Music education is a field of study associated with the teaching and learning of music.

The incorporation of music training from preschool to postsecondary education is common in most nations because involvement in music is considered a fundamental component of human culture and behavior. Music participation is also thought to teach basic skills such as concentration, counting, listening, self-discipline and cooperation while also promoting understanding of language, improving the ability to recall information, fostering creativity, and creating an environment more conducive to learning in other areas.^{[citation needed]} A nursery school is a school for the education of very young children (generally five years of age and younger). ... Counting is the mathematical action of repeatedly adding (or subtracting) one, usually to find out how many objects there are or to set aside a desired number of objects (starting with one for the first object and proceeding with an injective function from the remaining objects to the natural numbers... This article is about cooperation as used in the social sciences. ... In psychology, memory is an organisms ability to store, retain, and subsequently retrieve information. ...

There are many additional benefits of musical activity in the training young children, as well as older children and teenagers. The brain learns to organize better and perform several tasks at the same time, by practicing the many facets involved in playing a musical instrument. Personal benefits achieved include confidence, self-esteem, and a sense of accomplishment. Music shapes and molds the character with self-assurance and stability; and has the added bonus of public performance, which helps to conquer the fear of getting up in front of people.^{[citation needed]} Furthermore, learning a musical instrument fosters positive habits such as focus, mental discipline, perseverance, and enables the expression of feelings.

In elementary schools, children often learn to play instruments such as keyboards or recorders, sing in small choirs, and learn about the elements of musical sound and history of music. Although music education in many nations has traditionally emphasized Western classical music, in recent decades music educators tend to incorporate application and history of non-western music to give a well-rounded musical experience and teach multiculturalism and international understanding. In primary and secondary schools, students may often have the opportunity to perform in some type of musical ensemble, such as a choir, orchestra, or school band: concert band, marching band, or jazz band. In some secondary schools, additional music classes may also be available. This article or section does not adequately cite its references or sources. ... For the song titled Orchestra, see The Servant (band). ... A school band is a group of student musicians who rehearse and perform instrumental music together. ... A concert band, also called wind band, symphonic band, symphonic winds, wind orchestra, wind symphony, or wind ensemble, is a performing ensemble consisting of several members of the woodwind instrument family, brass instrument family and percussion instrument family. ... An American college marching band on the field (University of Texas) A marching band is a group of instrumental musicians who generally perform outdoors, and who incorporate movement â€“ usually some type of marching â€“ with their musical performance. ... A jazz band (or jazz ensemble in western dialects of American English) is a musical ensemble that plays jazz music. ...

At the university level, students in most arts and humanities programs may receive academic credit for taking music courses, which typically take the form of an overview course on the history of music, or a music appreciation course that focuses on listening to music and learning about different musical styles. In addition, most North American and European universities have some type of music ensemble that students from various fields of study may participate in, such as a choir, concert band, marching band, or orchestra. Music education departments in North American and European universities often support interdisciplinary research in such areas as music psychology, music education historiography, educational ethnomusicology, and philosophy of education. Representation of a university class, 1350s. ... A concert band, also called wind band, symphonic band, symphonic winds, wind orchestra, wind symphony, or wind ensemble, is a performing ensemble consisting of several members of the woodwind instrument family, brass instrument family and percussion instrument family. ... Music psychology, or the psychology of music, may be regarded either as a branch of psychology or as a branch of musicology. ... Historiography is a term with multiple meanings that has changed with time, place and observer, and is thus resistant to a single encompassing meaning. ... Ethnomusicology (from the Greek ethnos = nation and mousike = music), formerly comparative musicology, is the study of music in its cultural context, cultural musicology. ... Wikibooks has more about this subject: Learning Theories The philosophy of education is the study of the purpose, process, nature and ideals of education. ...

The study of Western art music is increasingly common in music education outside of North America and Europe, including Asian nations such as South Korea, Japan, and China. At the same time, Western universities and colleges are widening their curriculum to include music of non-Western cultures, such as the music of Africa or Bali (e.g. Gamelan music). Hand drumming has a significant role in African music]] African music is as vast and varied as the continents many nations and ethnic groups, so a general description of African music is not possible. ...

Music education also takes place in individualized, life-long learning, and community contexts. Both amateur and professional musicians typically take music lessons, short private sessions with an individual teacher. Amateur musicians typically take lessons to learn musical rudiments and beginner- to intermediate-level musical techniques. While many individuals are content to play a musical instrument by ear or by practicing individual pieces until a reasonable proficiency is achieved, others wish to develop mastery of one or more instruments, and commonly seek formal instruction in the form of music lessons. ...

History

17th century

Music education in North America can be traced to the colonies of the seventeenth century. In the South, there existed no organized music education system. However, rote learning played a major role in the transmission of music traditions. In the Northern colonies, music was already an important consideration in the lives of the Pilgrims. The Bay Psalm Book, especially later editions, provided methods for solmization along with performance instruction. Thus Northern colonists could succeed in teaching themselves rudimentary music skills, as related to psalm singing. There was also much music in small town committee bands This article is 88 kilobytes or more in size. ... It has been suggested that Rote memory be merged into this article or section. ... The Bay Psalm Book was the first book printed in British North America. ... In music and sight singing solfege or solmization is a way of assigning syllables to degrees or steps of the diatonic scale. ...

18th century

After the preaching of Reverend Thomas Symmes, the first singing school was created in 1717 in Boston, Massachusetts for the purposes of improving singing and music reading in the church. These singing schools gradually spread throughout the colonies. Reverend John Tufts published An Introduction to the Singing of Psalm Tunes Using Non-Traditional Notation which is regarded as the first music textbook in the colonies. Between 1700 to 1820, more than 375 tune books would be published by such authors as Samuel Holyoke, Francis Hopkinson, William Billings, and Oliver Holden.^[1] “Boston” redirects here. ...

19th century

In 1832, Lowell Mason and George Webb formed the Boston Academy of Music with the purposes of teaching singing and theory as well as methods of teaching music. Mason published his Manuel of Instruction in 1934 which were based upon the music education works of Pestalozzian System of Education founded by Swiss educator Johann Heinrich Pestalozzi. This handbook gradually became used by many singing school teachers. In 1837-1838, the Boston School Committee allowed Lowell Mason to teach music in the Hawes School as a demonstration. This is regarded as the first time music education was introduced to public schools in the United States. In 1838 the Boston School Committee approved the inclusion of music in the curriculum and Lowell Mason became the first recognized supervisor of elementary music. In later years Luther Whiting Mason became the Supervisor of Music in Boston and spread music education into all levels of public education (grammar, primary, and high school). During the middle of the 19th century, Boston became the model to which many other cities across the United States included and shaped their public school music education programs.^[2] Music methodology for teachers as a course was first introduced in the Normal School. The concept of classroom teachers in a school that taught music under the direction of a music supervisor was the standard model for public school music education during this century. Portrait of Lowell Mason Lowell Mason (1792-1872) was a leading figure in American church music, the composer of over 1600 hymns, many of which are often sung today. ... Johann Heinrich Pestalozzi (January 12, 1746 – February 17, 1827) was a Swiss pedagogue and educational reformer. ... Luther-Whiting Mason (1818 - 14 July 1896) was an American music educator who was hired by the Meiji period government of Japan as a foreign advisor to introduce Western music into the Japanese educational curriculum. ... A normal school is an institution for training teachers. ...

Early 20th century

In the United States, teaching colleges with four year degree programs developed from the Normal Schools and included music. Oberlin Conservatory first offered the Bachelor of Music Education degree. Osbourne G. McConathy, and American music educator introduced details for studying music for credit in Chelsea High School. Notable events in the history of music education in the early 20th century also include: Categories: Stub | Ohio culture | Lorain County, Ohio ...

• Founding of the Music Supervisor's National Conference (changed to Music Educators National Conference in 1934) in Keokuk, Iowa in 1907.
• Rise of the school band and orchestra movement leading to performance oriented school music programs.
• Growth in music methods publications.
• Frances E. Clark develops and promotes phonograph record libraries for school use.
• Carl Seashore and his Measures of Musical Talent music apptitude test starts testing people in music.

The Music Educators National Conference (MENC), founded in 1907, is an American organization for music educators that provides professional development and advocacy. ... Keokuk Iowa bottom, with the Mississippi River, its lock, dam, power plant, rail bridge and highway bridge. ... Carl Emil Seashore (1866-1949) was a prominent American psychologist. ...

Mid & Late 20th century

Sputnik 1 The Sputnik program was a series of unmanned space missions launched by the Soviet Union in the late 1950s to demonstrate the viability of artificial satellites. ... The American Choral Directors Association (ACDA), headquartered in Oklahoma City, Oklahoma, is a non-profit organization with the stated purpose of promoting excellence in the field of choral music. ... The National Endowment for the Arts is a United States federally funded program that offers support and funding for projects that exhibit artistic excellence. ... In 1967, a meeting called the Tanglewood Symposium was offered in the Boston area to chart the future course of music education in the United States (see Boston University Tanglewood Institute). ... In 1967, a meeting called the Tanglewood Symposium was offered in the Boston area to chart the future course of music education in the United States (see Boston University Tanglewood Institute). ...

Standards

Standards are curricular statements used to guide educators in determining objectives for their teaching. Use of standards became a common practice in many nations during the 20th century. For much of its existence, the curriculum for music education in the United States was determined locally or by individual teachers. In recent decades there has been a significant move toward adoption of regional and/or national standards. MENC: The National Association for Music Education, created nine voluntary content standards, called the National Standards for Music Education.^[1]These standards call for: MENC: The National Association for Music Education, also referred to as the National Music Educators Association and formerly called Music Educators National Conference, is an organization based out of Reston, Virginia which is focused on the advancement of music education, both as a profession and the assurance of music education...

1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music.
3. Improvising melodies, variations, and accompaniments.
4. Composing and arranging music within specified guidelines.
5. Reading and notating music.
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
8. Understanding relationships between music, the other arts, and disciplines outside the arts.
9. Understanding music in relation to history and culture.

Many states and school districts have adopted their own standards for music education. Often, these local standards are related in some way to the National Standards. Harry Belafonte singing, photograph by C. van Vechten Singing is the act of producing musical sounds with the voice, which is often contrasted with speech. ... A street musician with accordion in Bremen A performance comprises an event in which generally one group of people (the performer or performers) behave in a particular way for the benefit of another group of people (the viewer or viewers, or audience). ... Improvising is the art of organizing sound and/or motion during performance. ... Composing is the art of organizing sound for later performance(s). ... Reading is a process of retrieving and comprehending some form of stored information or ideas. ...

Instructional methodologies

While instructional strategies are bound by the music teacher and the music curriculum in his or her area, many teachers rely heavily on one of many instructional methodologies that emerged in recent generations and developed rapidly during the latter half of the 20th Century: Curriculum has many different conceptions. ... Methodology is defined as the analysis of the // == Headline text == principles of methods, rules, and postulates employed by a discipline or the development of methods, to be applied within a discipline a particular procedure or set of procedures. [1]. It should be noted that methodology is frequently used when method...

Major international music education methods

Kodály method

Main article: Kodály Method

Depiction of Curwen's Solfege hand signs. This version includes the tonal tendencies and interesting titles for each tone.

Zoltán Kodály (1882-1967) was a prominent Hungarian music educator and composer that stressed the benefits of physical instruction and response to music. Although not really an educational method, his teachings reside within a fun, educational framework built on a solid grasp of basic music theory and music notation in various verbal and written forms. Kodaly's primary goal was to instill a lifelong love of music in his students and felt that it was the duty of the child's school to provide this vital element of education. Some of Kodaly's trademark teaching methods include the use of solfege hand signs, musical shorthand notation (stick notation), and rhythm solmnization (verbalization). // The Kodály Method is an approach to music education which was developed in Hungary during the mid-twentieth century. ... Image File history File links Metadata Size of this preview: 379 × 599 pixelsFull resolution (611 × 965 pixel, file size: 376 KB, MIME type: image/jpeg) This image is in the public domain in the United States. ... Image File history File links Metadata Size of this preview: 379 × 599 pixelsFull resolution (611 × 965 pixel, file size: 376 KB, MIME type: image/jpeg) This image is in the public domain in the United States. ... Zoltán Kodály (IPA: ) (December 16, 1882 – March 6, 1967) was a Hungarian composer, ethnomusicologist, educator, linguist and philosopher. ... In music, solfege (or solmization) is a pedagogical technique for the teaching of sight-singing in which each note of the score is sung to a special syllable, called a solfege syllable (or sol-fa syllable). The seven syllables normally used for this practice in the West are: Do, Re...

Orff Schulwerk

Main article: Orff Schulwerk

The Orff Schulwerk is considered an "approach" to music education. It begins with a student's innate abilities to engage in rudimentary forms of music, using basic rhythms and melodies. Orff considers the whole body a percussive instrument and students are lead to develop their music abilities in a way that parallels the development of western music. The approach encourages improvisation and discourages adult pressures and mechanical drill, fostering student self-discovery. Carl Orff developed a special group of instruments, including modifications of the glockenspiel, xylophone, metallophone, drum, and other percussion instruments to accommodate the requirements of the Schulwerk courses.^[3] The Orff Schulwerk or Orffschulwerk, also called as Orff-method is an approach for music education for children. ... Carl Orff Carl Orff (July 10, 1895 – March 29, 1982) was a 20th-century German composer, most famous for Carmina Burana (1937). ...

Suzuki method

Main article: Suzuki method

The Suzuki method was developed by Shinichi Suzuki in Japan shortly after WWII, and it uses music education to enrich the lives and character of its students. The movement rests on the double premise that "all children can be well educated" in music, and that learning to play music at a high level also involves learning certain character traits or virtues which make a person's soul more beautiful. The primary method for achieving this is centered around creating the same environment for learning music that a person has for learning their native language. This 'ideal' environment includes love, high-quality examples, praise, and a time-table set by the student's developmental readiness for learning a particular technique. While the Suzuki Method is quite popular internationally, within Japan its influence is less significant than the Yamaha Method, founded by Genichi Kawakami in association with the Yamaha Music Foundation.^[4] The Suzuki method, (Japanese: スズキ・メソード) (sometimes called Talent Education, the mother-tongue method, or the Suzuki movement) is a way of teaching, or educational philosophy which strives to create high ability and beautiful character in its students through a nurturing environment. ... Shinichi Suzuki (鈴木鎮一 October 17, 1898 - January 26, 1998) was born in Nagoya, Japan, and studied in Germany. ... Combatants Allied powers: China France Great Britain Soviet Union United States and others Axis powers: Germany Italy Japan and others Commanders Chiang Kai-shek Charles de Gaulle Winston Churchill Joseph Stalin Franklin Roosevelt Adolf Hitler Benito Mussolini Hideki Tōjō Casualties Military dead: 17,000,000 Civilian dead: 33,000... Genichi Kawakami (川上源一 Kawakami Genichi, January 30, 1912 – May 25, 2002) was the president of the Yamaha Corporation from 1950 to 1977, and again from 1980 to 1983. ... Yamaha Music Foundation is an organization established by the authority of Japanese Ministry of Education for the purpose of promoting music education and music popularization. ...

Dalcroze method

Main article: eurhythmics

The Dalcroze method was developed in the early 1900s by Swiss musician and educator Émile Jaques-Dalcroze. The method is divided into three fundamental concepts - the use of solfege, improvisation, and eurhythmics. Sometimes referred to as "rhythmic gymnastics", eurhythmics teaches concepts of rhythm, structure, and musical expression using movement, and is the concept for which Dalcroze is best known. It focuses on allowing the student to gain physical awareness and experience of music through training that takes place through all of the senses, particularly kinesthetic. According to the Dalcroze method, music is the fundamental language of the human brain and therefore deeply connected to who we are as human beings. Eurhythmics (also Rhythmic Gymnastics, Rhythmics) is an approach to the education of music that was devised by Emile Jaques-Dalcroze. ... Emile Jaques-Dalcroze (July 6, 1865 - July 1, 1950), was a Swiss musician and educator who developed Eurhythmics, a method of learning and experiencing music through movement. ... Eurhythmics (also Rhythmic Gymnastics, Rhythmics) is an approach to the education of music that was devised by Emile Jaques-Dalcroze. ...

Other Notable methods

In addition to the four major international methods described above, other approaches have been influential. Lesser-known methods are described below:

Gordon Music Learning Theory

This method is based on an extensive body of research and field testing by Edwin E. Gordon and others. Music Learning Theory provides the music teacher a comprehensive method for teaching musicianship through audiation, Gordon's term for hearing music in the mind with understanding. Teaching methods help music teachers establish sequential curricular objectives in accord with their own teaching styles and beliefs.^[5] Edwin E. Gordon is an influential researcher, teacher, author, editor, and lecturer in the field of music education. ... Audiation is the process of both mentally hearing and understanding music, even when no music is present. ...

Conversational Solfege

This method is influenced by Kodaly and developed by Dr. John M. Feierabend, chair of music education at the Hartt School at the University of Hartford. The philosophy of this method is to view music as an aural art with a literature based curriculum. The sequence of this methodology involves a 12 step process to teach music literacy. Steps include rhythm and tonal patterns and decoding the patterns using syllables and notation. The Hartt School of Hartford, Connecticut, founded in 1920 by Julius Hartt, Moshe Paranov, and others, provides postsecondary programs in music, dance, and theater. ... The University of Hartford, often called UHA or UHart, was founded in 1877, and is a private, independent, and nonsectarian coeducational university located in West Hartford, Connecticut. ...

Carabo-Cone Method

This early-childhood approach sometimes referred to as the Sensory-Motor Approach to Music was developed by the violinist Madeleine Carabo-Cone. This approach involves using props, costumes, and toys for children to learn basic musical concepts of staff, note duration, and the piano keyboard. The concrete environment of the specially planned classroom allows the child to learn the fundamentals of music by exploring through touch.^[6]

MMCP

Main article: MMCP

The Manhattanville Music Curriculum Project was developed in 1965 and is an alternative method in shaping positive attitudes toward music education. This creative approach centers around the student being the musican and involved in the discovery process. The teacher gives the student freedom to create, perform, improvise, conduct, research, and investigate different facets of music. MMCP refers to the Manhattanville Music Curriculum Project; a music education curricular plan that sought to improve music education through a child-centered approach. ...

Applied Groovology and Path Bands

Applied Groovology and Path Bands are new methods for community music education in urban settings devised by American ethnomusicologist Dr Charles Keil. A renowned expert who has published several influential scholarly books on music from many parts of the world (Chicago blues, polka, Greek Macedonian, Nigerian Tiv, Afro-Latin music styles, etc), Dr Keil asserts that the natural power of music is underappreciated and underutilized in modern industrial societies that feature passive consumption through mass media rather than active participation in music. Keil advocates that parents should encourage their children to more freely experience the natural joys of improvised music and dance through “grooving and dandling”. Keil has also developed the "Path Band" approach to the use of improvised multicultural brass bands for active lifelong participation in music. Keil's methods are of growing interest among North American music educators and therapists, and are also attracting attention in Japan. ^[7]

Integration with other subjects

Some schools and organizations promote integration of arts classes, such as music, with other subjects, such as math, science, or English. It is thought that by integrating the different curricula will help each subject to build off of one another, enhancing the overall quality of education.

One example is the Kennedy Center's "Changing Education Through the Arts" program. CETA defines arts integration as finding a natural connection(s) between one or more art forms (dance, drama/theater, music, visual arts, storytelling, puppetry, and/or creative writing) and one or more other curricular areas (science, social studies, English language arts, mathematics, and others) in order to teach and assess objectives in both the art form and the other subject area. This allows a simultaneous focus on creating, performing, and/or responding to the arts while still addressing content in other subject areas.[2] The Kennedy Center as seen from the Potomac River. ...

Music advocacy

In some communities - and even entire national education systems - music is provided very little support as an academic subject area, and music teachers feel that they must actively seek greater public endorsement for music education as a legitimate subject of study. This perceived need to change public opinion has resulted in the development of a variety of approaches commonly called "music advocacy". Music advocacy comes in many forms, some of which are based upon legitimate scholarly arguments and scientific findings, while other examples rely on unconvincing data and remain rather controversial. Among the more recent high-profile music advocacy projects that have become the subject of widespread controversy are the "Mozart Effect" (which is now widely believed to be based on misinterpretation and exaggeration, or even pseudoscience), and the National Anthem Project, which sought to harness American patriotic fervor during early stages of the "War on Terrorism" (2004-2007) with the hope that music education could be "saved" through the resulting increase in publicity for school music programs. The Mozart effect can refer to: A disputed set of research results that indicate that listening to certain kinds of complex music may induce a short-lived (fifteen minute) improvement on the performance of certain kinds of mental tasks known as spatio-temporal reasoning; [1] [2] Popularized versions of the... Phrenology is regarded today as a classic example of pseudoscience. ... The National Anthem Project was launched in 2005 to raise awareness of the importance of music education within the United States by MENC: The National Association for Music Education. ...

Many contemporary music scholars assert that music advocacy will only be truly effective when based on empirically sound arguments that transcend political motivations and personal agendas. This position regarding music advocacy has especially been advanced by music education philosophers (such as Bennett Reimer, Estelle Jorgensen, David J. Elliott, Wayne Bowman, etc.), yet a gap remains between the discourse of music education philosophy and the actual practices of music teachers and music organization executives.

Influential music educators

• Frank Abrahams
• Jamey Aebersold
• Frank Battisti
• Leonard Bernstein
• Hildegard of Bingen
• Nadia Boulanger
• Wayne Bowman
• Liora Bresler
• Allen Britton
• Patricia Shehan Campbell
• E. Azalia Hackley
• David J. Elliott
• Charles Farnsworth
• Frederick Fennell
• Edwin Gordon
• Lucy Green
• Jere Humphreys
• Arnold Jacobs
• Emile Jaques-Dalcroze
• Max Kaplan
• Genichi Kawakami
• Charles Keil
• Zoltán Kodály
• Charles Leonhard
• Edward S. Lisk
• Gary McPherson
• Joseph Maddy
• Lowell Mason
• Luther Whiting Mason
• James Mursell
• Carl Orff
• Bernarr Rainbow
• Bennett Reimer
• R. Murray Schafer
• Patrick Schmidt
• Abraham Schwadron
• Shinichi Suzuki

Jamey Aebersold as pictured on the cover of instructional DVD Jazz: Anyone Can Improvise Jamey Aebersold (born July 21, 1939) is an American jazz saxophonist and educator. ... Frank Battisti is the Conductor Emeritus of the New England Conservatory of Music Wind Ensemble. ... Leonard Bernstein in 1971 Leonard Bernstein (IPA pronunciation: )[1] (August 25, 1918 – October 14, 1990) was an American conductor, composer, and pianist. ... Illumination from the Liber Scivias showing Hildegard receiving a vision and dictating to her scribe Hildegard of Bingen (German: Hildegard von Bingen; Latin: Hildegardis Bingensis; 1098 – 17 September 1179), also known as Blessed Hildegard and Saint Hildegard, was a German magistra and later, abbess[1]. Hildegard of Bingen was an... Nadia Boulanger (September 16, 1887 – October 22, 1979) was an influential French composer, conductor, and music professor. ... Image:Allenold. ... The Detroit Electronic Music Archive (or DEMA) began in June 2005 in Detroit, Michigan. ... Frederick Fennell (July 2, 1914 – December 7, 2004) was an internationally recognized conductor, and one of the primary figures in promoting the wind ensemble as a performing group. ... Edwin E. Gordon is an influential researcher, teacher, author, editor, and lecturer in the field of music education. ... Arnold Jacobs Arnold Jacobs (June 11, 1915 - October 7, 1998) was the principal tubist for the Chicago Symphony Orchestra from 1944 until his retirement in 1988. ... Emile Jaques-Dalcroze (July 6, 1865 - July 1, 1950), was a Swiss musician and educator who developed Eurhythmics, a method of learning and experiencing music through movement. ... Genichi Kawakami (川上源一 Kawakami Genichi, January 30, 1912 – May 25, 2002) was the president of the Yamaha Corporation from 1950 to 1977, and again from 1980 to 1983. ... Zoltán Kodály (IPA: ) (December 16, 1882 – March 6, 1967) was a Hungarian composer, ethnomusicologist, educator, linguist and philosopher. ... The Interlochen Center for the Arts is situated in Interlochen, Michigan, USA, on a 1,200 acre (5 km²) campus, and comprises (in order of founding): Interlochen Arts Camp — a summer camp, formerly the National Music Camp Interlochen Arts Academy — a boarding high school Interlochen Public Radio — a public radio... Portrait of Lowell Mason Lowell Mason (1792-1872) was a leading figure in American church music, the composer of over 1600 hymns, many of which are often sung today. ... Luther-Whiting Mason (1818 - 14 July 1896) was an American music educator who was hired by the Meiji period government of Japan as a foreign advisor to introduce Western music into the Japanese educational curriculum. ... Carl Orff Carl Orff (July 10, 1895 – March 29, 1982) was a 20th-century German composer, most famous for Carmina Burana (1937). ... DLitt, PhD, MEd, ARCM, LGSM, LRAM, FTCL, HonFTCL, FRSA Bernarr Rainbow was the son of a cabinet-maker at Buckingham Palace, later Curator at Hampton Court, so Bemarr grew up with an awareness of historic places - and people. ... Raymond Murray Schafer (b. ... Shinichi Suzuki (鈴木鎮一 October 17, 1898 - January 26, 1998) was born in Nagoya, Japan, and studied in Germany. ...

International professional organizations

• International Society for Music Education^[8]
• International Association for Jazz Education^[9]
• OAKE: Organization of Kodaly Educators^[10]

...

National professional organizations

• MENC: The National Association for Music Education [3]
• MTNA: Music Teachers National Association [4]
• American Choral Directors Association [5]
• American String Teachers Association [6]

MENC: The National Association for Music Education, also referred to as the National Music Educators Association and formerly called Music Educators National Conference, is an organization based out of Reston, Virginia which is focused on the advancement of music education, both as a profession and the assurance of music education... Music Teachers National Association (or MTNA) was founded in 1876 by Theodore Presser and sixty-two colleagues in Delaware, Ohio. ... The American Choral Directors Association (ACDA), headquartered in Oklahoma City, Oklahoma, is a non-profit organization with the stated purpose of promoting excellence in the field of choral music. ... The American String Teachers Association with the National School Orchestra Association (or ASTA with NSOA) is a professional organization for music teachers. ...

Notes

1. ^ http://www.bsu.edu/classes/bauer/hpmused/colonial.html
2. ^ http://links.jstor.org/sici?sici=0022-4294(199022)38%3A2%3C79%3APOANSM%3E2.0.CO%3B2-F#abstract
3. ^ http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=U1ARTU0002658
4. ^ This is verified in numerous publications. See Genichi Kawakami, Reflections on Music Popularization (Yamaha, 1987), Shinobu Oku, Music Education in Japan (Nara: Neiraku Arts Centre, 1994), and David G. Hebert, Music Competition, Cooperation, and Community: An Ethnography of a Japanese School Band (Ann Arbor: Proquest/UMI, 2005).
5. ^ http://www.giml.org/home.php
6. ^ http://www.eric.ed.gov/ERICWebPortal/custom/portlets/recordDetails/detailmini.jsp?_nfpb=true&_&ERICExtSearch_SearchValue_0=ED034358&ERICExtSearch_SearchType_0=eric_accno&accno=ED034358
7. ^ Keil's work has been cited in numerous music education journals, including Bulletin of the Council for Research in Music Education; Philosophy of Music Education Review; Action, Criticism, and Theory for Music Education, etc. His books were cited in the journal Ethnomusicology as among the most significant in the latter half of the 20th century. He is keynote speaker of the 2008 Cultural Diversity in Music Education international conference. He was a keynote speaker at the recent Japan International Musicological Society conference.
8. ^ International Society for Music Education
9. ^ IAJE: International Association for Jazz Education
10. ^ OAKE: Organization of Kodaly Educators

Bibliography

• DeBakey, Michael E., MD. Leading Heart Surgeon, Baylor College of Music.
• Kertz-Welzel, Alexandra. "The Singing Muse: Three Centuries of Music Education in Germany." Journal of Historical Research in Music Education XXVI no. 1 (2004): 8-27.
• Kertz-Welzel, Alexandra. "Didaktik of Music: A German Concept and its Comparison to American Music Pedagogy." International Journal of Music Education (Practice) 22 No. 3 (2004): 277-286.
• Kertz-Welzel, Alexandra. "General Music Education in Germany Today: A Look at How Popular Music is Engaging Students." General Music Today 18 no. 2 (Winter 2005): 14-16.
• Kertz-Welzel, Alexandra. "Performing with Understanding: Die National Standards for Music Education und ihre internationale Bedeutung." Diskussion Musikpädagogik 27 (2005): 34-39.
• Kertz-Welzel, Alexandra. Every Child for Music: Musikpädagogik und Musikunterricht in den USA. Musikwissenschaft/Musikpädagogik in der Blauen Eule, no. 74. Essen, Germany: Verlag Die Blaue Eule, 2006. ISBN 3-89924-169-X.
• National Standards for Arts Education. Reston, VA: Music Educators National Conference (MENC), 1994. ISBN 1-56545-036-1.
• Neurological Research, Vol. 19, February 1997.
• Ratey, John J., MD. A User’s Guide to the Brain. New York: Pantheon Books, 2001.
• Rauscher, F.H., et al. “Music and Spatial Task Performance: A Causal Relationship,” University of California, Irvine, 1994.
• Weinberger, Norm. “The Impact of Arts on Learning.” MuSICa Research Notes 7, no. 2 (Spring 200).
• Pete Moser and George McKay, eds. (2005) Community Music: A Handbook. Russell House Publishing. ISBN 1-903855-70-5.

External links

• International Society for Music Education
• MayDay Group
• Dr Fung's International Music Education Links
• Comprehensive Music Education website of About.Com
• Links from MENC: The National Association for Music Education
• American Orff-Schulwerk Association
• Website resource of UK national music education magazine, Zone
• Gordon Institute for Music Learning
• Percussive Arts Society - Percussion resource for education, research, performance and appreciation .
• Research and Issues in Music Education
• International Journal of Education and the Arts
• Italian Suzuki Institute
• Bridge to Music, Music School Directory Bridge to Music is an on line guide to music schools, organized by degree, program and location.

See also