There is a need for historical studies in music education that focuses on the common person. Historians in general have been doing this for years, but music education history has yet to catch up to the field. Although there have been many biographies and biographical studies about the more well-known music educators, little has been done investigating what teaching was like for the average teacher, and even less is known about teaching music in the early years of music education in the United States. A Musician and Teacher in Nineteenth Century New England: Irving Emerson, 1843-1903 argues that understanding history requires knowledge of the people who lived during the time. This bookfocuses on what Irving Emerson’s life was like as a musician and music teacher during this early and critical period of music education. During this time in history, the growth of music as a curricular study in the United States, from singing schools to classroom singing and note-reading, paralleled Emerson’s teaching career. It was because of the groundwork established by music teachers like Irving Emerson that the music curriculum developed in the twentieth century to include music appreciation, instrumental music ensembles and marching band, along with general music classes and choral music education. This is an invaluable resource to music educators, musicians, and historians alike in understanding the beginnings and formation of what is today music appreciation in the education system.

What were the methods and educational philosophies of music teachers in the Middle Ages and the Renaissance? What did students study? What were the motivations of teacher and student? Contributors to this volume address these topics and other -- including gender, social status, and the role of the Church -- to better understand the identities of music teachers and students from 650 to 1650 in Western Europe. This volume provides an expansive view of the beginnings of music pedagogy, and shows how the act of learning was embedded in the broader context of the early Western art music tradition.

Featuring chapters by the world's foremost scholars in music education and cognition, this handbook is a convenient collection of current research on music teaching and learning. This comprehensive work includes sections on arts advocacy, music and medicine, teacher education, and studio instruction, among other subjects, making it an essential reference for music education programs. The original Handbook of Research on Music Teaching and Learning, published in 1992 with the sponsorship of the Music Educators National Conference (MENC), was hailed as "a welcome addition to the literature on music education because it serves to provide definition and unity to a broad and complex field" (Choice). This new companion volume, again with the sponsorship of MENC, explores the significant changes in music and arts education that have taken place in the last decade. Notably, several chapters now incorporate insights from other fields to shed light on multi-cultural music education, gender issues in music education, and non-musical outcomes of music education. Other chapters offer practical information on maintaining musicians' health, training music teachers, and evaluating music education programs. Philosophical issues, such as musical cognition, the philosophy of research theory, curriculum, and educating musically, are also explored in relationship to policy issues. In addition to surveying the literature, each chapter considers the significance of the research and provides suggestions for future study. Covering a broad range of topics and addressing the issues of music education at all age levels, from early childhood to motivation and self-regulation, this handbook is an invaluable resource for music teachers, researchers, and scholars.

Community music around the world reflects the growing and diverse ways humans collectivise and express themselves in ways that articulate our cultural, social, and environmental complexity. Revisiting, redevising, and reimagining some of the field’s approaches, ideologies, and contexts, this co-edited volume investigates beyond generalist intercultural and internationalist concepts to reveal the complexity of social ways people come together to make music and to making music be central to this sociality. The authors explore the role community music plays out around the world and how various instrumentally based music-making communities operate as ecologies that allow notions of social, political, and cultural agency and identity/ies. Chapters cover various instrumental community music ensembles, observing how they, as social microcosms of change and stasis, provide working methods new and old, extol values, and model ethical behaviours that are fluid and dynamic, steadfast and unyielding, and that contribute to the ebb and flow of people and their agency that remains under-researched. Insights are provided on variously functioning ensembles throughout the world, showing how myriad instrumental music communities act as drivers, complex environments, and apparati for musical and social expression that accommodates the musical aspirations of their members. Taken as a whole, this book explores community music as local, glocal, global phenomena, critically discussing the redefinition of community music and what music-making means to people in the twenty-first century.

Vocal, Instrumental, and Ensemble Learning and Teaching is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, this third volume in the set emphasizes the types of active musical attributes that are acquired when learning an instrument or to sing, together with how these skills can be used when engaging musically with others. These chapters shed light on how the field of voice instruction has changed dramatically in recent decades and how physiological, acoustical, biomechanical, neuromuscular, and psychological evidence is helping musicians and educators question traditional practices. The authors discuss research on instrumental learning, demonstrating that there is no 'ideal' way to learn, but rather that a chosen learning approach must be appropriate for the context and desired aims. This volume rounds out with a focus on a wide range of perspectives dealing with group performance of instrumental music, an area that is organized and taught in many varied ways internationally. Contributors Alfredo Bautista, Robert Burke, James L. Byo, Jean Callaghan, Don D. Coffman, Andrea Creech, Jane W. Davidson, Steven M. Demorest, Robert A. Duke, Robert Edwin, Shirlee Emmons, Sam Evans, Helena Gaunt, Susan Hallam, Lee Higgins, Jere T. Humphreys, Harald Jers, Harald Jørgensen, Margaret Kartomi, Reinhard Kopiez , William R. Lee, Andreas C. Lehmann, Gary E. McPherson, Steven J. Morrison, John Nix, Ioulia Papageorgi, Kenneth H. Phillips, Lisa Popeil, John W. Richmond, Carlos Xavier Rodriguez, Nelson Roy, Robert T. Sataloff, Frederick A. Seddon, Sten Ternström, Michael Webb, Graham F. Welch, Jenevora Williams, Michael D. Worthy

Between 1895 and 1920, the United States saw a sharp increase in commercial sound recording, the first mass medium of home entertainment. As companies sought to discover what kinds of records would appeal to consumers, they turned to performance forms already familiar to contemporary audiences—sales pitches, oratory, sermons, and stories. In A Most Valuable Medium, Richard Bauman explores the practical problems that producers and performers confronted when adapting familiar oral genres to this innovative medium of sound recording. He also examines how audiences responded to these modified and commoditized presentations. Featuring audio examples throughout and offering a novel look at the early history of sound recording, A Most Valuable Medium reveals how this new technology effected monumental change in the ways we receive information.

"A festschrift that honors the career of Charles P Schmidt on the occasion of his retirement from the Indiana University Jacobs School of Music. It includes chapters that recognize the influence of Schmidt as a researcher, a research reviewer, and a research mentor, and contributes to the advancement of the social-psychological model."--Publisher.