not impact your submission or the current review process and that the modalities for access, presentation etc shall be communicated to members over the next couple of months
The next few weeks are going to be a busy time for the ISME office and the Conference Organising Committee as we work hand in hand with the conferencing service provider on the modalities of the conference. It will all be available to members prior to the opening of conference registration in mid to late January.
With this, dear colleagues, I wish to assure you that, though disappointed that we cannot meet face-to-face, we are encouraged by the resilient spirit of the human being that has seen us, collectively, learn how to manage our affairs in the circumstances that COVID-19 unleashed on us. We have heard stories from all over the world of individuals making the best of their rather bad situations, and we are convinced that we can build a positive and memorable event together in 2022. One of the opportunities I wish to celebrate from an online event is the possibility of meeting and engaging colleagues from across the globe. I believe we shall also be able to add some activities that we might not normally be able to do due to costs or physical limitations. But one key factor remains the need to maximise access and build on the principles of equity that we, as a society, espouse, and that is core to our Strategic Plan as well as Biennium theme.
I request you, therefore, to make time to consider this situation, with hope that we shall be able to achieve our objectives within the context that is being created.
I look forward to engaging with members in the immediate future as we roll out the various plans for facilitating the online conference.
Thank you,
Professor Emily Achieng Akuno
President
International Society for Music Education- ISME
|
|
|
Book Announcement
Music Schools: Best Teaching Practices in Primary and Secondary Schools that Educate Through Music
Edited by José Luis Aróstegui, Gabriel Rusinek and Antonio Fernández-Jiménez
|
Title: Escuelas musicales. Buenas prácticas docentes en centros de Primaria y Secundaria que educan a través de la música
Authors: José Luis Aróstegui, Gabriel Rusinek, Catharina Christophersen, Patrick Schmidt, Albert Casals, Laia Viladot, Antonio Fernández-Jiménez, Alfonso Elorriaga, Cristina González-Martín, Assumpta Valls, José Luis Guerrero, y Albina Cuadrado.
Music has been part of compulsory schooling since the beginning of modern education in the 19th century. However, training for an economy based on the production of industrial goods, as it was then, is not the same as training for an economy based on the production and distribution of knowledge, as it is today. Nor is it the same to train within a context of nation states as it is to live in a global world where these states are diluted in macro-structures that encompass them and where being a national citizen coexists with a global citizenship of a digital and cosmopolitan nature.
In view of these changes, we wonder what has happened to school music education. Based on empirical data that such changes have not yet brought about a radical change in music teaching in schools, this book aims to discover, through seven case studies carried out in Spanish schools and institutes, what could be the place of music in the school, so that it can respond to the new educational, social, economic and cultural demands of our time. The answer is found in the schools themselves which, for one reason or another, can be considered examples of "good teaching practices" in music education, that is, which educate from and for music.
|
|
|
New Directions Conference 2023
Play in Music Education Across the Lifespan
Save the Date!
|
|
|
International Association for the Study of Popular Music (IASPM) Canada Conference 2022
Deadline Extended!
|
Starting Over? Popular Music and Working in Music in a Post-Pandemic World.
University of Western Ontario, London, Ontario, Canada
May 22-25, 2022
Update: In early November 2021, London, ON was designated as a UNESCO City of Music, the first city in Canada to receive this designation. Now with access to UNESCO’S Creative Cities Network, London will have exciting new opportunities for development in the city’s musical life. In light of this exciting new development, the Local Arrangements Committee for this year’s conference will be working closely with the London Music Office and the city’s appointed Music Industry Development Officer. This partnership will connect the academic part of the conference to the musical life of the city and showcase London’s lively music scene. The conference’s connection to this City of Music now opens doors for increased programming and events at the conference, potentially including local musician showcases and performances, additional public-facing panels and presentations, and networking opportunities for both scholars and musicians. The Local Arrangements Committee looks forward to working with the City of London to welcome participants to London, ON, a UNESCO City of Music.
IASPM-Canada and the Working in Music research network (WIM) invite abstracts for their joint 2022 conference, to be held at the University of Western Ontario, in London, Ontario, Canada.
The IASPM/WIM 2022 joint conference welcomes scholarly research from all disciplines that engages with the changing contexts of musical practice experience—music making, the circulation of music, musical pedagogy and fandom, music and social movements, and various other dimensions of musical engagement—playing, dancing, streaming, listening.
For more than a year, the global pandemic has highlighted and accelerated the destabilization of practices and institutions of music making and partaking. The enforced hiatus from many aspects of public life offers a chance to evaluate music practices. Which have continued? Which ones will resume? Which ones may not return, at least not as they were?
While we welcome papers on any aspects of popular music, we encourage papers that align with the conference subthemes.
The Impact of the Global Pandemic and Reopening
The pandemic-driven global recession and states’ preferential delivery of economic relief to major corporations have produced a “K-shaped recovery” with wildly divergent outcomes: record-breaking profits in some sectors and regions, recession and even depression in others.
For example, platform capitalism and its playlist-based systems of music circulation and changing habits and preferences of music audiences—not to mention competition from “spoken word” podcasts—have continued to transform markets for recorded music. Covid-19 has devastated touring circuits and venues of all kinds. Music teachers offer lessons remotely, performers and orchestras produce concerts especially for home audition by internet video users, and while record stores are shut, pressing plants operate under massive backlogs.
Pause and Resumption in Popular Music
We also welcome proposals that explore other aspects of resumption in relation to music. Music careers of all kinds are marked by hiatus and returns – the “comeback” is a common feature of many artists’ biographies. Likewise, the histories of musical styles are not necessarily continuous, and there are numerous examples of revival of musical styles, or even recovery of lost traditions within popular music.
Proposals might also approach the long and rich history of breaks, pauses and returns as formal musical elements. Such elements may be used for dramatic effect in a song, or may have been in a vinyl album, by the need to flip the record. Comeback or starting over also appears as a thematic or lyrical element in any number of songs and albums.
Working in Music
Following Ruth Finnegan, it is possible to say that one of the noticeable aspects of musical work is that it is often hidden. The hours that are taken to master an instrument are hidden from the public, the musicians who make recordings and perform live are often hidden behind the “stars”, the ways musicians find work and work with other musicians and music intermediaries are often hidden, and the vast majority of working musicians remain anonymous. Meanwhile those working behind the scenes in areas such as publishing, live music, artists’ management and recording largely remain similarly unknown as well as the ways they make music and musical careers happen. But music only happens because work is put in. It is this context that we invite panels and papers to this subtheme which address working in music, pre- or post-pandemic, as distinctive social practices.
We can announce that Dr. William Cheng is the keynote speaker for the conference. Dr. Cheng is Associate Professor of Music at Dartmouth College, a musicologist and classical music performer who has published across an unusually wide range of music research. His most recent book, Loving Music Till It Hurts takes what Richard Taruskin called the “musical mystique” as point of departure for a series of case studies examining how moral discourses of music interact consequentially with other authoritative discourses, such as ability, gender, race, and class. Please take a look at his website for further information: https://willxcheng.com/
Submission Guidelines:
Abstracts of individual papers, workshops, performances and other presentations should be no longer than 300 words. The program committee is especially interested in proposals in diverse formats. Panel submissions should include a title and abstract for the panel (300 words max.) as well as titles and abstracts for the individual papers on the panel. All abstracts for a panel should be submitted together. Abstracts will be adjudicated individually, so it is possible for a panel to be accepted but not an individual paper and vice versa. Each abstract should also include a short biography of the author (100 words max.) including the institutional affiliation, if any, and email address of each author. Each abstract should also include five keywords. Submissions in French and English are acceptable. Proposals will be blind reviewed.
Proposals are due on or before January 16, 2022 (DEADLINE EXTENDED). PLEASE NOTE: All participants must be members of IASPM at the time of the conference. Information on IASPM Canada membership information is available on the following website: https://www.iaspm.ca/signup .
Presentation Logistics:
Papers will be limited to 20 minutes followed by 10 minutes of questions. Panels will be limited to a maximum of 4 papers. Other presentations (workshops, film screenings, roundtables, etc.) will generally be limited to 60 minutes, but alternatives can be discussed/proposed.
For questions about the conference, please contact the Program Committee Chair, Richard Sutherland (rfsutherland@mtroyal.ca), or Local Organizing Chair, Matt Stahl (mstahl@uwo.ca).
Program Committee Members:
Olufunmilayo Arewa, Temple University (WIM)
Pierre Bataille, Université Grenoble-Alpes (WIM)
Vanessa Blais-Tremblay, Université de Québec à Montréal (IASPM CA)
Maxim Bonin, Université de Québec à Montréal (IASPM CA)
Alexandra Boutros, Wilfrid Laurier University (IASPM CA)
Marie Buscatto, Université Paris 1 Panthéon Sorbonne, IDHE.S (WIM)
Francesca D’Amico-Cuthbert, University of Toronto (IASPM CA)
Athena Elafros, University of Lethbridge (IASPM CA)
Charity Marsh, University of Regina (IASPM CA)
Méi-Ra St-Laurent, Concordia University (IASPM CA)
Richard Sutherland (Chair), Mount Royal University (IASPM CA)
|
|
|
Decolonizing East Asia in Music Research and Pedagogy AMS/SMT/SEM 2022 |
The AMS Global East Asian Music Research study group, SMT Global Interculturalism and Global Peripheries interest group, SEM Association for Chinese Music Research, SEM Association for Korean Music Research, and SEM Japanese Performing Arts special interest group jointly present the Decolonizing East Asia in Music Research and Pedagogy symposium, to be held at the mega joint conference of AMS/SMT/SEM in 2022. This is an opportunity for us to come together to interrogate and decolonize the research, practices, and pedagogy of musical East Asia. All research methodologies are welcomed, whether historical, historiographical, anthropological, music-theoretical, philosophical, critical (feminist, queer, trans, critical race, and disability theory), or otherwise, as well as various pedagogical approaches. All genres of music are included, as long as they are part of the soundscape of East Asian communities, minorities, and diasporas. Informed mutual critique between musicologists, ethnomusicologists, and theorists is welcomed. Papers will be presented during the AMS Global East Asian Music Research study group panel and business meeting, and during the business meetings of the SMT Global Interculturalism and Global Peripheries interest group and SEM Association for Chinese Music Research (there may also be a Thurs morning pre-conference held under the aegis of AMS). Please submit abstracts of not more than 250 words to Gavin Lee (gavinsklee@gmail.com) by Mar 1, 2022. These abstracts will be reviewed by an independent symposium program committee comprising representatives from all 5 of the participating study groups. The program committee comprises Kunio Hara (chair), Bess Liu, Ji Yeon Li, Yang Shuo, Stephanie Choi, and Justin Hunter.
Some of the 5 participating AMS, SMT, and SEM study groups may also have an independent process for soliciting abstracts to be submitted directly to the AMS, SMT, and SEM program committees; the submission process (different from above) will be announced independently by the various study groups. If accepted, these papers or panels will be advertised alongside the symposium panels.
Topics may include but are not limited to the following:
Possible topics in decolonial practices:
Music, protest, and settler colonization
Music, labor strikes, and anti-capitalist protests
Problems associated with government funding of traditional musics
Music and Chinese and Japanese (neo)imperialisms
Issues related to minority musics in relation to hegemonic social groups
Decolonizing hegemonic groups’s research into minority musics
Musics in Cold War context, de-Cold War
Music and East Asian minorities outside East Asia
Relations of East Asian musical diasporas to East Asia
Possible topics in decolonizing music research and education:
Issues related to acquiring East Asian language and musicals skills by non-native researchers
Issues related to limited coverage of East Asian musics in English and European-language publications
Issues related to the construction of East Asian musics; relation between traditional, popular, symphonic, and avant-garde musics
Issues related to the historical Eurocentric concepts of music, tradition and modernity
The role of East Asian musics in decolonizing US music theory and US musicology
Decolonizing music education in East Asia
|
|
|
The Journal of Music Research Online |
The Journal of Music Research Online (JMRO) is a freely accessible, peer-reviewed journal for the publication of scholarly research in music published by The University of Adelaide. It has a distinguished international editorial board, a broad scope of music research and only publishes research which is of the highest international standard.
JMRO offers authors:
- short submission to publication time,
- no page limits,
- the inclusion of audio and video samples, high quality images and music scores where those items enhance the presentation of the research,
- publication of articles as soon as they are ready.
JMRO is now calling for English language articles of the highest international scholarly standards in areas including, but not limited to, Composition, Early Music, Ethnomusicology, Gender Studies in Music, Interdisciplinary Studies in Music, Music Education, Music Technologies, Musicology, Music Theory and Analysis, Performance Practice, Popular Music and Opera, Ludomusicology. Articles in other areas considered to be appropriate by the managing editor will also be published. JMRO also welcomes submissions of film and video documentaries (such as field-based ethnomusicological explorations) or other forms of media, which meet the standards of online publication of music research.
Visit JMRO jmro.org.au to see the high quality papers and the wide range of topics covered in the papers published to date.
JMRO is published by the University of Adelaide, adelaide.edu.au.
For further information contact Jula Szuster, Managing Editor, JMRO.
|
|
|
4th Symposium of the LGBTQ+ Music Study Group
|
Queer, Care, Futures
4th Symposium of the LGBTQ+ Music Study Group
22nd - 24th April 2022
mdw - University of Music and Performing Arts Vienna
Hybrid Event
Following a pause in our in-person events, the LGBTQ+ Music Study Group is excited to announce its 4th symposium, to be held (as a hybrid event) from 22nd to 24th April at mdw – University of Music and Performing Arts Vienna. This event will be a chance for us to take stock of the drastic changes in the world since our last symposium. We may also want to use this opportunity to cautiously imagine new futures, while addressing the rise in transphobia, biphobia and homophobia. At the very least, we hope that this event can enable new forms of reciprocity and solidarity, performing radical care for our communities as we adapt to the COVID-19 crisis. We hereby invite proposals for individual 20-minute presentations, lecture-recitals, shorter provocations, organised 60-minute panels and roundtable discussions, which investigate any aspect of LGBTQ+ music and music studies, including ethnomusicology, historical musicology, popular music studies, music sociology, performance studies, theory and analysis, music pedagogy etc.. Perhaps you would like to attend to the themes below:
· The impact of COVID-19 on queer music making and queer theory
· Queer mentoring in music
· Decolonising research methodologies
· Community engagement and applied research
· Queer pedagogies
· Care work and exhaustion in academia
· Mental health in the music industries and academia
· Music and HIV/AIDS
· New intersections of power and discrimination in the COVID-19 era
Please submit an abstract (250 words for individual presentations, lecture-recitals and provocations; up to 500 words for panels and roundtables) and a short bio (50 words per presenter) to lgbtqmusicsg@gmail.com by 7th January 2022. Non-presenting participants are also welcome. There will be a registration fee for all participants to cover costs.
Thomas R. Hilder
Associate Professor
Department of Music
Norwegian University of Science and Technology (NTNU)
|
|
|
Special Issue of Developmental Science
Music in Development
|
Infants and children are precocious listeners: they are fascinated by their auditory environment, skilled at decoding music and other sounds into meaningful components, and motivated to engage musically with other humans. Developmental Science is inviting papers for submission to a Special Issue focusing on the "how" and "why" of music in development, in terms of the roles and impacts of music in auditory development, the functions of music in higher-level cognitive processes, and developmental changes in music perception during infancy and across childhood.
We are most interested in papers that:
(1) focus on understudied populations, such as neonates, cross-cultural samples, citizen scientists, people with developmental disabilities, etc;
(2) use advanced quantitative methods, such as computational modeling, music information retrieval, machine listening, etc;
(3) already have or eventually could have translational applications, such as music therapy or music-as-medicine;
(4) clarify or uncover mechanisms of music perception, including (but not limited to) genetic or neuroimaging studies and cross-species work; and/or
(5) creatively revisit existing data and/or re-interpret/re-analyse prior findings in a new light.
Other research under the umbrella of music and audition is also very welcome, but please note that all submissions must report new data or new analyses (including ethnographic reports and meta-scientific studies), as theory/review articles will not be considered.
Authors interested in submitting a manuscript should send a pre-submission inquiry via email to both Special Issue Editors, with the subject line "pre-submission inquiry for DevSci Special Issue on Music" including a tentative abstract, title and author list, and a one-paragraph cover note summarizing the topic, sample, methodology, and any relevant information about its potential fit to the Special Issue.
Timeline:
01 Feb 2022: Pre-submission inquiries due (but may be submitted at any time before this date). 15 Feb 2022: Invitations for full manuscript submissions sent.
01 May 2022: Complete manuscripts due via Developmental Science's ordinary Manuscript Central portal.
Late 2022/Early 2023: All articles published.
All invited manuscripts will undergo the standard peer-review process. An invitation to submit a manuscript will not imply eventual acceptance of the manuscript. Authors unsure of the fit of their research to this call for papers are welcome to contact the Special Issue Editors informally to discuss a potential submission. We hope to maximize the breadth of topics and methods in the Special Issue and so we welcome inquiries from anyone who might not typically submit their research to Developmental Science.
|
|
|
The American Education Research Association (AERA)
Music Education Special Interest Group Awards
|
Outstanding Graduate Paper in Music Education
The Outstanding Graduate Paper in Music Education Award recognizes an outstanding music education paper presented by a graduate student at the AERA annual meeting. Researchers submitting papers based on their dissertations should apply for this award, even if this submission occurs after the degree has been conferred upon the researcher. The Outstanding Graduate Paper Award in Music Education may be awarded annually. A certificate will be presented to the winner at the Music Education SIG business meeting. The Outstanding Graduate Paper Award winner will also receive a $200 travel reimbursement stipend.
Criteria To be eligible for the Outstanding Graduate Paper Award in Music Education, a researcher must (a) have a paper accepted for presentation by the Music Education SIG at the AERA annual meeting, (b) submit a sole-authored paper, and (c) either be a graduate student or a researcher submitting a paper based on his/her dissertation. Then, the author must submit a final paper (@20-25 pages), which presents the results of a disciplined analysis of data with theory/theoretical framework and advances the cumulative knowledge in the field. Finally, the researcher must register for and present that paper at the annual meeting.
Application Process Applications for the award will include: (a) the final paper, (b) abstract, and (c) a cover letter e-mailed to the Awards Committee Chairperson by January 12, 2022. This final paper must be of journal submission quality in size and substance. The cover letter must include the following information: a statement that the paper is a submission for the Outstanding Graduate Paper in Music Education Award, the nominee’s name, institutional affiliation, mailing address, phone number, and e-mail address.
Please send all submissions to Andrea VanDeusen, AERA Music Education SIG Program Chair at vandeusena17@ecu.edu.
Outstanding Early Career Paper in Music Education
The Outstanding Early Career Paper in Music Education Award recognizes an outstanding music education paper presented at the AERA annual meeting by an early career music education researcher. The completed paper is the basis for the final determination for the award. The Outstanding Early Career Paper Award in Music Education may be awarded annually. A certificate will be presented to the winner at the Music Education SIG business meeting. The Outstanding Early Career Paper Award winner will also receive a $200 travel reimbursement stipend.
Criteria To be eligible for the Outstanding Early Career Paper Award in Music Education, a researcher must (a) have a paper accepted for presentation by the Music Education SIG at the AERA annual meeting, (b) submit a sole-authored paper, and (c) have received a doctorate or other terminal degree within the past six years. Then, the author must submit a final paper (@20-25 pages), which presents the results of a disciplined analysis of data with theory/theoretical framework and advances the cumulative knowledge in the field. Finally, the researcher must register for and present that paper at the annual meeting.
Application Process Applications for the award will include: (a) final paper, (b) abstract, (c) proof that the researcher was awarded a doctoral degree within six years preceding the application (such as a pdf of the signature page from a dissertation, a downloaded pdf of their dissertation from Proquest, or a transcript from the institution), and (d) a cover letter e-mailed to the Chair by January 12, 2022. This final paper must be of journal submission quality in size and substance. The cover letter must include the following information: a statement that the paper is a submission for the Outstanding Early Career Paper in Music Education Award; the nominee’s name, institutional affiliation, mailing address, phone number, and e-mail address; and a statement indicating the form of proof that the researcher was awarded a doctoral degree within six years of the application that is attached to the application.
Please send all submissions to Andrea VanDeusen, AERA Music Education SIG Program Chair at vandeusena17@ecu.edu.
Distinguished Contributions in Music Education Award
Please consider nominating a music teacher educator (self-nominations accepted) for the Distinguished Contributions to Music Education Award.
The Distinguished Contributions to Music Education Award recognizes individuals who, over a significant number of years, have been exceptionally productive scholars in music education. This important award is given every other year, on odd years, and provides an opportunity to acknowledge the extraordinary achievements of Music Education researchers. Awards will only be given when the nominations received are of high quality and meet the stated criteria. Eligible nominators include all members of the AERA Music Education SIG.
Criteria To be eligible for the Distinguished Contributions to Music Education Award, the nominee should have (a) evidence of significant contribution to the field of research in the profession; (b) existence of a body of work spanning 10 years or more, (c) evidence of service to the research community (editorial boards, reviewer, discussant, conference organizer, contributions to the growth of new researchers, such as mentoring, teaching, co-author/ co- presenter with students and/or new faculty members (0-6 years as a teacher educator); (d) ability to communicate in effective ways with those who would benefit from the research findings (evidence of nonresearch seminars, essays, panels, invited presentations).
Application Process
Please submit electronically as separate documents (PDF files) the following to the Awards Committee Chairperson at vandeusena17@ecu.edu by January 12, 2022. Please use the email subject line: Distinguished Contributions to Music Education Award. (A) Two letters of nomination detailing the contributions of the nominee (B) Nominee’s curriculum vitae Committee members will evaluate each candidate on the criteria stated above (research, presentations, and service).
An AERA plaque will be presented to the winner of this award at the Music Education SIG business meeting and he or she may be asked to speak at the business meeting, as the keynote speaker or in addition to the keynote speaker.
Reminder: Deadline for all submissions is January 12, 2022
|
|
|
Indigenous Scholars & Black Scholars
Multiple Faculty Positions Open to all Faculties
Western University
|
Western University has recently announced two targeted cluster hires aiming to increase the opportunities for equity-seeking candidates as faculty members at the institution. To this end nine (9) positions were just announced for the hiring of 5 black scholars and 4 indigenous scholars (tenure-track or tenured) across the university.
The Don Wright Faculty of Music and the department of music education would certainly be interested and welcome applications of candidates with such profiles. Applications are now open and review of materials will start on January 6th, 2022. For more information, please see the complete job ad in the hyperlinks below.
|
|
|
Associate Professor of the Practice - Music Education (Band)
University of Kansas School of Music
|
The University of Kansas School of Music seeks to fill a full-time, academic year (nine month), non-tenure-track scholar/practitioner to teach music education courses in an Associate Professor of the Practice capacity beginning on August 18, 2022. The successful candidate will be surrounded by colleagues who share your passion for artistic expression and educating students, creating professional opportunities in the field, and are eager to create new ways for engagement in learning. All ranks of Professor of the Practice positions are appointed for up to an initial three-year period with an opportunity for extension/renewal after a comprehensive review.
Qualifications:
Required Qualifications:
- Master’s degree in Music Education
- Significant professional experience in contemporary music education practices and/or instruction as reflected in work history, interview, and references.
- Three years of successful experience teaching instrumental music in Pre-K, elementary, or secondary schools.
Preferred Qualifications:
- Doctorate or ABD in Music Education to be completed no later than May 15, 2023.
- Successful college teaching of instrumental coursework
- Published research in refereed journals, and experience working with music educators.
- Strong interpersonal skills
Position Expectations:
Teaching (75%):
- Teach seven courses in instrumental (band) music education and related fields over the academic year period. Teaching load will not exceed four courses for a one-semester period.
- Advise undergraduate students; supervise student teachers; participate in graduate committees.
Service (25%):
- Work cooperatively in support of the School of Music and the University, including service on graduate and faculty committees.
- Collaborate with other members of the faculty.
- Participate actively in the cultural and intellectual life of the School and the University.
Applications Must Include:
- cover letter describing your teaching experience and philosophy, professional experience, and research/creative work, and a URL to a brief video demonstrating your teaching skills,
- Curriculum Vita,
- Evidence of teaching effectiveness,
- List of three professional references, and
- Answer to the diversity, equity, inclusion and belonging question as noted below.
Details:
Priority Deadline: December 22, 2021
Inquiries About the Position Should Be Directed to: Jacob Dakon, jmdakon@ku.edu
|
|
|
2 Positions
Associate Director of Bands + Music Education
Associate Director of Choirs + Music Education
The University of Northern Colorado School of Music
|
The University of Northern Colorado School of Music seek to fill two positions. Associate Director of Bands + Music Education and Associate Director of Choirs + Music Education.
Qualifications and Positions Expectations (Bands)
- Completed terminal/doctoral degree in Wind Conducting and/or equivalent in Instrumental Music Education by contract start
- 2 years of experience conducting concert bands at the high school or college level
- 2 years of experience conducting athletic bands at the high school or college level
- 2 years of public school teaching experience
Selected candidate will:
- Conduct UNC Symphonic Band
- Teach applied Conducting lessons
- Teach Wind Literature & Pedagogy courses
- Teach coursework related to Teaching Instrumental Music in K-12 Schools
- Supervision of Student Teachers
- Direct UNC Marching Band
- Direct UNC Pep Band
- Teach Marching Band Techniques
- Serve on Doctoral and Masters Committees
- Develop and maintain an active profile nationally as a conductor/clinician
- Contribute to the recruitment of wind, brass and percussion students to UNC
- Actively demonstrate service at the university, state, and national levels
Qualifications and Positions Expectations (Choirs)
- Completed terminal/doctoral degree in Choral Conducting and/or equivalent in Choral Music Education by contract start
- 3 years of experience conducting choral ensembles in the K-12 setting
- 2 years of experience conducting choral ensembles at the collegiate level
Selected candidate will:
- Conduct two UNC auditioned choral ensembles
- Teach applied graduate-level conducting lessons
- Teach undergraduate choral conducting courses
- Teach undergraduate choral methods courses
- Supervision of Student Teachers
- Serve on Doctoral and Masters Committees
- Develop and maintain an active profile nationally as a conductor/clinician
- Contribute to the recruitment of choral/vocal students to UNC
- Actively demonstrate service at the university, state, and national levels
Attach cover letter, resume/curriculum vitae, transcripts, a list of references, and a document to links with a video recording of performances. Applicants will also need to enter the names and contact information for three current professional references who will be asked to upload a letter of recommendation directly onto a confidential portal. Application review will commence December 10, 2021 and continue until the position is filled. Contact Diana Algiene-Henry with questions about the position: diana.algiene@unco.edu.
URLs to Complete Application:
Application Deadline:
Application review will commence December 10, 2021 and continue until the position is filled.
|
|
|
Director of Equity, Diversity, and Inclusion
Faculty of Music, University of Toronto
|
The newly appointed Dean seeks a passionate and experienced equity, diversity and inclusion (EDI) professional to support the Faculty in its commitment to excellence, equity, diversity and inclusion. The Director, Equity, Diversity and Inclusion (EDI) works collaboratively with academic, administrative and student leaders to develop and implement initiatives aimed at advancing EDI within the learning and working environments across the Faculty of Music. This is a full-time, inaugural role in a Faculty that is experiencing visionary new leadership. With a comprehensive understanding of a range of diversity issues and resources related to the protected grounds as identified in the Ontario Human Rights Code, the Director educates, informs and advances principles and values of EDI through training, outreach and the provision of advice and information. Reporting to the Dean, the Director provides strategic guidance and advice to the Dean’s executive team on matters of policy interpretation and practice concerning diversity, accessibility, equity, inclusion, freedom of speech and freedom of expression for learners, staff, faculty and visitors. The Director represents the Faculty of Music and the Dean’s Office on EDI matters and is also responsible for identifying gaps and making recommendations for improving EDI practices.
The ideal candidate is a proven organizational leader with a successful record of advancing EDI within a complex organization. You have an excellent command of contemporary EDI concepts, paradigms and issues and are knowledgeable in current trends, legislation, and regulations in Human Rights in the context of higher education; you can critically analyze the range of EDI paradigms, their strengths and limitations, and articulate these to a diverse audience. Your strength and experience in research, identification and implementation of best practices of EDI complements your knowledge, skill and experience in mediation, investigations, and group facilitation. You have demonstrated research and analytical skills and excel at serving as an internal resource and consultant, working collaboratively with multiple stakeholders in sensitive contexts. You are well versed in organizational change and possess excellent communications skills, interpersonal skills and emotional intelligence. Your ability to manage difficult and emotionally charged interactions, and cross organizational and cultural boundaries with ease are aligned with your excellent judgment, sensitivity, analysis and decision-making skills.
If you’re interested in this opportunity, contact:
|
|
|
4 Positions
Professor and Director, School of Music
Assistant Professor of Ethnomusicology
Assistant Professor of Entrepreneurism & Innovation
Vocal Ensemble Director, Instructor
University of South Florida
|
The University of South Florida seek to fill a range of positions within the school of music. The mission of the School of Music at USF is to advance the art of music globally while generating new knowledge in existing and emerging fields. Our more than 50 full and part time, forward thinking faculty, have spent the last year reimagining curricula that are relevant for 21st century realities, provide significant student choice, and are informed by diversity, equity and inclusion. The School of Music is fully accredited by the National Association of Schools of Music, and is housed in state-of-the-art facilities on the Tampa campus.
For further details regarding these roles please click the following links:
|
|
|
Clinical Assistant Professor of Music Education
Purdue University Fort Wayne, School of Music
|
Qualifications:
Criteria for evaluating candidates will include a terminal degree in Music Education or a closely related field (ABD considered with a degree earned before start) with 2 or more years K-12 teaching experience in the instrumental, vocal, or general music classroom.
Position Expectations:
Duties will include teaching courses in an area of expertise within music education and may include coordinating music education student teachers, supervising field experience evaluations, supervising the collegiate chapter for the National Association for Music Education, student advising, and other teaching and service responsibilities as assigned by the Director of the School of Music.
Applications Must Include:
- Application letter of interest
- Curriculum vitae or professional resume
- 1-2 page teaching philosophy
- Evidence of teaching effectiveness (examples include syllabi, student evaluations of courses, peer evaluations of teaching, or teaching portfolio)
- Names, telephone numbers, and e-mail addresses of three current references
Please combine items 2-5 as one pdf file (labeled as your cv or resume) and upload along with your letter of interest
Details:
Application Deadline: February 7th, 2022
Applications Will Be Reviewed Starting: February 8th, 2022
Inquiries About the Position Should Be Directed to: John Egger - eggerjo@pfw.edu
|
|
|
Dean of the School of Music
The State University of New York
|
The State University of New York at Fredonia seeks nominations and applications for a Dean for its nationally renowned School of Music to begin July 1, 2022. This is a newly created position and it offers an exciting opportunity to join the academic leadership team being established by the new Executive Vice President and Provost. Fredonia is in the midst of a transformation, with a focus on self-examination and reimagination. Therefore, the Dean of the School of Music will help the institution navigate the shifting landscape of higher education and chart new territory by experimenting with new ideas and approaches. Essentially, only those looking to generate change, take risks, and invent new opportunities should apply!
For complete vacancy announcement, position description, qualifications, and application
SUNY Fredonia is an equal opportunity employer and all decisions, with respect to every
dimension of employment, are made without regard to age, color of skin, disability, gender
expression and identity, genetic predisposition, marital status, national origin, race, ethnicity,
religion, sex, sexual orientation, veteran’s status, status as a victim of domestic violence, and all other protected groups and classes under Federal and State Laws and executive orders.
Fredonia prides itself on an outstanding workforce. To continually support organizational
excellence, the university conducts background screens on applicants. An Affirmative Action, Equal Opportunity Employer, Fredonia provides for, and promotes, equal opportunity
employment, compensation, and other terms and conditions of employment, without
discrimination.
|
|
|
|
|
|
|
|
