A History of Music Education in the United States

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Glenbridge Publishing Ltd., 2009 - 434 pagine
James A. Keene s treatment of this interesting and unique history represents a deep and penetrating look at a subject that until recent years has been largely neglected by teachers and scholars. A large population of music teachers have taught and acted with little insight about those special teachers who have accepted the formidable job of introducing music to the children of the United States from the earliest colonial times to the present day. The history of music education cannot have an independent existence, however, and is inextricably linked both to the history of education in this country as well as to the history of music as an art, both popular and high. Paralleling the history of education, music education is also the history of reform. Our founding fathers considered their efforts to be rooted in an idealism whether it be expressed in terms of religious or political liberty, and from such beginnings Americans have tended to regard themselves as reformers from that day to the present. It is less important to approve or disapprove of each reform than it is to observe the consistent efforts of Americans to cast aside the old way and adopt that which appears to be new and different. This national trait prevailed throughout the history of music education in America, resulting in our music educators changing methods and philosophies sometimes thoughtfully, and sometimes capriciously. Parts of this history deal forthrightly with various historical and philosophical tendencies, while relating them to the prevailing thoughts and movements in music education. It was necessary for society to accept the idea of a general expansion of the school curriculum before the arts could gain a foothold as part of the school curriculum. And with each degree of acceptance, from the introduction of vocal music into the curriculum to the rise of instrumental music and a cappella choirs, negative as well as positive reactions germinated requiring continuing defenses of the art even though the practices were ordinarily extremely popular with the children, many of whom discovered their talent for the first time while others could and did develop an appreciation brought about by exposure and practice of the art form.

Dall'interno del libro

Sommario

Colonial New England
1
The Singing School
14
Tune Books and Performance Practice
35
Public Attitudes of the North and South
64
Educational Reform of the Eighteenth and Nineteenth Centuries
79
Lowell Mason and His Times
102
American Educational Thought in the MidNineteenth Century
136
Music in the Private Academies and Select Schools
146
Frances Elliott Clark and Music Appreciation
260
The Rise of Instrumental Music
287
Joe Maddy and the Expansion of Instrumental Music
301
Early Bands in the United States
315
The Renaissance of the Choir
338
Music Education and Rhythmic Movement
366
Some Newer Approaches from Abroad
376
An Acceptance of Diversity 19501790
388

Educational Growth and the Expansion of Music
166
The Great Publishing Carnival
200
Music Teacher Education 18231914
216
The ChildStudy Movement and the Psychologizing of Education
236
The Music Educator and Music Appreciation
242
Conclusion
399
Notes
402
Index
430
Copyright

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