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Artículos de revistas sobre el tema "Partcipation in music education"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 13 de febrero de 2022

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1

Carter, Bradley Kent y Joseph F. Kobylka. "The Dialogic Community: Education, Leadership, and Partcipation in James Madison's Thought". Review of Politics 52, n.º 1 (1990): 32–63. http://dx.doi.org/10.1017/s0034670500048269.

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Some interpretations of James Madison tend to treat him as an enemy of “community,” or as indifferent to that concept. These interpretations also tend to base their argument on selected readings from theFederalist Papers. This approach is mistaken because it relies on a part of the Madisonian corpus to define the whole of the Virginian's thought. This mistake leads to a distortion of Madison's treatment of community. Close scrutiny of Madison's life, letters, and essays reveals a theorist-politician committed to building and nurturing community in the new United States, a community linked across time and miles by shared values, common institutions, and ongoing public dialogue.

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2

Lepherd, Laurence. "Comparative Music Education: Bicultural Music Education". International Journal of Music Education os-7, n.º 1 (mayo de 1986): 23. http://dx.doi.org/10.1177/025576148600700105.

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3

Kane, Jan. "Music Education". International Journal of the Humanities: Annual Review 5, n.º 10 (2008): 95–104. http://dx.doi.org/10.18848/1447-9508/cgp/v05i10/42250.

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4

Wolffenbüttel, Cristina Rolim. "Music Education and Folk Music". International Journal of Social Science Studies 9, n.º 1 (28 de diciembre de 2020): 64. http://dx.doi.org/10.11114/ijsss.v9i1.5114.

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This essay deals with aspects related to folk music and its insertion in music education, considering the possibilities that the pedagogical-musical work, in dialogue with the teaching of music can bring. It also presents some suggestions for activities, both in Basic Education and in a more specific work with music teaching, as in schools specialized in this teaching. Focusing on folklore and its importance in people's lives and teaching, the essay proposes the use of various folk music genres, weaving historical and musicological explanations, in order to support the planning of possible pedagogical-musical activities.

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5

Kelly-McHale, Jacqueline. "Equity in Music Education: Exclusionary Practices in Music Education". Music Educators Journal 104, n.º 3 (marzo de 2018): 60–62. http://dx.doi.org/10.1177/0027432117744755.

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6

Keil, Charles y Christopher Small. "Music-Society-Education". Ethnomusicology 29, n.º 2 (1985): 385. http://dx.doi.org/10.2307/852163.

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7

Humphreys, Jere T. "Education and Music". Music Educators Journal 74, n.º 5 (enero de 1988): 13–17. http://dx.doi.org/10.2307/3397974.

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8

Anderson, William M. "Multicultural Music Education". Music Educators Journal 78, n.º 9 (mayo de 1992): 25. http://dx.doi.org/10.2307/3398425.

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9

Reimer, Bennett. "Successful Music Education". Music Educators Journal 85, n.º 3 (noviembre de 1998): 10–11. http://dx.doi.org/10.2307/3399137.

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10

Koskie, JaNell. "Transforming Music Education". Music Educators Journal 90, n.º 2 (noviembre de 2003): 62–64. http://dx.doi.org/10.2307/3399938.

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11

Coeyman, Barbara y Lucy Green. "Music, Gender, Education". Notes 55, n.º 1 (septiembre de 1998): 138. http://dx.doi.org/10.2307/900387.

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12

Aristotle. "Education in Music". Arts Education Policy Review 103, n.º 5 (mayo de 2002): 31–34. http://dx.doi.org/10.1080/10632910209600302.

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13

Oates, Jennifer. "Music Librarianship Education". Music Reference Services Quarterly 8, n.º 3 (22 de marzo de 2004): 1–24. http://dx.doi.org/10.1300/j116v08n03_01.

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14

Gerrity, Kevin W. "Measuring Music Education". Music Educators Journal 99, n.º 4 (23 de mayo de 2013): 17–19. http://dx.doi.org/10.1177/0027432113486414.

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15

Emert, Dennis, Scott Sheehan y O. David Deitz. "Measuring Music Education". Music Educators Journal 100, n.º 1 (27 de agosto de 2013): 30–31. http://dx.doi.org/10.1177/0027432113495796.

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16

Cangro, Richard M. "Measuring Music Education". Music Educators Journal 100, n.º 3 (marzo de 2014): 20–21. http://dx.doi.org/10.1177/0027432113519929.

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17

Orzolek, Doug. "Measuring Music Education". Music Educators Journal 100, n.º 4 (30 de mayo de 2014): 22–24. http://dx.doi.org/10.1177/0027432114522387.

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18

Overland, Corin T. "Music Education, Inc." Music Educators Journal 104, n.º 1 (septiembre de 2017): 55–61. http://dx.doi.org/10.1177/0027432117719462.

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Today’s students live in the center of a rich, interconnected system of public, philanthropic, and for-profit entities that support the act of music teaching and learning. Students are not limited to the kinds of musical instruction available to them in their schools. Provided they have the means and the access, the musically curious can supplement or supplant their in-school musical lives with extracurricular and cocurricular activities, private studio lessons, community ensembles, or religious services. The for-profit music education industry in particular has grown in popularity and commercial success since the global recession, encouraged in part by what appears to be an increasing demand for instruction in popular genres that is not being met in the public schools. Corporate entities that sell music instruction have reached unprecedented levels of cultural saturation and student interest. With their successes have come a number of new teaching models, philosophies, and innovative ways for students to engage with music. However, these experiences may come at a cost, particularly to equal access by disadvantaged populations who might not be able to pay for said services. This article examines the popular music education (PME) franchise and its budding relationship with public school music education.

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19

Richerme, Lauren Kapalka. "Measuring Music Education". Journal of Research in Music Education 64, n.º 3 (3 de agosto de 2016): 274–93. http://dx.doi.org/10.1177/0022429416659250.

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Despite substantial attention to measurement and assessment in contemporary education and music education policy and practice, the process of measurement has gone largely undiscussed in music education philosophy. Using the work of physicist and philosopher Karen Barad, in this philosophical inquiry, I investigated the nature of measurement in music education while concurrently exploring the assumptions underlying documents related to the proposed music Model Cornerstone Assessments. First, Barad’s concepts of reflection and diffraction reveal the false assumption that measurement captures rather than alters and produces musical experiences. Second, measurement apparatuses are explained as boundary-making practices. Third, the limits of measurement apparatuses are explored through Barad’s assertions about experimental inclusions and exclusions and Lyotard’s concept of the differend, and these limits are used to problematize the ambitious, value-laden discourse of documents related to the music Model Cornerstone Assessments. Finally, through Barad’s concept of intra-action, measurement is reinterpreted as a process through which “teacher” and “student” emerge. Music education policymakers, teachers, and students might adopt language emphasizing the intra-active nature of measurement and empower themselves to critique and reimagine existing measurement apparatuses and their measurement and assessment practices.

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20

Aguilar, Carla E. y Christopher K. Dye. "Developing Music Education Policy Wonks: Preservice Music Education and Policy". Journal of Music Teacher Education 29, n.º 2 (1 de noviembre de 2019): 78–88. http://dx.doi.org/10.1177/1057083719885335.

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The typical undergraduate music education student is focused on developing their musicianship and leadership abilities, professional education competencies, and specific pedagogical expertise. While these are desirable outcomes of a music education degree, music teachers must learn how to effectively interact with a range of policies that will influence how they navigate their professional and private lives. The purpose of this article is to outline and explore mechanisms to engage preservice teachers with educational policies and policy-related practices. We discuss resources for learning about federal and state policies related to education and music education and strategies for interfacing with policymakers. We suggest models that integrate policy topics into existing coursework and new curricular structures that may facilitate the development of “scholar-musicians.” Implications of music teacher educators bringing their role as politically active citizens into the classroom and adding political knowledge to the expectations placed on new teachers are considered.

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21

Shuler, Scott C. "Music Education for Life: Five Guiding Principles for Music Education". Music Educators Journal 97, n.º 3 (marzo de 2011): 7–9. http://dx.doi.org/10.1177/0027432110395080.

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22

Shevock, Daniel J. "Music education for social change: constructing an activist music education". Music Education Research 23, n.º 1 (1 de enero de 2021): 125–27. http://dx.doi.org/10.1080/14613808.2021.1885883.

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23

Evelein, Frits. "Pop and world music in Dutch music education: two cases of authentic learning in music teacher education and secondary music education". International Journal of Music Education 24, n.º 2 (agosto de 2006): 178–87. http://dx.doi.org/10.1177/0255761406065479.

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24

Pratt, Rosalie Rebollo. "Music in Special Education, Music Therapy and Music Medicine". International Journal of Music Education os-16, n.º 1 (noviembre de 1990): 56–57. http://dx.doi.org/10.1177/025576149001600111.

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25

Pratt, Rosalie Rebollo. "Music in Special Education, Music Therapy and Music Medicine". International Journal of Music Education os-17, n.º 1 (mayo de 1991): 63–65. http://dx.doi.org/10.1177/025576149101700113.

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26

Rideout, Roger. "Whose Music? Music Education and Cultural Issues". Music Educators Journal 91, n.º 4 (marzo de 2005): 39–41. http://dx.doi.org/10.2307/3400157.

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27

Pratt, Rosalie Rebollo. "Music Therapy and Music in Special Education". International Journal of Music Education os-10, n.º 1 (noviembre de 1987): 52–53. http://dx.doi.org/10.1177/025576148701000117.

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28

Pratt, Rosalie Rebollo. "Music Therapy and Music in Special Education". International Journal of Music Education os-12, n.º 1 (noviembre de 1988): 58–59. http://dx.doi.org/10.1177/025576148801200116.

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29

Etzkorn, K. Peter. "Contemporary Mediated Music: Challenge to Music Education". International Journal of Music Education os-16, n.º 1 (noviembre de 1990): 3–12. http://dx.doi.org/10.1177/025576149001600101.

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30

Campbell, Patricia S. "Ethnomusicology and Music Education: Crossroads for knowing music, education, and culture". Research Studies in Music Education 21, n.º 1 (diciembre de 2003): 16–30. http://dx.doi.org/10.1177/1321103x030210010201.

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31

Bates, Vincent C. "Equity in Music Education: Back to Class: Music Education and Poverty". Music Educators Journal 105, n.º 2 (diciembre de 2018): 72–74. http://dx.doi.org/10.1177/0027432118803046.

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32

Colwell, Richard. "The Music Education/Arts Education Path". Arts Education Policy Review 101, n.º 3 (enero de 2000): 19–20. http://dx.doi.org/10.1080/10632910009600249.

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33

Baihaqi, Aufa, Zainul Arifin y M. Kholid Mawardi. "THE IMPACT OF ENTREPRENEURSHIP EDUCATION TO ENTREPRENEUR INTENTION THROUGH PLANNED BEHAVIOUR AS INTERVENING VARIABLE (Study in Brawijaya University Students Have Partcipation the Entrepreneurship Education for 2016 study programs)". International Journal of Accounting and Business Society 27, n.º 3 (1 de diciembre de 2019): 137–56. http://dx.doi.org/10.21776/ub.ijabs.2019.27.3.7.

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Although many researchers have focused on entrepreneurship education, little research has been done into the effects for students and the overall effectiveness of the university for entrepreneurship education programs in Indonesia. The research focused using theory of planned behavior and investigates the impact of entrepreneurship programs on the entrepreneur intention students in Brawijaya University. Data for this study is drawn from 9 faculty in Brawijaya University. Sample used in this research have 382 student 2016 period. The results show that participants of entrepreneurship education programs in brawijaya university have a positive effect on atitude toward entrepreneurship, subjective norm and perceived behavioral control. Variable atitude toward entrepreneurship, subjective norm and perceived behavioral control have a positive effect to entrepreneurial intention. Furthermore, the findings of this report entrepreneurship education to entrepreneur intention have a positive effect and significant through planned behaviour as intevening variable in Brawijaya University student 2016 period

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34

Lee, Ka-Won. "Music Teacher Education for Multicultural Music Education: An Analysis of Multicultural Contents in Undergraduate Music Education Curriculum in USA". Journal of the Korea Contents Association 13, n.º 7 (28 de julio de 2013): 473–83. http://dx.doi.org/10.5392/jkca.2013.13.07.473.

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35

Eunshik Choi. "From Aesthetic Music Education to Collaborative Music Education - Exploring the Direction of Music Education for the Post-human Age -". Journal of Future Music Education 3, n.º 2 (diciembre de 2018): 97–109. http://dx.doi.org/10.36223/jnafme.2018.3.2.005.

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36

Ostling, Acton y Keith Swanwick. "Music, Mind, and Education". Journal of Aesthetic Education 26, n.º 1 (1992): 120. http://dx.doi.org/10.2307/3332739.

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37

Elpus, Kenneth. "Improving Music Education Advocacy". Arts Education Policy Review 108, n.º 3 (enero de 2007): 13–18. http://dx.doi.org/10.3200/aepr.108.3.13-18.

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38

STEVENSON, KATE. "Music Education under Threat". FORUM 53, n.º 2 (2011): 305. http://dx.doi.org/10.2304/forum.2011.53.2.305.

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39

SAVAGE, JONATHAN. "Music Education for All". FORUM 60, n.º 1 (2018): 111. http://dx.doi.org/10.15730/forum.2018.60.1.111.

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40

Palmer, Mary. "Lobbying for Music Education". Music Educators Journal 78, n.º 5 (enero de 1992): 41–44. http://dx.doi.org/10.2307/3398235.

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41

Teske, Patricia W. "Middle School Music Education". Music Educators Journal 78, n.º 6 (febrero de 1992): 25. http://dx.doi.org/10.2307/3398378.

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42

Jacobi, Roger E. "Women in music education". Music Educators Journal 78, n.º 9 (mayo de 1992): 10. http://dx.doi.org/10.2307/3398421.

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43

Corey, Stephen J. "Rationales for Music Education". Music Educators Journal 81, n.º 2 (septiembre de 1994): 6. http://dx.doi.org/10.2307/3398805.

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44

Brahmstedt, Howard y Patricia Brahmstedt. "Music Education in China". Music Educators Journal 83, n.º 6 (mayo de 1997): 28–52. http://dx.doi.org/10.2307/3399021.

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45

Tremblay-Beaton, Katie. "Multiliteracies in Music Education". International Journal for Cross-Disciplinary Subjects in Education 5, Special 3 (1 de septiembre de 2015): 2579–82. http://dx.doi.org/10.20533/ijcdse.2042.6364.2015.0351.

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46

Jones, Alyson E. "Music Education and Muslims". American Journal of Islam and Society 25, n.º 2 (1 de abril de 2008): 135–38. http://dx.doi.org/10.35632/ajis.v25i2.1484.

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Diana Harris presents her research on teaching music to Muslim students inthe United Kingdom. She argues that music educators have to take intoaccount that music is a sensitive issue formanyMuslims. The fact that musiceducation is compulsory for British pupils until the age of fourteen presentsan ethical dilemma for those who, for religious reasons, do not feel comfortableparticipating in music classes.With this book, the author intends to help state schoolteachers understand the history and position of music in Islamandhelp teachers in state and independent Islamic schools provide music classesthat their students might find more acceptable.Harris has drawn upon her extensive experience as a music educator inthe United Kingdom at schools where the pupils have been predominantlyMuslim. Her other sources include interviews conducted between 1999-2005; participant-observation fieldwork undertaken at schools in the UnitedKingdom, Pakistan, Egypt, and Turkey; and scholarly sources concerningmusic and Islam. Harris stresses that she has tried to approach this topic asdelicately as possible, and that in her capacity as a music teacher, she wouldnever force her pupils to participate in activities that run counter to their personalbeliefs. How the musical components of the national curriculum (performing,composing, listening, and appraising) are to be achieved dependsupon the individual teacher, who can, therefore, tailor classes to the needs ofspecific pupils ...

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47

Sanders, Paul. "Technology in Music Education". Musical Times 133, n.º 1795 (septiembre de 1992): 440. http://dx.doi.org/10.2307/1002363.

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48

Ritterman, Janet y Keith Swanwick. "Music, Mind, and Education". British Journal of Educational Studies 37, n.º 2 (mayo de 1989): 196. http://dx.doi.org/10.2307/3121386.

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49

Terry, Roy. "Music Education in France". British Journal of Music Education 2, n.º 3 (noviembre de 1985): 227–51. http://dx.doi.org/10.1017/s0265051700000619.

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The article summarises French Ministry of Education guidelines for music education and describes examples of actual practice. Mention is also made of Ministry of Culture provision for music education. An attempt is made to reflect current concerns among French music educators. Among issues raised are the nature of musical ability; what counts as music; questions of access and democratisation; and the relationship between classroom music and specialist instrumental tuition. The article is based on material gathered during a study visit to schools and colleges in Paris, and correspondence with teachers, advisers, and inspectors throughout France.

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50

Sloggie, James y James Ross. "Music Education in Scotland". British Journal of Music Education 6, n.º 2 (julio de 1989): 213–18. http://dx.doi.org/10.1017/s0265051700007063.

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Stirrings of change in secondary education in general, and in music in particular, were taking place in Scotland towards the end of the seventies. Reports published at that time suggested that a deal of thinking on curriculum, and on methods of assessing pupils' achievements, was required. The authors record that, ten years later, the many discussions and trials that have taken place have borne fruit. In this article they describe the planning of the new examination in Music at Standard Grade, and take a brief look at its requirements.

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