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Journal articles on the topic 'Woman music teachers'
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1
Filocamo, Gioia. "Hungry women: sin and rebellion through food and music in the early modern era." Scripta Instituti Donneriani Aboensis 26 (April 13, 2015): 101–13. http://dx.doi.org/10.30674/scripta.67449.
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Longing for food has always had different implications for men and women: associated with power and strength for men, it tends to have a worrying proximity to sexual pleasure for women. Showing an interesting parallelism throughout the Cinquecento, Italian humanists and teachers insisted on forbidding women music and gluttony. Food and music were both considered dangerous stimulants for the female senses, and every woman was encouraged to consider herself as a kind of food to be offered to the only human beings authorized to feel and satisfy desires: men and babies. Women could properly express themselves only inside monastic circles: the most prolific female composer of the seventeenth century was a nun, as was the first woman who wrote down recipes. Elaborate music and food became the means to maintain a lively relationship with the external world. Moreover, nuns also escaped male control by using the opposite system of affirming themselves through fasting and mortifying the flesh.
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Janicka, Jowita. "„Lubiły szczególniej muzykę, która część ich wychowania stanowiła”. Domowa edukacja muzyczna polskich szlachcianek epoki oświecenia." Studia Edukacyjne, no. 60 (March 15, 2021): 263–78. http://dx.doi.org/10.14746/se.2021.60.14.
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The education and upbringing of youth was one of the main issues considered by the aristocracy of Polish-Lithuanian Commonwealth in the age of the Enlightenment. A significant part of this current was music education (learning to play the instruments, singing and dancing) acknowledged as compulsory for women with reading, writing, learning foreign languages and history altogether. Every well-educated woman aristocrat could elegantly play the instrument and sing. They were gaining that knowledge primarily at home from foreign and domestic teachers. Despite the popularity of such education and constant presence of music during many noble balls, ceremonies and social arrangements, it was unfavorable in the eyes of current educational theoreticians and according to them useless. Yet memoirs offer multiple examples of delight about female musical abilities. Furthermore, music as a fundamental part of education was mentioned by women themselves; the shortcomings were punished. It seems that despite educationalists’ complaints music education of women helped thementertain noble guests with their musical talents. Woman with such skills, seeking good and affluent husbands, could successfully conquer male hearts.
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Jane, Philip. "The Impact of Professional Music Diplomas on Women Music Teachers in Early Twentieth-Century New Zealand." Journal of Historical Research in Music Education 39, no. 2 (January 29, 2017): 148–70. http://dx.doi.org/10.1177/1536600617690003.
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At the end of the nineteenth century, music was an accomplishment that many women were encouraged to pursue. For some, this was merely an additional “ornament” to enhance marriage prospects, but a growing number took the opportunity to turn musical ability into a career option. A small group of musically educated women in New Zealand at the start of the twentieth century is studied. At this time, two British examining bodies, Trinity College, London, and the Associated Board, introduced professional diplomas as the culmination of their graded music exams. In their first five years, forty-five women were successful in these “higher examinations” and gained either an Associate from Trinity College (ATCL), or a Licentiate from the Associated Board (LAB). Armed with a prestigious qualification that granted the right to add “letters” after their name, some then followed a career as a teacher of music. Biographical details of each woman are explored and compared to see if any reasons can be found to explain why some continued with music while others didn’t. Similarities as to family and social background are revealed, while the main reason for not continuing with a musical career appears to be the intervention of marriage and family commitments.
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Fischer-Croneis, Sarah H. "Career Intentions and Experiences of Pre- and In-Service Female Band Teachers." Journal of Research in Music Education 64, no. 2 (May 25, 2016): 179–201. http://dx.doi.org/10.1177/0022429416650167.
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The purpose of this study was to examine pre- and in-service female band teachers’ perspectives regarding their experiences in realizing their professional goals. Domains guiding this inquiry included (a) gaining entry into the profession of band teaching, (b) navigating the profession, and (c) gender issues. Findings from this multiple case study indicated that numerous outside factors affected the career paths of the participants, resulting in all of the women pursuing elementary, middle, or multi–grade level jobs. These factors included (a) the positions available at the time of the initial job search, (b) family responsibilities, (c) the perceived time commitment thought to accompany high school band teaching positions, and (d) the desire to witness musical and social growth in students. Some of the participants believed the band profession was increasingly welcoming to women; however, several of the participants reported challenges of being a woman in band teaching. These challenges included the struggle to network with those perceived to be in power, fitting in at professional development events, and gaining respect from students and colleagues. Although some of the women found their gender could be an asset, they also found themselves restricted by social constructs and stereotypes of gender.
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Tongwei, Pan. "Love, Suffering and the Fight for Freedom: the “New Woman” Image in Nie Er’s Vocal Music." Университетский научный журнал, no. 75 (August 25, 2023): 118–24. http://dx.doi.org/10.25807/22225064_2023_75_118.
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The article is devoted to the “new woman” image in the vocal music of the Chinese composer Nie Er, the founder of Chinese proletarian music. The heyday of his work was in the 1930s, when a large-scale anti-Japanese anti-imperialist struggle took place in China. Nie Er, an active supporter of national salvation, translated national liberation ideas and the spirit of struggle into mass patriotic and lyrical songs. This also applies to songs dedicated to the fate of Chinese women. From simple peasants to educated teachers, the women in Er’s songs, even suffering from injustice and oppression, nevertheless fi nd strength to fi ght for freedom and a better future. The article includes a detailed analysis of the “Song of Mei Niang” from Tian Han’s play “Song of Youth”.
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Morales Villar, Maria del Coral, and Mercedes Castillo Ferreira. "From prima donna to teacher. Two female pioneers in singing education in the Nineteenth Century: Virginia Boccabadati and Matilde Esteban." Multidisciplinary Journal of Gender Studies 11, no. 2 (June 25, 2022): 100–123. http://dx.doi.org/10.17583/generos.9045.
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During the 19th-century, the teaching of singing became a career opportunity for the women who had worked in the lyrical stage. The core objective of this article is to reclaim the role of women in music education by studying two prime donnewho, after building a career as successful professional singers, became singing teachers and were pioneers in publishing their methods for female voice education. This research is based on the review and analysis of documentation, mostly historical.
By looking at the biographies of the Italian singer, Virginia Boccabadati (1830-1922) and the Spanish singer, Matilde Esteban (1841-1915), we can discover the context in which their treatises were published and the image they offer of woman as a singer and as a student. By choosing women who were each other's contemporary, but from different countries, helps us to observe the obvious points related to gender determinants that their treatises had in common.
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Tolley, Kim. "Music Teachers in the North Carolina Education Market, 1800-1840." Social Science History 32, no. 1 (2008): 75–106. http://dx.doi.org/10.1017/s0145553200013936.
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Social historians have demonstrated that although men comprised the majority of teachers in North Carolina schools and academies during the early national period, women predominated by the end of the nineteenth century. This study concludes that among the music teachers who taught in academies and venture schools, women gained a majority decades earlier. In an effort to understand some of the underlying social processes that contributed to this shift, the following discussion analyzes the changing proportion of men and women in a sample of 65 music teachers, tracks the tuition they charged in a free market, and compares this to the tuition charged by teachers of Latin and Greek. The shift to women among music teachers in North Carolina presents an intriguing case, because it does not fit well with some earlier theoretical models of feminization among nineteenth-century teachers. The data suggest that women came to predominate among music teachers because a changing market for music instruction in venture schools and academies triggered a process of occupational abandonment and succession.
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Cant, Stephanie. "Women Composers and the Music Curriculum." British Journal of Music Education 7, no. 1 (March 1990): 5–13. http://dx.doi.org/10.1017/s0265051700007476.
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Despite the long-established move towards the inclusion of composition as an element of music in schools, many teachers continue to be wary of it. Lack of confidence amongst women music teachers in their own abilities as composers may be a key to this situation. It is suggested that this arises as a result of rarely seeing music by women composers played and studied with the same attention afforded to music written by men. The popular mythology that only men have the ability to compose is challenged, and an argument is made for the inclusion of music by women composers (past and present) in the curriculum of schools and colleges. Practical suggestions are made as to how this can be achieved despite the current lack of resources.
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Sullivan, Jill M. "Women Music Teachers as Military Band Directors during World War II." Journal of Historical Research in Music Education 39, no. 1 (January 18, 2017): 78–105. http://dx.doi.org/10.1177/1536600616665625.
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The purpose of this study was to determine how women music teachers became the United States’ first female military band directors. Interviews with seventy-nine World War II military bandswomen revealed that seven of the ten chosen female directors were music teachers prior to their enlistment in the Army, Coast Guard, or Marines—band and orchestra teachers, music supervisors, and a college professor. Six of those seven directors are included in this study. Research questions pertained to their childhood music education, formal schooling, music-teacher employment, why they quit teaching to enlist, military education, military leadership and performance experiences, how they continued music making after the war, and the meaning of this experience for their lives. Corroboration of interview responses with primary and secondary sources—census data, school records, city directories, social security index, newspaper articles, photographs, diaries, military documents, military and WWII books—revealed that these music educators had accurate memories, outstanding music education and performance backgrounds, substantial leadership experiences, and diverse musical backgrounds that made them good choices for leading military bands and ensembles. All were part of significant firsts for women in the military. Near the end of their lives, they believed that their service as a military band director and musician had substantial impact on their lives and in some cases valued as “the most important” experience of their lives.
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Wing, Cheong Ku. "Understanding the Pull Motivations of Malaysian Women Music Teachers as Music Entrepreneurs." Malaysian Journal of Music 7 (March 2, 2018): 78–99. http://dx.doi.org/10.37134/mjm.vol7.5.2018.
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Fjellman-Wiklund, Anncristine, Christine Brulin, and Gunnevi Sundelin. "Physical and Psychosocial Work-related Risk Factors Associated with Neck–Shoulder Discomfort in Male and Female Music Teachers." Medical Problems of Performing Artists 18, no. 1 (March 1, 2003): 33–41. http://dx.doi.org/10.21091/mppa.2003.1007.
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The aim of this cross-sectional study was to investigate the relationship between individual, physical, and psychosocial aspects of the work environment and musculoskeletal discomfort in the neck-shoulder region, in male and female music teachers. A questionnaire was distributed by mail that was based on the Standardised Nordic Questionnaire on work-related musculoskeletal disorders (WMSD) and the demand-control-support questionnaire on psychosocial work factors. The questionnaire included additional items on playing habits, weekly amount of performing and practice time, physical exercise during leisure time, perceived general health, and physical workload. The study population consisted of all music teachers employed at all 23 municipality music schools in the northern region of Sweden. Out of 287 music teachers, 208 (72.5%) agreed to participate, 88 women and 120 men. Multiple logistic regression analyses were used to examine the role of exposure factors in relation to the risk of discomfort in the neck-shoulder area. All analyses were performed separately for women and men, adjusting for age. Of the total number of participants, 82% reported that they had experienced discomfort during the preceding 12 months. The female teachers reported significantly more symptoms in the neck (p = 0.02), the shoulders (p = 0.02), and the upper back (p = 0.00) compared with the male teachers. In the multiple logistic regression analyses, neck-shoulder discomfort during the previous 7-day period was associated with both physical and psychosocial work factors. The risk association patterns were different between the female and male music teachers. The strongest risk factors for women were high psychological demands (OR 6.0, CI 1.1-32.4) and teaching at many schools (OR 4.8, CI 1.0-24.4). For men, lifting (OR 8.7, CI 2.1-34.8), playing the guitar (OR 6.0, CI 1.5-23.6), and low social support (OR 3.1, CI 1.0-9.7) were the strongest risk factors.
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Edling, Cecilia Wahlström, and Anncristine Fjellman-Wiklund. "Musculoskeletal Disorders and Asymmetric Playing Postures of the Upper Extremity and Back in Music Teachers: A Pilot Study." Medical Problems of Performing Artists 24, no. 3 (September 1, 2009): 113–18. http://dx.doi.org/10.21091/mppa.2009.3025.
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To play a musical instrument, such as the violin or flute, requires controlled, adequate movements performed by the arm, hand, and fingers in an asymmetric playing posture. The movements are monotonous and often of long duration, involving static and repetitive muscle work of the upper extremity and neck-shoulder muscles. This situation may lead to an increased risk of contracting musculoskeletal problems. The aim of this cross-sectional study was to investigate the relationship between physical workload, defined as playing posture and playing time per week, and musculoskeletal disorders in music teachers. A questionnaire was distributed, with items based on work-related musculoskeletal disorders and physical working conditions. The study population consisted of music teachers employed at a Swedish municipal music school. Out of 61 music teachers, 47 (77%) agreed to participate, including 28 women and 19 men. The study group was divided into two groups depending on if they had an asymmetric or symmetric upper extremity/back playing position. Of the total participants, 77% reported musculoskeletal disorders during the preceding 12 months. Female teachers reported significantly more symptoms in the neck, shoulders, and upper back than male teachers. Music teachers with an asymmetric playing posture had significantly more musculoskeletal disorders than music teachers with a symmetric playing posture. This study demonstrates that an asymmetric playing position may affect the amount of musculoskeletal disorders in the upper extremity and back.
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Jeremić, Mirko, and Nada Ivanović-O'brajen. "The creative work of women composers in 20th-century Serbian Music in general Music Education." Inovacije u nastavi 36, no. 4 (2023): 80–94. http://dx.doi.org/10.5937/inovacije2304080j.
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The Curriculum for Music Education in primary and high schools includes Serbian music in the 20th century, both modern and postmodern, as a teaching topic. The opus of the composers such as Ludmila Frajt, Ljubica Marić, and Isidora Žebeljan has left an indelible mark on Serbian music and has become part of the world's musical heritage. However, their creative work is not adequately represented in the teaching practice of primary and secondary schools, nor in the Curriculum that prescribes and suggests the selection of compositions for singing and listening. A special emphasis is placed on their individual and unique music style, the preservation and interpretation of Serbian folklore heritage and spirituality in their creative work, as well as on the educational and pedagogical potential of their work within the framework of general music education. The representation of the work of these artists in teaching practice, teacher training for practical implementation of these teaching topics, teachers' attitudes and motivation - all these elements are the subject of the qualitative research presented in this paper. The research was conducted by means of an online survey of seventeen music education teachers, i.e., members of the Association of Music Education Teachers of Serbia, using the digital tool Google Forms. The paper will provide a summative and descriptive presentation of the results of the survey consisting of a total of twenty-one questions. Considering the artistic, educational, and pedagogical significance of the composers' work, the authors of the paper have articulated paradigmatic methodological guidelines for teaching this topic, within the framework of educational standards and the Curriculum for Music Education, with a focus on the development of competencies and targeted outcomes.
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Stevens, Robin S. "Pathfinder and Role Model: Ada Bloxham, Australian Vocalist and Tonic Sol-fa Teacher." Journal of Historical Research in Music Education 39, no. 2 (January 18, 2017): 131–47. http://dx.doi.org/10.1177/1536600616669360.
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The Australian mezzo-soprano Ada Beatrice Bloxham (1865–1956) was the inaugural winner (in 1883) of the Clarke Scholarship for a promising musician resident in the Colony of Victoria to study at the Royal College of Music in London. She was the first Australian to enrol at the Royal College of Music and to graduate as an Associate of the College in 1888, and she was the first woman to be awarded a Fellowship of the Tonic Sol-fa College, London, also in 1888. After a period teaching and performing in Japan (1893–1899), she married and lived variously in South Africa, England, and France, returning to Australia in 1927. Due most probably to her marriage and family responsibilities, she appears not to have achieved her full potential as a performer and teacher. Nevertheless, Bloxham is worthy of recognition as having gained success as a musician and educator both in her native Australia and abroad during her early and middle years, and as a pathfinder and role model for other women during the early years of their musical careers.
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Nash, Margaret A. "A Means of Honorable Support: Art and Music in Women's Education in the Mid-Nineteenth Century." History of Education Quarterly 53, no. 1 (February 2013): 45–63. http://dx.doi.org/10.1111/hoeq.12002.
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“The value of the Art Education becomes more and more apparent as a means of honorable support and of high culture and enjoyment,” stated the catalog of Ingham University in western New York State in 1863. The Art Department there would prepare “pupils for Teachers and Practical Artists.” This statement reveals some of the vocational options for women that were concomitant with the increased popularity of music and art education in the middle decades of the nineteenth century in the United States. Practical vocational concerns, along with notions of refinement and respectable entertainment, all were aspects of the impetus for music and art education. Preparing young women for occupations, whether as teachers of art and music or as commercial artists or musicians, was a particularly prominent component of education for women in the mid-nineteenth-century United States.
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Silveira, Jason M., and Sarah C. Goff. "Music Teachers’ Attitudes Toward Transgender Students and Supportive School Practices." Journal of Research in Music Education 64, no. 2 (May 17, 2016): 138–58. http://dx.doi.org/10.1177/0022429416647048.
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The purpose of this study was to measure music teachers’ attitudes toward transgender individuals and toward school practices that support transgender students. Participants ( N = 612) included men and women who teach a variety of music subjects in elementary, middle, and high schools, in urban, suburban, and rural areas. An online questionnaire was distributed to participants representing 28 states in the United States. The questionnaire consisted of demographic information and several attitudinal statements designed to measure music teachers’ attitudes toward transgender individuals (MT-ATTI) and music teachers’ attitudes toward supportive school practices (MT-ATSSP). The results indicated that participants had fairly positive attitudes overall. Multiple regression analyses also revealed that gender and political persuasion on social issues significantly predicted participants’ scores on the MT-ATTI and the MT-ATSSP; female participants had more positive attitudes than did male participants, and individuals identifying as more socially liberal had more positive attitudes than did those identifying as more socially conservative. The variables of school location and age did not significantly predict scores on the MT-ATTI or the MT-ATSSP. Implications for teacher preparation programs and professional development are discussed, and future directions for research are recommended
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Lesser, Andrew. "Toward a New Vision of Equality: Perspectives of Male Teachers in the Elementary Music Classroom." Update: Applications of Research in Music Education 36, no. 1 (July 22, 2016): 20–27. http://dx.doi.org/10.1177/8755123316661854.
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Research concerning men working in predominantly female environments has suggested that stereotyping can occur when gender norms are violated, such as men teaching at the elementary school level. The present study investigated the presence and perspectives of male elementary school music teachers in specific geographical regions of the Northeastern United States. A qualitative analysis of six public school districts representing multiple states in the Northeastern United States revealed that women still hold a majority among elementary music teachers. Interviews were then conducted with three selected male elementary music teachers to determine if any of them felt discriminated or marginalized among their female colleagues. While these men did claim that their masculinity indeed caused various issues relating to male discrimination, all three felt content with their positions regardless of their gender identification.
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Cronenberg, Stephanie, and Brandon Williams. "Standing in the Gap: Middle Level Music Learning in the United States and Its Territories." Bulletin of the Council for Research in Music Education, no. 237 (July 1, 2023): 23–44. http://dx.doi.org/10.5406/21627223.237.02.
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Abstract All students deserve access to quality music education and qualified music teachers prepared to teach them; however, there are some gaps in the field's knowledge of how all students across the United States are served in music education. One such knowledge gap is focused on middle level (fifth through eighth grade) music learning, a critical period in both student and program development. This national survey aimed to understand the status of middle level music education at public and public charter schools throughout the United States and its territories during the 2020–2021 school year. Of the 2,749 responding schools, 29.52% offered no middle level music learning opportunities while schools offering music learning reported an increase in choral experiences and a decrease in general music and orchestral experiences as students move from fifth to eighth grade. More than 80% of the responding music teachers identified as White and more than 60% identified as women. In addition, more than three fourths reported feeling underprepared for middle level music teaching. Our findings present a national portrait of available music learning opportunities, music teacher demographics, and music teacher perceived preparation for fifth through eighth grade. While hopeful for many school communities across the country, our findings also raise important questions for future research and for the preservice and in-service preparation of middle level music educators.
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Pomerleau Turcotte, Justine, Maria Teresa Moreno Sala, and Francis Dubé. "Factors Influencing Technology Use in Aural Skills Lessons." Revue musicale OICRM 4, no. 1 (June 26, 2017): 1–16. http://dx.doi.org/10.7202/1040297ar.
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In North America, aural skills (as) are usually taught to children during the instrumental music lessons. While learning musical dictation and sight-singing can be difficult for some learners, the use of appropriate technological tools could facilitate the process. However, the use of information and communication technologies (ict) by music teachers in aural skills instruction to children have not been documented. An online survey was conducted in the Province of Quebec (Canada) in order to answer the following questions: 1) To what extent do instrumental music teachers use ict when teaching as to children between 6 and 12 years old?; 2) Are the teachers’ socio-demographic characteristics, as training and perception of as teaching linked to the use and the frequency of use of ict? The results show that the use of ict to teach as is still relatively uncommon. Furthermore, it would be negatively correlated with age, competence felt during training and perceived competence to teach as. Finally, it appears that a smaller proportion of piano teachers and women use ict, or use them less often. A better understanding of the teachers’ perception of technology could help develop more adapted resources.
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Littleton, Danette. "Song lines and soundtracks: Autoethnographic narratives across four generations." Journal of Popular Music Education 6, no. 1 (March 1, 2022): 101–16. http://dx.doi.org/10.1386/jpme_00077_1.
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Music is personal. While self-reflection is common to performers, composers, teachers and researchers, there exists a musical dimension ‐ the source of these experiences ‐ wanting recognition. These experiences, I suggest, are the personal memories of one’s deep involvement with music. Reported here are rich narratives across four generations of women in my family. Each one demonstrates separate cultural identities and influences according to her musical heritage, religious traditions, upbringing and access to music at a given time, place and environment. Each one’s story reveals a profound sense of self-knowing, the ‘me-ness’ of lived experience through music. The autoethnographic data were inspired by close relationships with the women in my family and interest in the significance of music memories from childhood, youth and early adulthood. I propose that knowledge of our students’ musical memories provides a baseline for understanding their musical development and influences our curricular decisions.
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Littleton, Danette. "Song lines and soundtracks: Autoethnographic narratives across four generations." Journal of Popular Music Education 6, no. 1 (March 1, 2022): 101–16. http://dx.doi.org/10.1386/jpme_00077_1.
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Music is personal. While self-reflection is common to performers, composers, teachers and researchers, there exists a musical dimension ‐ the source of these experiences ‐ wanting recognition. These experiences, I suggest, are the personal memories of one’s deep involvement with music. Reported here are rich narratives across four generations of women in my family. Each one demonstrates separate cultural identities and influences according to her musical heritage, religious traditions, upbringing and access to music at a given time, place and environment. Each one’s story reveals a profound sense of self-knowing, the ‘me-ness’ of lived experience through music. The autoethnographic data were inspired by close relationships with the women in my family and interest in the significance of music memories from childhood, youth and early adulthood. I propose that knowledge of our students’ musical memories provides a baseline for understanding their musical development and influences our curricular decisions.
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Özevin, Banu. "Music Class and Abuse." Athens Journal of Education 9, no. 4 (October 12, 2022): 575–92. http://dx.doi.org/10.30958/aje.9-4-3.
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It is important for the teacher, who is one of the main actors in the cognitive, mental and psychological development of their students, to create a safe educational environment. However the state in Turkey has received reports that have found abusive behavior by some teachers. The main objective of this study is to question the existence of abuse by music teachers. The participants of the study consisted of 902 students studying in different Faculty of Education departments in Turkey. The research is a descriptive study and employed a survey model. The data were collected through an “Abuse in Music Class Questionnaire”, which was developed by the researcher. The results revealed that more than one-quarter of the responding students experienced emotional abuse and 5 to 10% suffered physical abuse in music classes during middle school and high school. Men reported emotional abuse significantly more than women. This study showed that students may experience abuse in music classes and that emotional abuse is more common than physical abuse. As far as reasons for abuse, classroom management problems, a lack of knowledge about pedagogic principles in the developmental characteristics of children, and teaching methods are highlighted. Keywords: abuse, music teacher, music class, abuse in music class, classroom management
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Howe, Sondra Wieland. "Swiss-German Music Books in the Mason-McConathy Collection: Accounts from Europe to the United States." Journal of Research in Music Education 48, no. 1 (April 2000): 26–38. http://dx.doi.org/10.2307/3345454.
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This article describes an examination of the Swiss-German music books in the Luther Whiting Mason—Osbourne McConathy Collection, undertaken to learn about music education in nineteenth-century Switzerland and its influence on American music education. Pfeiffer and Nägeli introduced Pestalozzi's ideas to Swiss schools, teaching the elements of music separately and introducing sounds before symbols. Swiss educators in the mid-1800s published numerous songbooks and teachers' manuals for an expanding school system. Foreign travelers praised the teaching of Schäublin in Basel. In Zurich, a cultural center with choruses for men and women, music directors continued to produce materials for schools and community choruses in the 1800s. Because travelers like Luther Whiting Mason purchased these books, Swiss ideas on music education spread to other European countries and the United States.
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Green, Lucy. "Music, Gender and Education A Report on Some Exploratory Research." British Journal of Music Education 10, no. 3 (November 1993): 219–53. http://dx.doi.org/10.1017/s0265051700001789.
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Sexual difference expresses itself not only in the musical practices and tastes of boys and girls in schools, but also in teachers' discourse about pupils' musicality. The following article explores this discourse through interpreting the findings of some questionnaire research, which was intended to tap teachers' common-sense and sometimes unspoken assumptions about gender, music and education. A considerable amount of both overt and implicit consensus between teachers is revealed. Questions are raised about the implications of such a consensus, both for the musical education of children, and for the musical roles of men and women. This article was originally written and published as a Research Report in the London University Institute of Education.
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Nafie, Juan Ardiles. "Pemaknaan Profesi Perempuan Dalam Video Musik Lokal Di Nusa Tenggara Timur." Jurnal Communio : Jurnal Jurusan Ilmu Komunikasi 9, no. 1 (July 15, 2020): 1538–63. http://dx.doi.org/10.35508/jikom.v9i1.2311.
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The appearance of women in music videos is a site that shows various ideologies which influence the thinking of a society about the construction of women, including the construction of the profession of women. The appearance of women is inseparable from values and is not solely in the interests of women but there are certain interests.
This study wants to see whether the representation of the women's profession in the local music video shows strength in women or leads to a new repression for local women in East Nusa Tenggara. The aims of this study are to provide an overview of the meaning of the women's profession through local music videos of East Nusa Tenggara and to provide a description of the hybridity discourse in the depiction of the women's profession through the NTT Local music video. The type of this research is descriptive qualitative research uses the approach of feminism, the women's profession, public space and cultural hybridization theory to see how the meaning of the women's profession in local music videos in East Nusa Tenggara.
This study uses the analysis of semiotics of Carol Vernalis. The data in this study were analyzed in 3 stages, namely: (1) structural analysis created in the music video, (2) reading the video chronology and analysis of two specific parts, and (3) understanding the women's profession in terms of cultural hybridity.
The results of this study indicate that women who are teachers are not professionally interpreted as attached to the teaching profession but emphasize the symbols of modern women through space and fashion. Hybridity between the appearance of modern women but still bound by local patriarchal culture. Women who are midwives are interpreted by the domestication of women. Women are shown with an ideal picture of women. The meaning of the women's profession experienced repression, where the women's profession featured in this local music videos is the result of a tug-of-war on various discourses in which the appearance is more concerned with modernity that leads to industrial interests. Hybridity is not only related to the fusion of culture but the consequences of domination that arise when there is fusion of culture. In the end, this music videos do not fully show the female profession but the interests of modernity, global, patriarchy are prioritized.
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Mills, Janet, and Jan Smith. "Teachers' beliefs about effective instrumental teaching in schools and higher education." British Journal of Music Education 20, no. 1 (March 2003): 5–27. http://dx.doi.org/10.1017/s0265051702005260.
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What makes instrumental teaching, including vocal teaching, effective? And is this the same in schools and in higher education (HE), including conservatoires? We asked 134 local education authority (LEA) instrumental teachers to state what they believe makes good teaching in schools and in HE, and to list the strengths and weaknesses of the teaching that they recall receiving as students. We found that many teachers believe that good teaching in schools differs from good teaching in HE. There are differences in the beliefs held by teachers with and without qualified teacher status (QTS), and also in those of men and women. Many teachers report that their teaching is influenced by the ways that they were taught, and the ‘peak’ lessons that teachers received often appear particularly influential. We explain the steps we have taken to enable LEAs to apply the findings when planning professional development for their teachers, and suggest further applications.
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Talbot, Brent C., and Donald M. Taylor. "Queer Futurity and Afrofuturism: Enacting Emancipatory Utopias in Music Education." Philosophy of Music Education Review 31, no. 1 (March 2023): 43–58. http://dx.doi.org/10.2979/pme.2023.a885191.
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Abstract: Inspired by the life and works of GrammyAward® winning artist, Lil Nas X, we explore ways a young Black queer musician has enacted emancipatory utopias to disrupt dominant cultural modes of being—offering unapologetic expressions and expansions of race, gender, and sexual identity. In this paper, we draw upon José Esteban Muñoz and Ytasha Womak to consider how utopian thinking through the lenses of queer futurity and Afrofuturism provides a way to dismantle the hegemonic and proleptic trappings of music education and contemplate how music learners and teachers might enact emancipatory utopias relevant to their own historically lived experiences.
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McArton, Lloyd. "Imposter syndrome: A case study on the experiences and perspectives of a teenage feminist indie band." Journal of Popular Music Education 6, no. 2 (July 1, 2022): 165–81. http://dx.doi.org/10.1386/jpme_00082_1.
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This research article features the perspectives of two young women who create and perform as an indie band together. Their stories demonstrate a stark contrast between their relative success in this early stage of their career and the obstacles that they continue to face. Linked to an underlying feeling of imposter syndrome, they reveal an ongoing struggle with confidence as musicians, resentment of the gentrification and closure of music venues, unsupportive high school teachers and administration and age-related barriers to the indie music scene. Encounters with sexism and ageism within the music scene and industry allude to systemic issues resulting in a dearth of musical spaces in which young artists can participate safely. Through interrogation of existing pathways to musical experiences and deeper understanding of young artists and their experiences within these avenues, attention to these discrepancies is critical in all settings of music education.
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Russell, Dave. "Key Workers: Toward an Occupational History of the Private Music Teacher in England and Wales, c.1861–c.1921." Royal Musical Association Research Chronicle 47 (2016): 145–72. http://dx.doi.org/10.1080/14723808.2016.1140369.
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Making particular use of material drawn from the Census of England and Wales, this article confirms that music teaching was above all an urban activity, increasingly dominated by women, albeit with some local variation, and that the highest provision of teaching was invariably in middle-class areas. Seaside resorts and suburbia were especially prominent market locations by the early twentieth century, with the south-east particularly favoured. The often-derided part-time teacher is shown to have been a key figure in working-class communities. While teachers showed little interest in formal professionalization, it is argued that they were probably better paid than has been assumed and were able at least to maintain a social position within the lower-middle and skilled working classes that most were born into. Although women's careers were frequently short, for a growing minority, music teaching was a serious career option. It is suggested that teachers met contemporary needs rather more effectively than some have claimed.
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Öner, Onur. "Music in Early Twentieth-Century Istanbul." Archiv orientální 89, no. 1 (June 22, 2021): 63–84. http://dx.doi.org/10.47979/aror.j.89.1.63-84.
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This study addresses the social history of music in early twentieth-century Ottoman Istanbul. The paper argues that private music schools were at the center of transformations in music and that their history is profoundly related to the political crises the Ottoman state experienced after the turn of the twentieth century. More precisely, by approaching the Ottoman bureaucracy from a musical perspective, the paper tries to link the reorganization of the Ottoman bureaucracy in 1909 with the emergence of private music schools in Istanbul. To explore the process, the paper follows some official functionaries’ career paths to explain their concentration in these schools. In contrast to conventional historiography, the aim is to emphasise that out of the political crises, private music schools emerged as a new ground in music. By paying limited attention to musical aspects, the study will mainly address the social roles these schools occupied in Ottoman urban life. They were practically social organizations, whose members pursued common goals. Collective action, such a fundamental shift of mindset on the part of the musicians, facilitated the advancement of the status of musicians in Ottoman urban society and decreased uncertainty about the future of the profession. Moreover, the institutional identity provided by the schools changed the place of women in music by increasing their visibility as music teachers and performers.
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Herrera Torres, Lucía, Rafael Enrique Buitrago Bonilla, and Aida Karina Ávila Moreno. "Empatía en futuros docentes de la Universidad Pedagógica y Tecnológica de Colombia." Journal of New Approaches in Educational Research 6, no. 1 (January 15, 2016): 30–37. http://dx.doi.org/10.7821/naer.2016.1.136.
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<p class="AbstractText">This study analyzes cognitive and emotional empathy in students who started their training at the Education Science Faculty of the Pedagogical and Technological University of Colombia. The sample was formed by 317 students enrolled in the study programs of Preschool, Plastic Arts, Natural Sciences, Physical Education, Philosophy, Computer Science, Foreign Languages, Mathematics, Music, Psychopedagogy, and Social Sciences. The Cognitive and Affective Empathy Scale (TECA for its Spanish initials) was used to collect data. Both the reliability of TECA and its construct validity were determined for this sample. Participants obtained better results in the cognitive dimension, the highest scores additionally corresponding to the emotional understanding scale. As far as gender is concerned, women outperformed men in their scores, especially in the two affective dimension scales. Differences also appeared according to age, scores growing as age increased. With regard to the training program in which students were enrolled, significant contrasts were identified in perspective adoption and empathic stress. Finally, a suggestion is made about the need for teacher training curricula to envisage empathy development for the purpose of strengthening the emotional skills of future lecturers.</p>
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Borgström Källén, Carina Lena Marie, and Birgitta Sandström. "Kropp, blick och plats – konstruktioner av dans- och vokalundervisning." Educare - vetenskapliga skrifter, no. 2 (June 20, 2019): 73–92. http://dx.doi.org/10.24834/educare.2019.2.5.
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By focusing on dance and on the voice as a music instrument, and applying a gender perspective, this article problematizes constructions of dance and music education – arenas where girls and women are in the majority. The result is based on the meta-analysis of a common issue found in four qualitative studies, three conducted at the aesthetic programs at upper-secondary schools in Sweden and one conducted in higher music education. The studies were produced through participatory observation, video-documented teaching situations, discussions with teachers about critical incidents, focus group discussions and group interviews. The meta-analysis shows that dance and vocal studies’ have similar subject constructions based on the traditions and conventions of the performing arts. Furthermore, the result points to the need to highlight how the body, the gaze, and the place are constructed in teaching and learning to clarify what norms and values surround the subjects. The article contributes to the discussion of how quality is understood in dance and music education and increases the knowledge of widening participation in these subjects.
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Lewis, Amy B. "Dreaming Out Loud: Four Music Educators Dream for the Future of Music Education." Bulletin of the Council for Research in Music Education, no. 232 (April 1, 2022): 64–80. http://dx.doi.org/10.5406/21627223.232.04.
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Abstract In order to hold hope for a future music education profession that addresses racial inequities in music teaching, music educators must possess the tools and concepts needed to discuss race and racism. This research specifically explores how four music educators, informed by critical race theory, dream for the future of music education. Two participants identify as cisgender women; one teaches middle school band (Beth) and the other high school band (Angela). The other two participants identify as cisgender men; one teaches elementary general music (Jesse) and the other high school beat-making and songwriting in an after-school setting (Ty). Each participant engaged in an eight-session professional learning community focused explicitly on critical race theory. During the final professional learning community workshop, the participants were asked to use the new knowledge they gained to dream for the future of music education. Freedom dreaming (Kelley, 2002; New York Collective of Radical Educators, 2020) is a powerful tool to imagine a most ideal future by challenging oppressive structures. Love (2019) discusses the importance of being able to dream for a future that embraces justice and equity where students who experience systemic hardship can thrive. Critical race theory can provide a lens for music educators to critically examine their own practices as teachers and consider what equitable teaching practices look like for them. Results from this study show the importance of learning about race and racism within music education and highlight the value of emphasizing student autonomy through exploration in the music classroom.
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Bernabé-Villodre, Mª del Mar, and Vladimir E. Martínez-Bello. "Analysis of gender, age and disability representation in music education textbooks: A research update." International Journal of Music Education 36, no. 4 (April 25, 2018): 494–508. http://dx.doi.org/10.1177/0255761418763900.
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According to International and European Law, teachers are encouraged to analyse, challenge and to help to eliminate sexist stereotypes and distortions in curricular materials. We aimed to characterize and compare the efficacy of implementation of the gender equality-based approach in the Spanish educational system, through a content analysis of the illustrations in music education (ME) textbooks following a coding scheme constructed by the research team according to guidelines from previous studies about the depiction of women and girls in ME textbooks during two periods of Spanish democracy: before (1992–2005); and after (2006–2015). Our major findings were: (a) female characters were under-represented in both time periods studied; (b); the stereotype of women as amateur but not professional musicians is not perpetuated in the current primary ME textbooks; (c) both children and adults independently of gender were portrayed interacting with others; (d) despite the fact that women teachers are actively participating in schools, ME textbooks do not faithfully reflect that reality; and (e) the virtual absence of females and males with disabilities suggests that this aspect of inclusion is still pending. Notwithstanding, ME textbooks printed after 2006 tended to challenge some traditional stereotypes pertaining to how females and males think, play and act within the musical world.
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Pellegrino, Kristen, Julie Derges Kastner, Jill Reese, and Heather A. Russell. "Examining the long-term impact of participating in a professional development community of music teacher educators in the USA: An anchor through turbulent transitions." International Journal of Music Education 36, no. 2 (May 23, 2017): 145–59. http://dx.doi.org/10.1177/0255761417704214.
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Peer mentoring and participating in professional development communities (PDCs) have been documented as supporting individuals through the transition into the teacher educator profession. However, Gallagher, Griffin, Parker, Kitchen, and Figg (2011) suggested future researchers examine the lasting impact of participating in PDCs. The purpose of this study was to explore and describe the long-term impact of participating in a PDC of music teacher educators. We, as four participant-researchers and one participant, were five early-career women music teacher educators in tenure-track positions at different institutions, reflecting back on our PDC and collaborative research experiences. We used a social constructivist framework to examine how we made sense of our experiences. Data included individual interviews, paired interviews, reflective journals, and a Facebook group. Findings included: (a) feeling empowered through a sense of community and support; (b) coming to new understandings of ourselves as music teacher educators; (c) experiencing benefits and challenges of our collaborative research process; and (d) still learning/becoming. The sense of community and support, benefits from collaborating on research, and opportunities to “play” with our developing identities had lasting professional and personal implications, which helped us successfully navigate the transitions and provided an anchor during the turbulent process of becoming music teacher educators.
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Madsen, Clifford K., and Carl B. Hancock. "Support for Music Education: A Case Study of Issues Concerning Teacher Retention and Attrition." Journal of Research in Music Education 50, no. 1 (April 2002): 6–19. http://dx.doi.org/10.2307/3345689.
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This study is an investigation of several issues relating to teacher retention and attrition. In the spring of 1995, a questionnaire was sent to 225 certified teachers who had all finished a BME during the past 10 years and graduated from the same university. Results indicated that of the senders of 137 returned responses, 24 (17.5%) had chosen not to teach at that time. Specific questions concerned demographic data including years of teaching, area of specialization, amount of professional development, and especially the degree of perceived support received from administration, school, and parents. Retention of this same sample was investigated 6 years later, indicating that 34.4% of the individuals were no longer teaching at the K-college level, well below the average rate of attrition for teachers in other subject areas. Music teachers remaining in the field in 2001 held more positions prior to 1995 than those no longer teaching and regularly participated in professional development activities. Subjects' comments revealed that personal reasons and administrative support concerns were given as the primary rationale for discontent with the education profession. Analysis of gender patterns revealed that women and men leave the profession at different times during the first 10 years of their careers. Implications for teacher training as well as areas of further research are discussed.
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Ziemba, Anita. "Ways of spending free time by teachers of physical education in Tarnów." Health Promotion & Physical Activity 7, no. 2 (July 5, 2019): 18–22. http://dx.doi.org/10.5604/01.3001.0013.2755.
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Aim of the study: The aim of the work was to conduct research in the field of interests and their impact on spending free time by physical education teachers teaching at schools in Tarnów. Material and methods: The research was carried out in 2018 among 30 teachers in the 30–50 age group, teaching physical education in primary schools, junior high schools and upper secondary schools in Tarnow, taking part in thematic workshops. The research was carried out by means of a diagnostic survey, and a survey technique was used to obtain the necessary information and data. Results: The surveyed PE teachers most often spend their free time actively outside home, and most preferably with the family and friends. Sport was the most popular choice among respondents, regardless of gender. Clear gender differences were noted in the areas of spending free time, interests and hobbies. Conclusions: The vast majority of PE teachers surveyed spend their free time actively, mainly interested in sport. Women are more interested in health and beauty, and men in film and music, motorization and DIY.
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Appiah, Kofi Nyantakyi, Emmanuel Aboagye, and Daniel Darkwa Mensah. "Students’ Perception of Integration of Physical Education, Music, and Dance (PEMD) as a Course in Colleges of Education in Ghana." European Journal of Education and Pedagogy 4, no. 2 (April 20, 2023): 237–45. http://dx.doi.org/10.24018/ejedu.2023.4.2.627.
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The integration of courses (subjects) is currently trending in all facets of the educational curriculum. Therefore, studies must be done to holistically look into the impacts and perceptions of teachers and learners on the integration of courses in our educational systems. This paper examined students’ perception of the combination of Physical Education and Music and Dance as an integrated course in colleges of education in Ghana. Semi-structured interviews were used to collect data from 10 purposively sampled students (five women and five men) in two strategically selected colleges of education in the Ashanti Region, Ghana. Content analysis was used as a tool for data analysis. Based on the results, the students found the PEMD course the most enjoyable, especially the practical aspects of PE and the dance drama aspect of the music. The students further envisaged that playing musical instruments was a challenge during the music course and the PE course was primarily full of classroom work (theory). In advance, the students recommended that, with the PEMD, the PE aspect should be separated from the music since both are comprehensive courses, and each can stand on its own as a course. Again, the participants asserted that the course should be more practically oriented than before. Therefore, the PEMD course should be more practical than theory and separated to allow PE and Music to stand on their own as a course since they have no apparent relationship.
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Westerlund, Heidi, and Heidi Partti. "A cosmopolitan culture-bearer as activist: Striving for gender inclusion in Nepali music education." International Journal of Music Education 36, no. 4 (July 30, 2018): 533–46. http://dx.doi.org/10.1177/0255761418771094.
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Although music education scholars have increasingly advised teachers to take heed of values, principles, and strategies of musical practices outside of school, very little has been written in music education regarding the ideological underpinnings of musical practices in these contexts. This article argues that musical practices outside of school do not necessarily provide ideal models to be directly applied in the music classroom, but need to be critically examined and transformed to better align with global imperatives such as inclusiveness. In addressing the imbalance between “inauthentic” learning in school and “authentic” learning outside of school, this article shows how working toward the global ideal of gender inclusion may require radical activism and a cosmopolitan approach countering the right of an ethnic group to practice and preserve their own distinctive culture. The life story of a Newar musician from the Kathmandu Valley is used to illustrate this argument by demonstrating what it takes for a “culture-bearer” to initiate radical processes of social change and transformation. In this qualitative narrative case study, we asked what kind of context-specific, socio-cultural negotiation was required to overcome the challenges the musician faced in including girls and women in musical learning in a Newar community.
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Schmidt, Charles P., Stephen F. Zdzinski, and Dennis L. Ballard. "Motivation Orientations, Academic Achievement, and Career Goals of Undergraduate Music Education Majors." Journal of Research in Music Education 54, no. 2 (July 2006): 138–53. http://dx.doi.org/10.1177/002242940605400205.
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This study is an examination of motivation orientations (mastery, intrinsic, cooperative, individual, competition, ego, approach success, avoid failure, hypercompetition, personal development competition) and musical self-concept in relation to measures of academic achievement and career goals of preservice music teachers. The research questions addressed (a) relations among motivation and self-concept variables and their underlying factors, and (b) relations between the motivation and self-concept variables and academic achievement, class level, sex, and immediate and long-term career goals. Participants were 148 undergraduate music education majors from three American universities. A survey was administered to measure the motivation constructs and to gather information concerning academic achievement, demographic variables, and career goals. Of the subjects surveyed, 69. 4 % reported public school teaching as an immediate career goal, and 49.3 % reported it as a long-term goal. Significantly greater numbers of women (62.7%) than men (3 7.3 %) indicated public school teaching as the long term goal. Means for self concept in music dif fered by university, while means for motivation and frequencies for career goals did not. Factor analysis revealed five factors: Competitive/Ego, Achieve Success/Avoid Failure, Cooperative vs. Individual, Intrinsic/Mastery, and Personal Development Competition. Significant but low correlations were found between Personal Development Competition and class level. Motivation and self-concept variables were not correlated with academic achievement variables and generally did not differ by sex or class level. Differences in motivation and musical self-concept by immediate and long-term career goal categories were nonsignificant.
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İZGİ TOPALAK, Şefika. "MUSIC AND ART TEACHER CANDIDATES ATTITUDES DIRECTED TO VIOLENCE AGAINST WOMEN IN THE NAME OF HONOR ( KTU SAMPLE )." INTERNATIONAL REFEREED JOURNAL OF HUMANITIES AND ACADEMIC SCIENCES 3, no. 8 (June 30, 2014): 17. http://dx.doi.org/10.17368/uhbab.201488868.
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Porter, Laraine. "Women Musicians in British Silent Cinema Prior to 1930." Journal of British Cinema and Television 10, no. 3 (July 2013): 563–83. http://dx.doi.org/10.3366/jbctv.2013.0158.
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Referencing a range of sources from personal testimonies, diaries, trade union reports and local cinema studies, this chapter unearths the history of women musicians who played to silent film. It traces the pre-history of their entry into the cinema business through the cultures of Edwardian female musicianship that had created a sizeable number of women piano and violin teachers who were able to fill the rapid demand created by newly built cinemas around 1910. This demand was further increased during the First World War as male musicians were called to the Front and the chapter documents the backlash from within the industry against women who stepped in to fill vacant roles. The chapter argues that women were central to creating the emerging art-form of cinema musicianship and shaping the repertoire of cinema music during the first three decades of the twentieth century. With the coming of sound, those women who had learned the cinema organ, in the face of considerable snobbery, were also well placed to continue musical careers in Cine-Variety during the 1930s and beyond. This article looks particularly at the careers of Ena Baga and Florence de Jong who went on to play for silent films until the 1980s.
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Gülbahçe, Arzu, Taner Çalmaşur, and Erdoğan Tozoğlu. "Analysis of the Communication Levels of the Students Studying in Music Education and Preschool Education in Terms of Music and Different Variables." Journal of Education and Training Studies 7, no. 3S (March 21, 2019): 120. http://dx.doi.org/10.11114/jets.v7i3s.4163.
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The aim of this study was to investigate the communication levels of the students who are studying in music education and preschool education in terms of music and different variables. The universe of the research is composed of students studying in the music education and preschool Department of Ataturk University Kazım Karabekir Faculty of Education in 2017-2018 academic year. The sample group consists of 237 people, 128 women and 109 men, who were educated in music education and preschool education.In this study, “communication skills inventory” developed by ersanlı and balci (1998) was used to investigate the communication levels of students. (Ersanlı, K.) and Balci, S. (1998). The data were analyzed using the SPSS 21 package program and ANOVA Waryans tests were applied to examine the frequency distribution for distribution of demographic variables of the participants, the relationship between two independent variables and communication levels, and the relationship between two independent variables and communication level. The difference between variables p.0,05 was interpreted taking into account the significance level.According to the findings, there was a significant difference between the students ' communication levels and gender, family structure, The type of music they are listening to, the average listening time per week, the use of musical instrument and the duration of use per week. The communication levels of female students were higher than those of male students and the communication levels of the students in the fragmented family structure were higher than those in the other family structure. It is also important to note that the communication levels of students increase as their weekly listening time increases, and the use of the music instrument has a positive effect on the communication level. It was observed that the students who used 1 hour and six musical instruments in the Weekly environment had a high level of communication between the students who did not use the musical instrument and who used it in different periods. It was observed that the communication points of the students who listen to art music and rock music are higher than the students who listen to other types of music.It was determined that there was no significant difference between the communication levels of the students and the age, the Department of Education and the meanings expressed by music. Although there was no significant difference between the variables, it was observed that the communication level of the students aged 22 and above was higher than the students aged 21.As a result of the data obtained from the research, it was concluded that the duration of listening to music, using a musical instrument and the type of music they are listening to have a positive effect on the communication levels of the students. In the context of the results, students are encouraged to use any musical instrument in line with their listening and listening skills and to provide the necessary facilities. It is recommended that music education and preschool teachers, especially at different levels of Education, be aware that music has a positive effect on communication which is important in the development of children and in expressing themselves, and that they direct children to different social and cultural activities related to music.
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Bradley, John, Frances Devlin-Glass, and Elizabeth Mackinlay. "Diwurruwurru: Towards a New Kind of Two-Way Classroom." Australian Journal of Indigenous Education 27, no. 2 (December 1999): 24–26. http://dx.doi.org/10.1017/s1326011100600546.
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A project is currently underway at http://arts.deakin.edu.au which is innovative on a number of fronts. It has multiple beginnings: in the proactive, as culture dissemination work of a number of Yanyuwa and Garrwa women, who proclaimed in the white man’s world that they were ‘bosses themselves’ (Gale 1983) and who in various ways have sought to bring their culture to the attention of the wider world. This has been accomplished through a prize-winning (Atom Australian Teachers of Media awards in 1991) film, Buwarrala Akarriya: Journey East (1989), of are-enacted ritual foot-walk in 1988 from Borroloola to Manankurra 90 kilometres away. They also made a another prize winning film called Ka-wayawayarna: The Aeroplane Dance (1993) which won the Royal Anthropological Society of London award for the best ethnographic film in 1995. Since 1997 senior Yanyuwa women have been involved on a regular basis in sharing their knowledge of Yanyuwa performance practice with tertiary students in a subject called Women’s Music and Dance in Indigenous Australia which is offered as a course in anthropology through the Aboriginal and Torres Strait Islander Studies Unit, they have also lectured in core anthropology subjects in the faculty of Social and Behavourial Sciences Department of Anthropology and Sociology at the University of Queensland. They have also engaged actively in work as language preservers and teachers at the Borroloola Community Education Centre (hereafter BCEC) and in the Tennant Creek Language Centre program called Papulu Apparr-Kari.
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van der Geest, Sjaak. "Orphans in Highlife: An Anthropological Interpretation." History in Africa 31 (2004): 425–40. http://dx.doi.org/10.1017/s0361541300003582.
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In 1971 and 1973 I carried out anthropological fieldwork in Kwahu-Tafo, a rural town of about 5,000 inhabitants on the Kwahu plateau in the Eastern Region of Ghana. The first research project was a case study of the family I was staying with; the second was on ideas and practices concerning sex and birth control. As usual in anthropological research, my attention was drawn to many other things around me. One of these was Highlife. This short essay discusses the texts of some Highlife songs, which intriguingly related to my experiences in the field.It was impossible not to be struck by the importance of Highlife in the dreariness of daily life in Ghana. In the evenings large groups of young people assembled in front of the local bar to dance and listen to Highlife, the sounds of which resounded over the town. Many of the youngsters sang the texts along with the music. The typically empty interior contrasted strangely with the crowd outside. They were attracted not only by the music but also by the light—the bar was the only place in town with electricity. And, of course, it was the place to meet members of the opposite sex. Women and children were present to sell bread, tea, fried plantains, and other snacks. Around 10 p.m. the bar usually stopped the music; the lights went off, and the people dispersed. I became curious to know what the songs were about. Although I had learned some Twi, I was not able to understand them, so I asked someone to translate one text for me. The content aroused my interest and I decided to collect more Highlife texts. Various people helped me: school pupils, teachers, university students, and others. After recording the songs I had them transcribed in Twi and then translated into English.
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Musser, Jordan. "Carl Czerny's Mechanical Reproductions." Journal of the American Musicological Society 72, no. 2 (2019): 363–429. http://dx.doi.org/10.1525/jams.2019.72.2.363.
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This article reassesses the “mechanical” style of playing featured in Carl Czerny's pedagogical works and keyboard arrangements—specifically, the Complete Theoretical and Practical Piano Forte School, op. 500 (1839), its supplementary text Letters to a Young Lady (ca. 1840), and the four-hand transcription of Beethoven's Symphony no. 9 in D Minor, op. 125 (the “Choral”). The first part of the article situates opus 500 within the larger pedagogical milieu of Biedermeier music culture and Johann Heinrich Pestalozzi's progressivist educational reforms, exploring the way it tasked predominantly women amateurs with assembling basic finger sensations in an exercise-by-exercise—“progressive”—fashion. I propose that this cumulative logic reflects an early-century epistemic norm—what Friedrich Kittler dubs a “mechanical program” of assembly and augmentation. The second part considers Czerny's transcription of the finale of Beethoven's Ninth from the perspective of ludo-musicology and cultural techniques media analysis, outlining the reductive and replicative—“reproductive”—techniques by which Czerny accommodated his former teacher's work to the hands he shaped in the private sphere. I argue that his pedagogies and transcriptions were recursively interrelated. Czerny was simultaneously a mechanic of the hand pedagogically and a mechanical reproducer of symphonies transcriptively, creating a multivalent corpus that forces us to rethink the media-theoretical concept of “mechanical reproduction” vis-à-vis “Discourse Network 1800.”
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Nieto-Miguel, Ignacio, Francisco José Álvarez García, José David Urchaga Litago, and Raquel María Guevara Ingelmo. "¿Por qué ya no cantan los maestros?" Revista Electrónica Interuniversitaria de Formación del Profesorado 25, no. 2 (April 30, 2022): 15–26. http://dx.doi.org/10.6018/reifop.516371.
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The present work analyzes the use of the song as a didactic tool in the field of Primary Education, for which a study was carried out with a total of 128 general teachers of Primary Education (22.7% women) active in the Community. of Castilla y León in Spain, and without a specific musical training. The fundamental objective was to know the musical tools that they use in their classes (especially the song) according to the years of teaching experience. The main results show that music as a transversal tool is highly valued by generalist teachers in line with other research, although there are relevant differences in the use of the song according to the years of teaching experience, with veterans being the ones who use music the most. same. Finally, the causes that may have influenced the decrease in the use of songs as a didactic resource –traditionally considered highly useful and effective– are analyzed and some measures are proposed to enhance it. El presente trabajo analiza el uso de la canción como herramienta didáctica en el ámbito de la Educación Primaria, para ello se realizó un estudio con un total de 128 maestros y maestras generalistas de Educación Primaria (22,7% mujeres) en activo de la Comunidad de Castilla y León en España, y sin una formación musical específica. El objetivo fundamental fue conocer las herramientas musicales que utilizan en sus clases (especialmente la canción) según los años de experiencia docente. Los resultados principales vislumbran que la música como herramienta transversal es altamente valorada por los maestros generalistas en consonancia con otras investigaciones, aunque existen diferencias relevantes en el uso de la canción según los años de experiencia docente, siendo los veteranos los que más uso hacen de la misma. Por último, se analizan las causas que han podido influir en la minoración del uso de la canción como recurso didáctico –tradicionalmente considerado de gran utilidad y efectividad– y se proponen algunas medidas para potenciarlo.
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Nolan, Mary L., and Rebecca Godwin. "Is belly dancing in pregnancy safe and beneficial? The views of two expert panels." Journal of Applied Arts & Health 00, no. 00 (March 17, 2022): 1–11. http://dx.doi.org/10.1386/jaah_00097_1.
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This article describes a study of the impact of belly dancing on women’s experience of pregnancy, labour and birth. In order to identify the core movements of belly dancing suitable for pregnant women, an expert panel of belly dance teachers was convened. Next, based on the teachers’ consensus, a video demonstrating the core movements was produced. Finally, a second expert panel was convened, comprising midwives and childbirth educators, who were asked to comment on the video from their professional standpoints. The panel considered that the movements demonstrated were safe and would help with pregnancy ailments such as back-ache, pelvic discomfort, constipation, sleeplessness and anxiety and that belly dancing would assist pregnant women’s mental health, positive self-image and confidence in their bodies to give birth. The relational aspect of belly dancing in terms of building a sisterhood of women making the transition to motherhood was also noted.
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Zuziak, T. "Aesthetic Principles of Training Future Teachers in Podillia Women's Religious School (the Second Half of XIX – Beginning of XX Century)." Zhytomyr Ivan Franko state university journal. Рedagogical sciences, no. 1(87) (April 4, 2017): 60–63. http://dx.doi.org/10.35433/pedagogy.1(87).2017.60-63.
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An important issue of the school remained a training of the teacher staff in Podillia in the second half of XIX – beg. of XX century. A significant part in the formation of an elementary school teacher played women religious school: The article deals with Podolsk religious women's college and spiritual Tulchynsk women's college where much attention was paid to the study of the subjects of aesthetic direction. In the research the author defined the features of content of educational programs of the aesthetic subjects such as church singing, music, crafts, drawing. The meaning and the importance of literary readings, literary vocal and musical events, which have been putting into the educational process of female religious schools were determined in the context of future teachers' personality. Educational activities of N. Leontovich in Tulchyn eparchial women's college were considered. It was also proved that N. Leontovich in his work with pupils followed the progressive teaching methods and principles using the achievements in traditional musical pedagogy both Western European and Ukrainian authors who are still relevant today. It was proved that the first teaching of the subjects in the female religious schools of Podillia in the second half of XIX – beg. of XX century had a positive influence on the formation of personality, taste, elegance – qualities that are necessary for future teaching pupils of schools. It was proved that the aesthetic elements in the educational system in the female religious schools of Podillia in the second half of XIX – beg. of XX century were focused on making future teachers have their own arsenal of means of the self-realization with the help of which they will convey to the students their beliefs.
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Oprea, Mădălina. "Școli și cursuri țărănești organizate de asociația „Astra“, între anii 1939-1940." Teologie și educație la "Dunărea de Jos" 17 (June 12, 2019): 251–74. http://dx.doi.org/10.35219/teologie.2019.10.
Full textAbstract:
The aim of this research is to present an objective analysis, starting from the texts of the historical documents issued by the Transylvanian Association for Romanian Literature and Culture of the Romanian People (“ASTRA”) between 1939 and 1940 regarding the schools and the courses organized for young adult peasants in Transylvania. The study presents the events, transformations and challenges that “Astra” had to face while trying to maintain its specific forms of activity and cultural manifestation. During 2 or 3 months, particularly in winter season, the organization of such courses had the gift to breathe life into village, waking up the interest and the participation of local intellectuals, many of them being part of the education system, and to break up the villagers‘ habitual inertia. In accordance with “Astra” ‘s educational curricula, Romanian young students, women and men, were taught notions about: agriculture, pomiculture, apiculture, animal husbandry, household maintenance, orchard maintenance and cultivation, legal notions, cooperative businesses and credit unions, general information about personal hygiene, sexuality, puericulture, Romanian language and literature, Romanian history, mathematics, physics, chemistry, music, religion, ethical and moral values. The lecturers who delivered those classes were doctors, priests, engineers, agronomists, lawyers, notaries, professors, institutes, teachers, officers. These specific forms of cultural and educational emancipation of young adult peasants were undertaken by divisions of “Astra” in at least 34 villages and cities. According to the documents of the “Astra” fund at Sibiu County Service of the National Archives issued between August 1939 and August 1940, through their representatives in the territory and in collaboration with the local Agricultural Chambers or with their own local divisions, “Astra” organized 40 peasant schools and agricultural courses attended by approximately 1194 men and 390 women.