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Please listen to my audio message below!

Key:
black = repertoire/programming
red = music education
blue = music theory/academia
orange = articles
purple = publications/podcasts/performances
green = organizations

Note: This key is a guide, but some of these may overlap, so feel free to explore! :)

Contact Info: anita.bflatmajor@gmail.com

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For a downloadable document of these resources, please visit the Google Doc below!

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Quality recordings of works by composers from traditionally underrepresented communities

Databases of music by diverse composers

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We are giving underrepresented composers a platform to have their music heard. Composers that submit works to ... And We Were Heard are matched with top-notch
wind bands and engage in collaborative recording sessions. The resulting audio tracks are hosted on our site along with innovative ideas of how to support diverse voices in music.

Listen to our latest recordings, sign up to participate as a composer or recording ensemble, check out our databases and resource page. Join our cause in supporting underrepresented composers by engaging in intentional programming.

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We are giving underrepresented composers a platform to have their music heard. Composers that submit works to ... And We Were Heard are matched with top-notch wind bands and engage in collaborative recording sessions. The resulting audio tracks are hosted on our site along with innovative ideas of how to support diverse voices in music.

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Index of works composed by women, composers of color and composers of diverse ethnicity

Each post has brief biographical information, a program note, an instrumentation list, a perusal score or score sample, a link to the publisher or other information for acquiring performance materials and a recording of the work

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About the ADORE Project

ACCESSIBLE = performable by smaller university orchestra programs.
DIVERSE = promoting programming that reflects our diverse society.
ORCHESTRAL = string orchestra, chamber orchestra or full orchestra.
REPERTOIRE = devoted to broadening the orchestral repertoire.
EQUITY = highlighting under-represented composers.

The Accessible Diverse Orchestral Repertoire Equity (ADORE) Project is created by three collegiate orchestra conductors committed to broadening and bringing greater diversity to the repertoire of smaller orchestra programs. Beyond the rich traditions of what one would call the "standard" orchestral composers and repertoire, there is a treasure of lesser-known and seldom performed works, particularly those composed by women, composers of color and composers of diverse ethnicity. It is these distinguished composers and their works we hope to highlight and bring to a wider audience.

Each post includes brief biographical information, a program note, an instrumentation list, a perusal score or score sample, a link to the publisher or other information for acquiring performance materials and a recording of the work.

-Visit our Facebook page for a weekly composer spotlight-

Our Team

Patrick Reynolds (University of Dayton)
David Tedford (Bloomsburg University)
Chaowen Ting (Georgia Institute of Technology)
Contact us:
theadoreproject@gmail.com
Help our resource grow!
If you're interested in suggesting a work for our project, please click on the link.

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The ADORE Project - The Accessible Diverse Orchestra Repertoire Equity Project

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ACCESSIBLE = performable by smaller university orchestra programs. DIVERSE = promoting programming that reflects our diverse society. ORCHESTRAL = string orchestra, chamber orchestra or full orchestra. REPERTOIRE = devoted to broadening the orchestral repertoire. EQUITY = highlighting under-represented composers.

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Grade 4 Piece for Wind Band

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A Song for Tomorrow (Kevin Day) - Langley HS Wind Symphony

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Publishing books of music exclusively by Black composers from around the world

Living Composers Directory

Historic Composers Directory

Digital Resources for MBC’s Instrument Books

Children's Books

Podcasts/Radio

Diversity in Music Theory

Blog

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Music by Black Composers Mission

To inspire Black students to begin and continue instrumental training by showing them that they are an integral part of classical music's past as well as its future.

To make the music of Black composers available to all people regardless of background or ethnicity.

To help bring greater diversity to the ranks of performers, composers, and audiences, and help change the face of classical music and its canon.

MBC Story

Music by Black Composers (MBC) was born from the realization that young musicians learning classical music seldom, if ever, have the opportunity to study and perform music written by Black composers. This omission silences a rich vein of musical creation from global cultural consciousness. The effects of this erasure are most serious for aspiring Black classical musicians. Without access to the historic narratives of Black composers, these young musicians struggle to become part of an art form in which they do not appear to belong. Many give up; many more do not even start. The ultimate result is a lack of diversity in our concert halls, both on stage as well as in the audience.

MBC tells a different story. With a multi-pronged approach, we are spreading awareness of and access to music by Black composers to children and adults alike in ever-expanding ways.

In our pedagogical efforts, we are supplementing the current instrumental training methods by publishing books of music exclusively by Black composers from around the world. Starting with strings, each instrument will be the subject of multiple volumes, which will be graded by difficulty from beginner to advanced concerto-level playing. We also intend to publish music for wind and brass instruments, band, orchestra, and chamber ensembles. In addition to making this repertoire available, our books will also educate through articles and interviews. Each volume will include biographies for every composer, features on Black classical music making throughout history, and profiles of Black role models in classical music, past and present. Volume 1 for Violin (roughly equivalent in difficulty to Suzuki books 1-2) was released in October 2018.

MBC is also developing other educational and informational resources for students, performers, and members of the broader community. We have a coloring book that features 40 of the most important Black composers from the 18 th-21 st centuries, and a timeline poster that features more than 300 Black composers from around the world. We are also creating an online database which will provide information about works written by Black composers. Designed for use by students, teachers, performers, administrators, researchers, and librarians, it will contain facts about each composer and about individual pieces, information about where to find the music, links to recordings, and more. Other online resources include a bibliography of publications about Black classical music making, and a directory of living composers for those commissioning new works or simply seeking information.
Click here to see MBC's long-term project timeline.
Over recent years, many educational and performance organizations have helped the cause of diversity by providing the opportunity for aspiring young Black musicians to realize their dreams. We believe that our project represents the next step. By changing the story about the music of Black composers, we want to help children be able to dream their dreams in the first place, and for those dreams to resonate throughout our communities and beyond.

Our Composers Collage

Click or touch the collage to learn more about each of the composers pictured.
Learn about MBC's Project Timeline "

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Our Mission & Story - Music by Black Composers

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To inspire Black students to begin and continue instrumental training by showing them that they are an integral part of classical music's past as well as its future. To make the music of Black composers available to all people regardless of background or ethnicity.

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Wind band concert programs that represent a diverse selection of composers

Programs include 5-6 pieces and video/audio of the pieces

Share programs so others may use them as inspiration

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ColourFULL Music | Striving for Inclusivity

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ColourFULL Music shares concert programs for wind bands that have been created by conductors we trust. Each one celebrates quality repertoire by composers from a wide variety of colourFULL backgrounds to embrace equality and tolerance.

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Database of art songs by women composers

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About | Kassia Database: A Database of Art Song by Women Composers

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Database and spreadsheet of art songs by female composers | Built for the voice teacher, singer, and supporter of women's compositions.

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Grade 2 Piece for Flexible Band Instrumentation

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The Coast in Winter for Flex Band by Christina Rusnak Wind Band Grade Grade 2 (w Grade 3.5 Sol

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Grade 4 Piece for Flexible Band Instrumentation

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Folk Song for Flex Band by Josiah Garza Wind Band Grade 4

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List of Pieces to Be Reconsidered or Removed

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List of Pieces to Be Reconsidered or Removed

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Essential questions, contact information for advocacy, and list of works organized by ensemble that should be reconsidered or removed from the music education classroom

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2020 List of Pieces to Be Reconsidered or Removed

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Beyond Elijah Rock:The Non-Idiomatic Choral Music of Black Composers

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Beyond Elijah Rock:The Non-Idiomatic Choral Music of Black Composers

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Working list of the non-idiomatic choral music of black composers

Non-idiomatic, as it relates to black composers, refers to the original concert music that is not part of the traditional idiomatic canon associated with black musicians

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The following spreadsheet is a working list of the non-idiomatic choral music of black composers. In no way is it meant to be an exhaustive list. However, it serves to provide a starting point.

Non-idiomatic, as it relates to black composers, refers to the original concert music that is not part of the traditional idiomatic canon associated with black musicians. That canon includes spirituals, gospel, jazz, hip-hop, and rap among others. There will be pieces that may be based on spirituals or gospel tunes but are, at their core, original songs similar to ones that use chorale tunes in cantatas and popular songs parodied in Renaissance masses. This list does not include arrangements of existing material such as hymns. Available tabs at the bottom of the list are Full List, SATB, SSAA, TTBB, Other Voices, Unaccompanied, Accompanied, and Choral-Orchestral.

Additional resources including anthologies, bibliographies, encyclopedias, and organizations are listed below.

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Beyond Elijah Rock: The Non-Idiomatic Choral Music of Black Composers - Marques L. A. Garrett

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The following spreadsheet is a working list of the non-idiomatic choral music of black composers. In no way is it meant to be an exhaustive list. However, it serves to provide a starting point. Non-idiomatic, as it relates to black composers, refers to the original concert music that is not part of the traditional idiomatic canon associated with black musicians.

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Forum for all forms of music received and appropriated as “modern” in any location around the globe, crossing the boundaries of post/tonality

Focus is primarily but not exclusively on art, avant-garde, experimental, and modernist music, by global (African, Middle Eastern, Central/ South/ Southeast/ East Asian, Latin American, Australasian etc.) composers, minority composers from the West, and composers from the peripheries of Europe and North America

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Global Musical Modernisms is a forum for all forms of music received and appropriated as "modern" in any location around the globe, crossing the boundaries of post/tonality. The focus is primarily but not exclusively on art, avant-garde, experimental, and modernist music, by global (African, Middle Eastern, Central/ South/ Southeast/ East Asian, Latin American, Australasian etc.) composers, minority composers from the West, and composers from the peripheries of Europe and North America.

Authors in each annual collection serve as peer editors for each other, shaping each post into an accessible piece of writing (with analytical graphs where appropriate) that is a scholarly guide to global musical modernisms and a multi-media teaching resource.

Editor: Gavin Lee is a scholar of music studies at the intersection of global musical modernisms, popular music, queer and decolonial theory, posthumanism, and East Asia. His work is published by Journal of the Royal Musical Association, Current Musicology, Music Theory Spectrum, Music Analysis, and Routledge.

Copyright © 2020-1 Gavin Lee and authors of blog posts. All rights reserved.

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Global Musical Modernisms is a forum for all forms of music received and appropriated as "modern" in any location around the globe, crossing the boundaries of post/tonality. The focus is primarily but not exclusively on art, avant-garde, experimental, and modernist music, by global (African, Middle Eastern, Central/ South/ Southeast/ East Asian, Latin American, Australasian etc.)

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Presenting/Consulting/Speaking

Music Programming

Free Web Resources

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Providing research for music educators on the history of songs and unsung narratives in U.S. music resources and curricula.

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Decolonizing the Music Room (Facebook Group)

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Decolonizing the Music Room (Facebook Group)

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Facebook Dialogue

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Decolonizing the Music Room has 9,500 members. In order to join the group, you MUST ANSWER ALL MEMBERSHIP QUESTIONS AND AGREE TO GROUP RULES. This group functions differently than many other...

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Teaching Students with Disabilities during COVID-19

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Teaching Students with Disabilities during COVID-19

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VIDEO

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Teaching Students with Disabilities during COVID-19 - By Alice Hammel

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Scholarships for students who are female-identifying or a person of color, and are planning to study music composition in college

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Lift Up Our Voices, Inc. is a non-profit corporation whose sole purpose is to provide scholarships for students who are female-identifying or a person of color, and are planning to study music composition in college.

Presently we offer one $3,500 scholarship to a high school senior, but we hope to expand our scholarship offerings for 2021 in several ways:

We hope to offer a continuation of the inaugural scholarship for the duration of the recipient's four years of college

We hope to offer a second scholarship focused on graduate students that are pursuing further study in composition

This of course will take more money! We hope you will consider helping us to provide the financial resources necessary to develop the next generation of composers from traditionally underrepresented groups. It is our goal to build a future where underrepresented composers have the same opportunities and are represented equally in the world of music.

We hope you will consider making a donation to this worthy cause. Your contribution can make a difference in the lives of talented students. Make your tax-deductible donation by clicking the button below. Thank you!

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Lift Up Our Voices, Inc. is a non-profit corporation whose sole purpose is to provide scholarships for students who are female-identifying or a person of color, and are planning to study music composition in college.

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Music instruction, professional development, and multicultural performances in the symphonic setting

Research component, which provides information about the origins and development of different musical genres

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Pedagogy and the publication of sheet music that introduces students of all ages to new and unfamiliar styles of music

Composer residencies, recordings, research, and event reviews

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Home page of Sonic Crossroads, a music-related company from Philadelphia. We offer publications, online classes and workshops that expand the range of pedagogical repertoire for piano

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Thinking about Teaching the Music of Indigenous North American Cultures

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Thinking about Teaching the Music of Indigenous North American Cultures

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VIDEO

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2020-05-06 1600 NAfME PLC Webinar_ Thinking about Teaching the Music of Indigenous North American Cultures By_ Patricia Shehan C

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Inclusive Music Pedagogy Resources—Music Theory Midwest

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Inclusive Music Pedagogy Resources—Music Theory Midwest

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Bibliography of inclusive music pedagogy resources

Searchable and sorted by topic

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Hofstra, B., Kulkarni, V. V., Munoz-Najar Galvez, S., He, B., Jurafsky, D., & McFarland, D. A. (2020). The Diversity-Innovation Paradox in Science. Proceedings of the National Academy of Sciences, 117(17), 9284. https://doi.org/10.1073/pnas.1915378117

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Full bibliography | MTMW Inclusive Music Theory Pedagogy Resources

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Hofstra, B., Kulkarni, V. V., Munoz-Najar Galvez, S., He, B., Jurafsky, D., & McFarland, D. A. (2020). The Diversity-Innovation Paradox in Science. Proceedings of the National Academy of Sciences, 117(17), 9284. https://doi.org/10.1073/pnas.1915378117

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Working repository of scholarly articles assist in ensuring the continuation of robust and diverse work on music curriculum now and in the future

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Early in 2018, Tegan Niziol, Gordon E. Smith, and Margaret Walker joined forces to start a team project on current and ongoing conversations around undergraduate music curriculum and programmatic design and reinvention. Starting with the observation that there has been and continues to be considerable research on a range of related issues resulting in presentations, publications, and conference roundtables, we began to work on an inventory with a view to creating a living repository.

This annotated bibliography including research publications and presentations on undergraduate music curricula in North America is the result of our work. Since work on this topic is vast and new research appears every year, the bibliography is a "living document" that will continue to expand. Some of earliest material dates from the early 1970s, drawn from the Canadian University Music Society archives in the National Library of Canada, and the most recent is from only a few months ago. Yet, we are aware that the bibliography is partial, both in the sense of being unfinished and reflecting our own interests in music history and culture. Therefore, we eagerly invite input, including missing items from the past, corrections to existing entries, and of course new material drawn from all areas of music study. In accordance with a process similar to RILM, where individuals send in annotated items easily added to the repository by any member of the team, updating the document will be simple and straightforward.

Research, of course, is itself a conversation, and the recent challenges we have all faced revising our teaching in response to the COVID-19 crisis and the growing work on decolonization in response to the Truth and Reconciliation Commission are both examples of the importance of these curricular conversations. It is therefore our hope that this repository will assist in ensuring the continuation of robust and diverse work on music curriculum now and in the future.

This email address is being protected from spambots. You need JavaScript enabled to view it., University of Toronto
This email address is being protected from spambots. You need JavaScript enabled to view it., Queen's University
This email address is being protected from spambots. You need JavaScript enabled to view it., Queen's University

Undergraduate Music Curriculum Research Bibliography
in Reverse Chronological Order
PDF Version
Jump to:

Figueroa, Michael A. 2020. "Decolonizing 'Intro to World Music?'" Journal of Music History Pedagogy 10 (1): 39-57. http://ams-net.org/ojs/index.php/jmhp/article/view/308.

In this article, Figueroa critiques the colonial underpinnings of "Intro to World Music" while arguing that a recuperated curricular framework can engage students in decolonial praxis via a focus on conversations about self and other. Within such a framework, students can develop a resistance to Eurocentric thinking, and instructors can facilitate encounters with "others" in the context of experiential learning projects. In this way, the teaching strategies Figueroa describes may help students move beyond a cultivation of oppositional or analogous thinking about culture (here is how "they" are different from or similar to "us") to an aspiration toward relational thinking about cultural difference that is other-centered, rather than self-centered.

(summary sourced from abstract on journal website with slight adaptations)

Stimeling, Travis D., and Kayla Tokar. 2020. "Narratives of Musical Resilience and the Perpetuation of Whiteness in the Music History Classroom. Journal of Music History Pedagogy 10 (1): 20-38. http://ams-net.org/ojs/index.php/jmhp/article/view/312.

Situated in departments and schools of music that have been designed to preserve, promote, and replicate the musical traditions of western Europe, the music history classroom is often deeply implicated in a project that centers whiteness and celebrates proximity to whiteness as an admirable goal for persons of colour. Our textbooks overwhelmingly feature the creative work of European and European American men, occasionally attempting to remedy these biases by including a person of color or a woman as a token. Although music histories often nod toward the oppression, exploitation, and death of musical African Americans, they seldom point to the individual choices that whites have made to create and sustain oppressive structures of white supremacy. Stimeling and Tokar suggest that a closer look at the 1740 Negro Code of South Carolina and its subsequent ban on the drumming of enslaved Africans offers a useful opportunity to introduce students to concepts of power and to begin important antiracist work in schools of music and music departments in the United States and elsewhere.

(summary sourced from abstract on journal website with slight adaptations)

Walker, Margaret E. 2020. "Towards a Decolonized Music History Curriculum. Journal of Music History Pedagogy 10 (1): 1-19. http://ams-net.org/ojs/index.php/jmhp/article/ view/310.

This article places questions of curricular revision in the current context of calls for educational reform through decolonization initiatives. Beginning with an exploration of what decolonizing education might mean, Walker then investigates the impact that the European colonial project might have had on the standard music history curriculum, uncovering an embedded teleological progression that supports European exceptionalism and culture superiority. A first step in decolonizing music history teaching, therefore, must be to make the historiographical foundations transparent through contextualizing Western art music history within a critical, global framework.

(summary sourced from abstract on journal website with slight adaptations)

Attas, Robin. 2019. "Music Theory as Social Justice: Pedagogical Applications of Kendrick Lamar's To Pimp A Butterfly." Music Theory Online 25 (1). https://mtosmt.org/issues/mto. 19.25.1/mto.19.25.1.attas.html.

In this article, Attas considers the integration of social justice and music theory in the undergraduate music curriculum, through a case study of Kendrick Lamar's hip hop album, To Pimp a Butterfly, which focuses on race and racism in the United States. Attas describes three different models of connecting social justice with music theory in the classroom: "plug-and-play", "concept", and "social justice." In the plug-and-play" model, teachers use musical examples from the album to exemplify musical theoretical concepts. Although largely focussed on music theory and analysis, consideration of the lyrics in the chosen musical examples can lead to discussions of social justice. In the "concept" model, the curriculum is redesigned to focus on theoretical concepts such as phrases, cadences, and harmonic function, illustrated by diverse musical repertories, rather than specific genres of Western art music. As in the previous model, the social justice component can be explicitly engaged or remain in the background. The third and final model is driven by social justice concerns with lessons and assignments built around social justice topics, while also engaging students in theoretical analysis of the music. For each method, Attas provides pedagogical justifications, resources and lesson planning ideas, and advice on engaging with difficult topics in the classroom.

Attas, Robin. 2019. "Strategies for Settler Decolonization: Decolonial Pedagogies in a Popular Music Analysis Course." Canadian Journal of Higher Education 49 (1): 125-139. https://journals.sfu.ca/cjhe/index.php/cjhe/article/view/188281.

In this article, Attas discusses strategies for decolonizing teaching and learning practices in Canadian universities, specifically in Bachelor of Music degree programs which are grounded in Eurocentrism. Using a storytelling format inspired by Indigenous research and discursive methods, Attas recounts her process of decolonizing her special topics course on popular music analysis. The process included consulting with Indigenous colleagues, diversifying content, designing opportunities for critical discussion of Eurocentric analytical methods, employing pedagogical strategies to achieve a greater balance of power between teacher and student, and foregrounding decolonization as a course theme. Attas reflects on her successes, struggles, and areas for improvement.

Hoefnagels, Anna, Heidi Aklaseaq Senungetuk, Gillian Turnbull, Margaret Walker and Louise Wrazen. 2019. "Rethinking Priorities in Post-Secondary Music Curricula Today: Decolonizing, 'Indigenizing' and Visions for the Future." Roundtable discussion at the 2019 Canadian Society for Traditional Music Conference, Legacies and Prospects: Pasts and Futures in Music, Université du Québec à Montréal, Montréal, QC, May 24-26, 2019.

With recent decrees to "indigenize" the academy in response to the 94 recommendations of the Truth and Reconciliation in Canada, coupled with querying of white privilege in the academy (and western society at large), we are challenged to decolonize music curricula in broad terms, accounting for diverse traditions, experiences and priorities of our students and the music communities with which we work. This roundtable comprised ethnomusicologists who have been grappling with the challenges of delivering foundational training in music, in ways that are responsive to the diversity of the student body and the valuing of different music cultures. Speaking from the perspectives of teaching historical musicology, ethnomusicology, popular music, and Indigenous music courses, the panelists engaged with questions about diversity, inclusion, decolonization, indigenization, and the effect of coloniality on post-secondary music programs in Canada.

(summary sourced from abstract in conference program with slight adaptations)

National Association of Schools of Music. 2019. Handbook 2018-19. Reston, Virginia: National Association of Schools of Music.

The NASM handbook contains the most current standards for accredited institutional membership for degree- and non-degree-granting institutions in music. It also contains statements of NAMS's constitution, bylaws, ethics codes, procedures, and rules. The latest version of the NASM handbook is released annually.

Pegley, Kip, Margaret E. Walker, and Robin Attas. 2019. "Classroom & Curriculum: Current Thoughts on Teaching Colonialism & Gender in Musicology." Panel session at the AMS-NYSSL Annual Meeting 2019, Queen's University, Kingston, ON, April 16-17.

This panel presentation included two papers given by Margaret Walker and Kip Pegley followed by a critical response by Robin Attas, positioning the two papers within broader educational developments in North America. Citations for the individual papers of Walker and Pegley are listed below. Walker argued that the canon of works and composers that comprise current music history curricula was created in the context of European colonialism. Accordingly, in order to decolonize music history curriculum in response to the 2015 Report of the Truth and Reconciliation Commission of Canada, teachers must firmly situate music history within its colonial context. Pegley discussed his experience employing the ICE approach (Young and Wilson, 2000) in undergraduate seminars, which assists students in identifying and understanding ideas, making connections between ideas, and extending their knowledge and understanding. Pegley described his use of the ICE approach to help students read critically, focus their ideas for writing papers, and understand the value of "older" readings which may not seem immediately relevant. To demonstrate the value of the ICE model, Pegley explained how the ICE model encourages students to make meaningful connections with Frith and McRobbie's article "Rock and Sexuality" (1978).

Walker, Margaret. 2019. "Music, History, and Colonialism: Thoughts on Decolonizing Content and Curriculum." Paper presented at the AMS-NYSSL Annual Meeting 2019, Queen's University, Kingston, ON, April 16-17.

Pegley, Kip. 2019. "From the Bay City Rollers to One Direction: Three Ways to Use the ICE Approach in an Undergraduate Popular Music Seminar." Paper presented at the AMS-NYSSL Annual Meeting 2019, Queen's University, Kingston, ON, April 16-17.
*2018*
Allen, Aaron S. 2017. "Greening the Curriculum: Beyond a Short Music History in Ecomusicology." Journal of Music History Pedagogy 8 (1): 91-109. https://www.ams-net.org/ojs/index.php/jmhp/article/view/218.

In this article, Allen discusses strategies for incorporating ecomusicology into the undergraduate music curriculum and accompanying challenges. The author provides an overview of the field of ecomusicology, pointing out that the majority of ecomusicology literature deals with music from after the year 1800. The syllabus of his own course "Music and Environment," demonstrates the problem of the "short music history" in ecomusicology by focussing almost entirely on contemporary musical activity. The author critiques his syllabus and proposes a few possibilities for curricular revision to broaden the scope of engagement with music and the environment. Specifically, the author suggests that instructors can "green" the pre-1800 content of music history surveys by studying the physical materials used in music-making, and the idea of nature as it appears in texts, lyrics, and philosophy. The author concludes by discussing some of the benefits of including ecomusicology in the curriculum, such as providing a space for meaningful experiences, facilitating the examination of human-nature relationships; and promoting critical thinking in an interdisciplinary subject that can find a place in the music history or broader liberal arts curriculum.

Madrazo, Lorenzo. 2017. "Surveying Multicultural Courses in Canadian Music Teacher Education Programs: A Theme Calling for Future Variations." The Canadian Music Educator 59 (1): 17-22.

This study surveyed multicultural music education courses in Canadian post-secondary institutions. Madrazo defines multicultural courses "as any music or education course that provides students the opportunity to develop an appreciation for music and culture outside the Western classical and Jazz traditions" (18). The study identified a great variety of multicultural courses for music education students in Canadian universities including courses in ethnomusicology, history, Canadian music, composition, performance, education, and interdisciplinary topics. The author proposes that this data may help guide post-secondary curriculum development and suggests that future research may investigate if these courses successfully prepare pre-service teachers for teaching a diverse body of students.

Moore, Robin D., ed. 2017. College Music Curricula for a New Century. New York: Oxford University Press.

In response to ardent calls for change, this collection of essays offers practical proposals for innovative changes to college music curricula in the U.S. Although the authors represent various specialties (ethnomusicology, music education, theory/composition, professional performance, and administration), primary focus is directed towards performance degrees. The essays examine new and innovative curriculum models, institutional structures, and case studies,

Thomas, Susan. 2017. "Ibero-American Music and the Music History Curriculum: Reform, Revolution and the Pragmatics of Change." Journal of Music History Pedagogy 7 (2): 94-98. http://www.ams-net.org/ojs/index.php/jmhp/article/view/205.

This article introduces a roundtable on the inclusion of Latin American and Iberian musics in undergraduate and graduate curricula. Contributions were made by Drew Edward Davies, Ana R. Alonso-Minutti, Jacqueline Avila, and Alejandro L. Madrid. Citations for the individual contributions are listed below. Davies reflects on how Spanish, Portuguese, and Latin American musics are typically treated as peripheral or supplemental topics in music history texts and the discipline of musicology more broadly. He discusses how resources from the digital humanities such as digitized primary source materials and online databases can help instructors teach Iberian and Latin American topics as critical components of music history. Alonso-Minutti discusses how studying musical cultures at the U.S.-Mexico border challenges nation-based categorizations in historical narratives and facilitates student engagement with Hispanic musics and issues of the "here and now" pertaining to class, race, ethnicity, gender, and sexuality. Avila discusses socially and culturally contextualized teaching of Latin American and Iberian film music in both film and non-film specific music history classes. She provides examples and methodologies drawn from her own teaching practice. In the final contribution, Madrid cautions against diversifying the canon through expansion because this practice can maintain the problematic value systems at the core of the canon. Instead, Madrid suggests a "transhistorical approach" to the study of music, in which connections are drawn between common subjects from different points in time, disrupting the teleological chronology of typical historical narratives.

Includes the following papers:

Davies, Drew Edward. 2017. "The Digital Humanities and Teaching Iberian and Latin American Music History." Journal of Music History Pedagogy 7 (2): 99-105. http://ams-net.org/ojs/index.php/jmhp/article/view/235.

Alonso-Minutti, Ana R. 2017. "The 'Here and Now': Stories of Relevancy from the Borderlands." Journal of Music History Pedagogy 7 (2): 106-111. http://www.ams-net.org/ojs/index.php/jmhp/article/view/236.

Avila, Jacqueline. 2017. "Using Latin American and Iberian Film Music: Classroom Methodologies." Journal of Music History Pedagogy 7 (2): 112-123. http://www.ams-net.org/ojs/index.php/jmhp/article/view/237.

Madrid, Alejandro L. 2017. "Diversity, Tokenism, Non-Canonical Musics, and the Crisis of the Humanities in U.S. Academia." Journal of Music History Pedagogy 7 (2): 124-129. http://www.ams-net.org/ojs/index.php/jmhp/article/view/238.

*

Walker, Margaret, Betty Anne Younker, Patrick Schmidt, and Glen Carruthers. 2017. "An Irresistible Invitation for Curricular Creativity: Reimagining Music Programs for the 21 st Century." Roundtable discussion at the 2017 Canadian University Music Society Annual Conference, Canada 150: Music and Belonging, University of Toronto, Toronto, ON, May 25-27, 2017.

This roundtable considered possibilities for curricular innovation in light of recent discussions about the relevance and sustainability of post-secondary music programs in North America. Margaret Walker initiated the discussion with a summary of the key points from the recent 2016 College Music Society's Summit 21st Century Music School Design and their application in Canadian contexts. Betty Anne Younker also spoke about the Summit, specifically addressing discussions of curricular innovation. Patrick Schmidt then discussed the 2015 restructuring of the Masters of Music in Education program at Western University which allows significant flexibility in numerous parameters of the degree. Concluding the roundtable, Glen Carruthers articulated the challenges facing universities and proposed future directions, drawing on recent developments at Wilfred Laurier University.

(summary based on abstract provided in conference program)

Wells, Elizabeth Anne. 2016. "Foundation Courses in Music History: A Case Study." Journal of Music History Pedagogy 6 (1): 41-56. http://www.ams-net.org/ojs/index.php/jmhp/article/ %20view/185.

In this article, Wells discusses the value of First-Year Foundation or Introduction to University courses, which aim to equip students with the necessary skills to be successful in undergraduate programs. Although these courses typically teach general writing, research, and critical thinking skills, Wells designed and implemented a foundation course specifically intended for music students to prepare them for future music history courses. Her course, "Introduction to Music History and Literature," was aimed at not only developing research skills, but also expanding knowledge of repertoire in relation to major social, cultural, and political themes; introducing historical periods, styles and genres; and teaching basic analytical skills. The course is delivered through lecture, discussion, and video content, and the assignments encourage students to connect their own prior musical experiences and knowledge to course material.

Wright, Jeffrey. 2016. "Teaching Research and Writing Across the Mighty History Curriculum." Journal of Music History Pedagogy 7 (1): 35-42. http://www.ams-net.org/ojs/index.php/%20jmhp/article/view/193.

In this article, Wright suggests a multi-semester approach to teaching bibliographic, research, and writing skills within the sequence of music history survey courses required by most Bachelor of Music programs. Drawing on the methodology of backward design and the Dick and Carey model of instructional design, Wright outlines a three-semester curriculum plan in which four main skills/topics are introduced, reinforced, and mastered at different points throughout the sequence: identifying resources, identifying/understanding elements of an argument, evaluating resources, and writing. This approach has many potential benefits, such as allowing students more time to develop important skills, and more opportunity for instructors to detect specific problems in the learning the process.

Bakkum, Nathan C. 2015. "A Concentric Model for Jazz History." Journal of Music History Pedagogy 5 (2): 5-22. http://www.ams-net.org/ojs/index.php/jmhp/article/view/147.

In contrast to the typical narrative histories of jazz that present a chronology of important individuals, Bakkum suggests a "concentric" model of jazz history that recognizes the collective nature of jazz by emphasizing the complex interactions between various agents in the music-making process. In addition to focussing on relationships, this model also recognizes the disrupted chronology of jazz history by considering how recordings allow music from the past and present to exist and relate to one another in the same sonic space. Building on the work of Travis A. Jackson, Bakkum's concentric model places performers at the center, with bandleaders, recordists, audiences, and critics representing successive rings around the center. After considering the dominant narratives of jazz and ethnographic approaches that challenge these narratives, Bakkum addresses the pedagogical significance of his work by discussing how he designs his courses with the concentric model.

Baumer, Matthew. 2015. "A Snapshot of Music History Teaching to Undergraduate Music Majors, 2011-2012: Curricula, Methods, Assessment, and Objectives." Journal of Music History Pedagogy 5 (2): 23-47. http://www.ams-net.org/ojs/index.php/jmhp/article /view/165.

This article summarizes the author's empirical research project aimed at gathering descriptive data on curricular design, teaching methods, assessment, and objectives for undergraduate music history courses in the 2011-2012 academic year. Based on a survey of 232 music history teachers from 204 North American institutions, the most common component of the music history curriculum was the historical survey of Western art music. The curriculum of 81 schools contained only a chronological survey. 37 schools added an introductory course to the survey, and 21 schools added a selection of topics courses. Lectures and examinations were the most common and/or significant methods of teaching and assessment. Strongly preferred course objectives included chronologically outlining the history of Western art music, studying music's cultural contexts, and identifying/describing important composers.

MacDonald, Michael, William Richards, Tom Van Seters, Craig Brenan, and Paul Johnston. 2015. "Pop Music at the Center: Popular Music in Higher Education." Roundtable discussion at the 2015 Canadian University Music Society Annual Conference in Coordination with Congress of the Humanities and Social Sciences, University of Ottawa, Ottawa, ON, June 3-5, 2015.

This roundtable focussed on the creation of a popular music education that shapes musicians to be critical, creative, and contributing members of the popular music industry. Specific topics of discussion included the development of the Popular Music School, current curricular and pedagogical developments, and strategies for overcoming the challenges introduced by change. Each contributor shared their unique perspectives, representing specialities in cultural studies, music theory, performance, pedagogy, and the recording industry.

(based on abstract provided in conference program)

Roust, Colin. 2015. "The End of the Undergraduate Music History Sequence?" Journal of Music History Pedagogy 5 (2): 49-51. http://www.ams-net.org/ojs/index.php/jmhp/article/view/ 174.

This article introduces a roundtable discussing the role of the undergraduate music history sequence, as well as curricular modifications and alternatives. Contributions were made by Douglass Seaton, J. Peter Burkholder, Melanie Lowe, and Don Gibson. Citations for the individual contributions are listed below. Douglass Seaton asks a series of thought-provoking questions about the aims and methods of both doing and teaching music history. J. Peter Burkholder discusses the value of the music history survey course as a conceptual framework that students can use to historically contextualize music. Melanie Lowe describes the newly redesigned music history curriculum at Vanderbilt University which replaced the typical chronological survey with a four-course sequence that emphasizes the development of musicological skills. Finally, Don Gibson reviews the NASM standards for undergraduate music history to show that the standards specify goals, but not procedures or models. Thus, while ensuring that music history remains part of curricula, the NASM guidelines allow institutions and instructors significant freedom in designing music history curricula.

Includes the following papers:

Seaton, Douglass. 2015. "Reconsidering Undergraduate Music History: Some Introductory Thoughts." Journal of Music History Pedagogy 5 (2): 53-56. http://www.ams-net.org/ojs/index.php/jmhp/%20article/view/176.

Burkholder, J. Peter. 2015. "The Value of a Music History Survey." Journal of Music History Pedagogy 5 (2): 57-63. http://www.ams-net.org/ojs/index.php/jmhp/article/view/175.

Lowe, Melanie. 2015. "Rethinking the Undergraduate Music History Sequence in the Information Age." Journal of Music History Pedagogy 5 (2): 65-71. http://www.ams-net.org/ojs/index.php/jmhp/%20article/view/177.

Gibson, Don. 2015. "The Curricular Standards of NASM and their Impact on Local Decision Making." Journal of Music History Pedagogy 5 (2): 73-76. http://www.ams-net.org/ojs/index.php/jmhp/%20article/view/180.

*

Blake, David K. 2014. "Introduction: Towards a Critical Pedagogy for Undergraduate Popular Music History Courses in the Twenty-First Century." Journal of Music History Pedagogy 5 (1): 99-102. http://www.ams-net.org/ojs/index.php/jmhp/article/view/164.

This article introduces a roundtable that discusses different approaches to teaching and developing undergraduate popular music history courses, with a focus on contemporary, twenty-first-century music. Contributors to the roundtable include David K. Blake, Loren Kajikawa, Justin D. Burton, Andrew Flory, and Joanna Love and citations for the individual contributions are listed below. Blake argues that popular music narratives based on rock music do not adequately reflect the rise of other popular genres such as hip hop. He proposes a method of teaching popular music history focussed on technological change, that does not equate rock music with popular music, but rather conceives of rock music as a "historically delimited" form of popular music. Kajikawa discusses a critical pedagogy for teaching rap and hip-hop that treats these genres as serious artistic practices and considers the ongoing cultural and racial issues that inform them. Burton explores topological structuring for popular music survey courses, disrupting familiar chronologies. Flory, co-author of the rock textbook What's that Sound?, enters into a dialogue with Blake's contribution to the roundtable with his own ideas concerning the relationship between rock and popular music, the purpose of textbooks, differences between courses aimed at music majors and non-music majors, and important issues in rock history such as nationalism, amateur culture, and performativity. Finally, Love also engages with Blake's discussion of a materialist, technologically-oriented popular music history course, but broadens the scope to discuss many other factors that influence curriculum design such as available resources, time, class size, and student ability.

Includes the following papers:

Blake, David K. 2014. "Between a Rock and a Popular Music Survey Course: Technological Frames and History Narratives in Rock Music." Journal of Music History Pedagogy 5 (1): 103-115. http://www.ams-net.org/ojs/index.php/jmhp/article/view/149.

Kajikawa, Loren. 2014. "Hip-Hop History in the Age of Colorblindness." Journal of Music History Pedagogy 5 (1): 117-123. http://www.ams-net.org/ojs/index.php/jmhp/article /view/160.

Burton, Justin D. 2014. "Topologies: The Popular Music Survey Course and the Posthumanities." Journal of Music History Pedagogy 5 (1): 125-133. http://www.ams-net.org/ojs/index.php/jmhp/article/view/150 .

Flory, Andrew. 2014. "Rock Narratives and Teaching Popular Music: Audiences and Critical Issues." Journal of Music History Pedagogy 5 (1): 135-142. http://www.ams-net.org/ojs/index.php/jmhp/article/view/154.

Love, Joanna. 2014. "Beyond the Narrative: Considering the Larger Pedagogical Toolbox for the Popular Music Survey." Journal of Music History Pedagogy 5 (1): 143-151. http://www.ams-net.org/ojs/index.php/jmhp/article/view/152

*

Miyakawa, Felicia M., and Richard Mook. 2014. "Avoiding the 'Culture Vulture' Paradigm: Constructing an Ethical Hip-hop Curriculum." Journal of Music History Pedagogy 5 (1): 41-58. http://www.ams-net.org/ojs/index.php/jmhp/article/view/120.

In this article, Miyakawa and Mook consider the ethical challenges of teaching rap and hip-hop music. Specifically, they outline a self-reflexive approach that attempts to overcome the divide between scholars who "use" the music for their own academic purposes, and those practitioners fully immersed in the vibrant culture of hip-hop, which encompasses a diversity of meanings and functions in society. Their approach consists of three pedagogical practices: (1) learning from the "old-school" perspectives of hip-hop practitioners, (2) interaction with local hip-hop communities, and (3) participating in artistic practice.

Schepens, Eddy. 2014. "Différences de genres musicaux ou différences de pratiques? Une voie pour renouveler les pratiques pédagogiques en musique." Les Cahiers de la Société québécoise de recherche en musique 15 (1) : 9-18. https://www.erudit.org/fr/revues/sqrm/2014-v15-n1-sqrm02151/1033791ar/.

This article describes the music teachers' training program at the Cefedem Rhône-Alpes in Lyon, France which admits students specializing in all musical genres. Building on a commitment to diversity, the program aims to introduce students to unfamiliar music in a practical way. The program replaces the typical notion of "musical genres" with "musicians' practices" which focusses on musical procedures and interactions between musicians. The program aims to prepare music teachers to work in multidisciplinary contexts, cultivate musical diversity, and engage with different audiences.

(summary abridged from the English-language abstract provided on journal website)

Walker, Margaret, Ellen Waterman, Jeff Hennessy, Mary Ingraham, and Susan Lewis Hammond. 2014. "What is the Value of a Bachelor of Music Degree?" Roundtable discussion at the 2014 Canadian University Music Society Annual Meeting in Coordination with the Congress of the Humanities and Social Sciences, Brock University, St. Catharines, ON, May 28-30, 2014.

This roundtable discussion addressed the value of the Bachelor of Music degree which often needs to be articulated to parents and prospective students, or to institutional leaders during times of financial hardship and cutbacks. The discussion brought attention to the fact that there has been no systematic collection or dissemination of information about curriculum at the national level, making it difficult to address the learning outcomes, benefits, and value of the Bachelor of Music degree.

(summary based on abstract provided in conference program)

Brackett, David, Pauline Minevich, Margaret Walker, Ellen Waterman, and Gordon E. Smith (moderator). 2013. "Deconstructing the Curricular Canon: Looking to the Future." Roundtable discussion at the 2013 Canadian University Music Society Annual Meeting in Coordination with the Congress of the Humanities and Social Sciences, University of Victoria, Victoria, BC, June 6-9, 2013.

The aim of this roundtable discussion was to critically exam the "canon" of courses in Canadian Bachelor of Music programs in light of new issues that challenge the relevancy of university music programs including musical pluralism, competitive college programs, budgetary considerations, and the changing job market. The roundtable consisted of short presentations by participants representing the fields of composition, performance practice, theory, musicology, ethnomusicology, improvisation, and popular music studies.

(summary based on abstract provided in conference program)

Hewitt, Michael, and Karen Koner. 2013. "A Comparison of Instrumental Music Methods Course Content at NASM-Accredited Institutions." Bulletin of the Council for Research in Music Education (197): 45-61.

This study analysed the curriculum of undergraduate instrumental methods courses at NASM-accredited institutions to determine which topics/areas within these courses receive the most emphasis. Based on data collected from 282 surveys, the study indicated that pedagogical topics receive the most focus.

Kennedy, Mary Copland. 2012. "Comprehensive Musicianship, Interdisciplinary Learning and CAN-CON in the Choral Classroom." The Canadian Music Educator 53 (4): 6.

In this article, Kennedy describes the comprehensive musicianship training of upper-year music education students at the University of Victoria. The author considers comprehensive musicianship to be an interdisciplinary and holistic approach to music education that avoids dividing music study into discrete areas such as history, theory, ear training, and applied lessons. Students at the University of Victoria are required to design comprehensive musicianship lessons for ensemble students in secondary schools. Astrid Sidaway-Wolf designed a unit focussed on James Gordon's "Frobisher Bay" with a variety of musical assignments involving listening, composition, performance, and social studies.

DeNardo, Gregory, F., and Allen R. Legutki, eds. 2011. "Establishing Identity: LGBT Studies & Music Education - Select Conference Proceedings." Bulletin of the Council for Research in Music Education, no. 188, 9-64.

This source contains summaries of a selection of presentations given at the Establishing Identity conference held at the University of Illinois, May 23-26, 2010. The aim of the conference was to support discussion of LGBT issues and music education, addressing research, curriculum, teacher training, and the experiences of LGBT students and teachers. Citations for two of the individual papers pertaining to undergraduate music curriculum are listed below. Fred P. Spano presented on a study he conducted on sexual orientation topics in the curriculum of undergraduate music education programs. Spano analyzed survey responses from 102 music education program administrators (99 from the U.S., 3 from Canada) about topics of sexual orientation in the curriculum at their institutions and barriers for including these kinds of topics in the curriculum. The results indicate that although topics of sexual orientation are present in many music education programs, the extent and nature of their inclusion is not yet fully known. Barriers for inclusion of these topics include perceived lack of relevance, disinterest and lack of comfort on behalf of students and faculty, time constraints, university policies, and community opposition. The presentation by Bridget Sweet and Stephen A. Paparo addressed the importance of discussing sexual orientation in music teacher education programs and ways to facilitate such discussions. Strategies included familiarizing music education students with queer theory, engaging in critical questioning, and allowing time for reflection and synthesis.

Spano, Fred P. 2011. "The Inclusion of Sexual Orientation Topics in Undergraduate Music Teacher Preparation Programs." In "Establishing Identity: LGBT Studies & Music Education - Select Conference Proceedings," edited by Gregory F. DeNardo and Allen R. Legutki, 45-50. Bulletin of the Council for Research in Music Education no. 188, 9-64.

Sweet, Bridget, and Stephen A. Paparo. 2011. "Starting the Conversation in Music Teacher Education Programs." In "Establishing Identity: LGBT Studies & Music Education - Select Conference Proceedings," edited by Gregory F. DeNardo and Allen R. Legutki, 51-54. Bulletin of the Council for Research in Music Education, no. 188, 9-64.

*

Broman, Per F. 2010. "The Good, the True, and the Professional: Teaching Music History in an Age of Excess." In Vitalizing Music History Teaching, edited by James R. Briscoe, 19-26. Hillsdale, NY: Pendragon Press.

Considering the ever-growing body of rich historical knowledge, and the varied interpretations that accompany such knowledge, Broman suggests a two-pronged approach to teaching undergraduate music history. In addition to introducing students to musical materials in history classes, instructors should also be teaching students the skills and methods of musicology, to prepare them for lifelong learning. Broman illustrates his approach by describing an assignment he developed that requires students to perform in-depth analysis of a specific historical topic.

Cook, Susan C. 2010. "Teaching Others, Others Teaching, or Music History Like it Mattered." In Vitalizing Music History Teaching, edited by James R. Briscoe, 125-138. Hillsdale, NY: Pendragon Press.

In this essay, Cook questions pedagogical assumptions common in music history teaching and suggests alternatives based on everyday classroom practice. First she encourages music history teachers to critically consider what they are doing when teaching music history and why music history matters. Second, instead of attempting to present a comprehensive survey of Western art music, Cook suggests that it may be beneficial to present students with samplings of diverse music from which they can create their own aesthetic frameworks. Third, teaching students about historiography and the methods of musicology will equip them with highly valuable skills.

Douglas, Gavin. 2010. "Some Thoughts on Teaching Music History from an Ethnomusicological Perspective." In Vitalizing Music History Teaching, edited by James R. Briscoe, 27-43. Hillsdale, NY: Pendragon Press.

In this essay, Douglas suggests way of altering the teaching and learning of music history, inspired by values, methods, and textbooks drawn from the field of ethnomusicology. Specifically, Douglas suggests that textbooks on Western music history should begin by defining the field of study, tracing its boundaries, and discussing its value. Although there is a wealth of literature discussing the field of musicology, this information is not communicated to students in their textbooks. Douglas also finds that most Western music history textbooks prioritize works, genres, and styles, over acts of experiencing and making music. Following models and methodologies employed in ethnomusicology, Western music history texts and courses could encourage students to consider the non-sonic characteristics of music, opening the door to exploring the social complexities of music-making cultures. The non-sonic properties of music can also be used to structure courses thematically around themes such as nationalism, social identity, religion, or dance, highlighting the value of music in teaching students about the world.

Elliott, Robin. 2010. "Teaching Canadian Music in Undergraduate Music History Courses." In Vitalizing Music History Teaching, edited by James R. Briscoe, 163-76. New York: Pendragon Press.

In this essay, Elliott considers the inclusion of Canadian music in the music history curriculum of undergraduate music programs at a time when new repertoires are competing with the canon of Western art music for space in the curriculum (such as world music, popular music, jazz, and music by women), and when the role of canons is being questioned. Elliott proposes that the present may be an opportune time to introduce Canadian music into the curriculum as there does not yet exist a canon of Canadian music, and Canadian music is not yet part of the Western canon. Furthermore, teaching Canadian music facilitates grappling with issues of value, transmission, musical pluralism, and the historical and cultural contexts that shaped the formation of canons. Elliott discusses the benefits and drawbacks of two strategies for including Canadian music in the curriculum: adding Canadian content to music history survey courses, and teaching courses specifically devoted to Canadian music. Elliott concludes by sharing his own experiences teaching Canadian music courses at different universities.

Halley, Jeanne. 2010. "A Mysterious Lacuna: Reconsidering the Exclusion of French Baroque Music and Dance from the Curricula." In Vitalizing Music History Teaching, edited by James R. Briscoe, 189-202. Hillsdale, NY: Pendragon Press.

In this essay, Jeanne Halley reflects on the lack of consideration for French Baroque music and courtly dance in pedagogical materials for teaching undergraduate music students. Halley discusses the socio-cultural significance of French Baroque music and dance; the history of these art forms in the contexts of pedagogy, reception, scholarship, historiography and social history; and the critical new perspectives that French Baroque dance research can shed on musical repertories. Halley concludes by arguing for greater inclusion of dance in undergraduate music history courses. Her suggestions include increasing textual sources on this repertoire, as well as encouraging the performance of French Baroque music, theatre, and dance.

Parakilas, James. 2010. "Texts, Contexts, and Non-Texts in Music History Pedagogy." In Vitalizing Music History Teaching, edited by James R. Briscoe, 45-58. Hillsdale, NY: Pendragon Press.

In this essay, Parakilas considers the differences between text-based music histories that focus on music with notated scores (exemplified by Grout's A History of Western Music) and context-based music histories that focus on the relationships between music, society, culture, and politics (exemplified by Attali's Noise: The Political Economy of Music), and how we might teach music history that incorporates aspects of both. Specifically, Parakilas argues that in teaching music history, we should focus on the complex relationships between text and musical performance within the Western music tradition. Some ways to achieve this include teaching students about the history of performance and musical interpretation and considering the ways in which the notes themselves and methods of notation embody ideas prevalent within a specific society. Parakilas ends his discussion with some thoughts on "non-texts" or musics without notated scores, including non-Western and popular musics. "Non-texts" are particularly fruitful to consider because they can initiate discussion on a range of topics including text, authorship, genre, influence, and the political economy of music.

Prouty, Kenneth E. 2010. "Toward Jazz's 'Official' History: The Debates and Discourses of Jazz History Textbooks." Journal of Music History Pedagogy 1 (1): 19-43. https://www.ams-net.org/ojs/index.php/jmhp/article/view/4.

In this article, Prouty examines jazz history texts intended for college students that have been published since the late 1970s. Prouty argues that the authors of jazz textbooks tend to locate themselves within the discourses that critique the canonical narratives of jazz history. After assessing the narratives, structures, and reception of major jazz textbooks from Jazz: A History by Frank Tirro, to Jazz by Scott DeVeaux and Gary Giddens, Prouty concludes that while authors of jazz texts are critical of the canon, their texts are largely driven by a canonical framework and do not demonstrate alternative approaches.

Seaton, Douglas. 2010. "Teaching Music History: Principles, Problems, and Proposals." In Vitalizing Music History Teaching, edited by James R. Briscoe, 59-72. Hillsdale, NY: Pendragon Press.

As suggested by the title, this essay addresses some "principles, problems, and proposals" for teaching music history. Seaton's principles state that music history should explore musical experience and that students should move beyond memorization and reproduction of knowledge to be active participants in the discipline. The problems Seaton identifies stem from the continuously expanding body of knowledge, resources, and critical approaches to music history that challenge our musical canons, and the ways in which technology has changed how people think about and experience music. Finally, the proposals, based in the principles and aimed at solving the problems, encourage teachers to value critical thinking more than comprehensive knowledge, to make use of resources beyond the textbook and outside the classroom, to engage students in critical discussion and writing assignments, and to encourage students to make music.

Trottier, Danick. 2010. "Gilles Tremblay pédagogue vu par ses anciens élèves." Circuit 20 (3): 73-90. https://www.erudit.org/en/journals/circuit/2010-v20-n3-circuit3942/044862ar/.

In an effort to gain insight into the pedagogy of Gilles Tremblay, the author surveyed past students of the Canadian composer at the Montreal Conservatory of Music. Danick questioned the students about the content, objectives and structure of Tremblay's courses, his methods for teaching analysis and composition, and the guest teachers and composers he brought in for his students. The article reproduces the responses of each of the individual students surveyed.

Krüger, Simone. 2009. Experiencing Ethnomusicology: Teaching and Learning in European Universities. Burlington, V.T.: Ashgate.

This book examines ethnomusicological education in European universities and proposes a model of ethnomusicological pedagogy that "promotes in students a globally, contemporary and democratic sense of world musics, and is concerned with meaning, experience and expression" (12). The study is rooted in the idea that musical transmission is an act of cultural creation, and thus, the study of musical transmission can illuminate the meaning of music in people's lives. The book is divided into four main parts. Part I focuses on the context, structure, and ideology behind the discipline of ethnomusicology. Parts II, III, and IV consider the social and cultural significance of students' listening, performing, and creating experiences in musical and ethnomusicological contexts.

McLean, Don, and Dean Jobin-Bevans. 2009. "Survey of University-Based Music Programs in Canada." Intersections: Canadian Journal of Music 29 (1): 86-104.

This study provides an overview of basic information on music programs offered at Canadian institutions of higher education. Surveys were distributed between 2005 and 2009 to Canadian universities, colleges, and conservatories. The report summarizes data and information on enrolment, staffing, graduate and undergraduate program offerings, and facilities and events. The aim of the report is to share information that can be used to support and advocate for university-based music programs.

Hoefnagels, Anna, and Gordon E. Smith, eds. 2007. Folk Music, Traditional Music, Ethnomusicology: Canadian Perspectives, Past and Present. Newcastle, UK: Cambridge Scholars Publishing.

(summary forthcoming)

Lacasse, Serge, Rob Bowman, David Brackett, Norma Coates, Susan Fast, Kip Pegley, John Shepherd, and Will Straw. 2006. "The Place of Popular Music in Canadian Universities." Panel discussion at the 2006 Canadian University Music Society Annual Meeting, York University, Toronto, ON, May 28-31, 2006.

(further information currently unavailable)

De Santo, William F. 2005. "An Analysis of Undergraduate Sacred Music Curriculum Content in Colleges and Universities Accredited by the National Association of Schools of Music." PhD diss., University of Oklahoma.

This study surveys the undergraduate sacred music curriculum by analysing academic catalogs and the answers to a questionnaire distributed to seventy NASM schools in the United States. The topics that were considered the most important and/or received the most emphasis included applied voice, choral ensemble, organ literature, music theory, aural skills, senior recital, choral conducting, and hymnology/congregational song. Seventeen respondents suggested that the curriculum should be revised to include other musical styles, such as popular music, to maintain the relevance of sacred music programs.

Kennedy, Sanford Jay. 2005. "Paradoxes in Undergraduate Music Curriculum at Exemplar Music Schools in American Higher Education: Tradition and Irrelevance." PhD diss., Boston College.

This study analysed the core music curriculum of Bachelor of Music degrees in a selection of exemplar institutions in the United States. The study found that most programs adhere to the Western classical tradition, and curriculum specializations focus Western classical and jazz music. Furthermore, despite the growth of music technology and business, few schools require courses in these areas.

Andrews, Bernard W., and Glen Carruthers. 2004. "Needle in a Haystack: The Status of Canadian Music in Post-Secondary Curricula." In Music Education Entering the 21st Century, edited by Patricia Martin Shand, 75-83. Nedlands, WA: International Society for Music Education.

This article describes a study that investigated Canadian music in post-secondary curricula in Ontario. Andrews and Carruthers conducted their study by sending a quantitative and qualitative questionnaire to the chairs, directors, and deans of music departments, faculties, and schools of music; and to music professors in faculties of education in Ontario. The study found that Canadian music courses are typically offered as upper-year electives. In terms of library resources, music library holdings on average comprise 6% Canadian music recordings and 12% Canadian music scores. The presence and amount of Canadian music in music libraries was strongly influenced by requests from students and faculty, and interest in Canadian music on behalf of librarians. Many universities have special collections of Canadian music and employ Canadian composers. Although education libraries reported a greater amount of Canadian music resources (32%), the study found that the music taught in classrooms by teacher candidates is largely influenced by associate teachers who may or may not choose to teach Canadian music. Furthermore, American band methods and repertoire tend to be the most popular music in secondary teacher training programs. Overall, the authors concluded that Canadian music is marginalized in post-secondary music programs in Ontario and further research is needed for the development of policies that could increase the amount of Canadian music in the curricula.

Christensen, Beth. 2004. "Warp, Weft, and Waffle: Weaving Information Literacy into an Undergraduate Music Curriculum." Notes: Quarterly Journal of the Music Library Association 60 (3): 616-631.

This article details the instructional approach of the undergraduate music curriculum at St. Olaf College that integrates library skills and information literacy into music courses through a series of assignments that build upon prior knowledge and skills. The program is based on the core set of ideas that students need to be able to locate information, understand their research processes, and critically evaluate their findings. Appendixes include activities, goals, and sample assignments.

Elliott, Robin. 2003."Cancon and the Canon." Canadian University Music Review 23 (1-2): 201-213.

In this article Elliott reflects on the lack of Canadian content in music history textbooks and survey courses in Canada. When Canadian content is present in music history survey courses, it usually consists of a few token pieces from the twentieth century. Elliott argues that Canadian music should be integrated across the entire chronological survey and provides many examples of Canadian connections and content that can be incorporated within all the standard periods of music history. He also describes ways of including Canadian content in introductory ethnomusicology courses aided by Kay Kaufman Shelemay's text Soundscapes: Exploring Music in a Changing World.

In this article, Burkholder proposes various changes to the curriculum of undergraduate music history courses considering the ever-growing body of music history, resources, and new topics considered important and worthy of study. Burkholder discusses three ways of combining a broad outline of music history with some in-depth analysis and analytical skill-building: first, instructors could abandon the survey and experiment with new course configurations; second, course material could be changed without changing course structure, while necessarily accepting that comprehensive coverage will not be possible; and third, instructors can shift away from teaching histories of musical style, to histories of music as a social phenomenon. In his own teaching, Burkholder has attempted to employ the third option by changing the narrative he teaches to focus on people and their choices, guided by musical and cultural traditions and innovations.

Doerksen, John, John Roeder, Gary Tucker, Caryl Clark, Stephen McClatchie, and Sandra Mangsen, 2002. "Balancing Professional Training and the Liberal Arts in Canadian Music Programs." Roundtable discussion at the 2002 Canadian University Music Society Annual Meeting in Coordination with the Congress of the Humanities and Social Sciences, University of Toronto, Toronto, ON, May 25-28, 2002.

This roundtable discussed balancing liberal arts, performance, and academic music courses in Canadian music programs. Roeder and Doerksen focussed on strategies for accommodating the competing demands of courses in these different areas. In support of well-rounded, versatile music education, Tucker considered ways of incorporating music within the wider university curricula. Caryl Clark approached the roundtable topic of curricular balance through the lens of innovation and collaboration in visual and performing arts programs. McClatchie discussed music history as a means of connecting professional and liberal-arts studies. Finally, Mangsen discussed the advantages of a broad undergraduate music program for students who intend to study music at the graduate level.

(summary based on abstract provided in conference program)

Dolloff, Lori-Anne, and Jonathan Stephens. 2002. "Serving Two Masters: The Tensions of Music Education in the Academy." Paper presented at the 2002 Canadian University Music Society Annual Meeting in Coordination with the Congress of the Humanities and Social Sciences, University of Toronto, Toronto, ON, May 25-28, 2002.

In their presentation, Dolloff and Stephens discussed the tensions that arise based on the institutional placement of music education, which can vary from schools of music and conservatories to faculties of education, arts, and the humanities more broadly. Additionally, music education is often separated from other areas of music study by disciplinary boundaries. In response to these tensions, the authors suggest that the discipline of music education should focus on its own distinct characteristics instead emulating other music subdisciplines such as musicology or performance.

(summary based on abstract provided in conference program)

Nelson, Richard B. 2002. "The College Music Society Music Theory Undergraduate Core Curriculum Survey - 2000." College Music Symposium 42: 60-75.

This study analysed 248 responses to a survey about music theory undergraduate core curriculum that was posted on the Cleveland Institute of Music website and advertised through College Music Society mailings and list-serve announcements. The survey addressed issues concerning faculty and students, teaching loads, degree requirements, curriculum, textbooks, and placement exams. Low emphasis on keyboard harmony and counterpoint were identified as key issues.
*2000*
Bakan, Michael B. 2000. "Keeping it Real: Ethnomusicology In, As, and For Multicultural Music Education." Panel discussion sponsored by the Education Committee of the Society of Ethnomusicology at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

Included the following papers:

-Bakan, Michael B. "Teaching the Intangibles: Creating Balinese Time and Groove in the Multicultural Classroom."

-Burton, J. Bryan. "A Light Touch, Please: Mastering Native American Improvisation and Ornamentation in the Multicultural Classroom."

-Stephens, Robert. "Batá Drumming Cuban Style: The Beat Goes On."

-Hebert, David G. "Music, Transmission, and Education: Contemporary Theoretical and Methodological Issues in the Forging of the Field of Comparative Music Education."

Bomberger, E. Douglas. 2000. "The Composer Course as an Alternative to Music Appreciation." Paper presented at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

Bowman, Wayne. 2000. "Music Education and Post-Secondary Music Studies in Canada." Canadian University Music Review 21 (1): 76-90.

The author proposes a series of reforms to the study of music education in institutions of higher learning. First, Bowman suggests re-evaluating standard disciplinary boundaries within music studies with the aim of enhancing integration and cooperative learning between music education and the other music subdisciplines. Second, Bowman proposes to broaden the conceptualization of music education beyond the notion of training, which focusses on developing skills and knowledge, to include an ethical dimension that focusses on developing character. Third, Bowman encourages universities to position music education as a site of rigorous academic activity, where pedagogical methods and curriculum content are thoroughly researched and theorized. Finally, Bowman suggests that while the discipline of music education has a responsibility to help revitalize deteriorating school music programs, the discipline should also prepare teachers for a variety of teaching contexts outside the typical classroom.

Briscoe, James, Anita Hanawalt, Richard Harper, Sharon Mirchandani, and Anthony Rauche. 2000. "Curricular Issues: Questioning the Canon's Authority." Panel discussion sponsored by the College Music Society at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

Carr-Richardson, Amy. 2000. "Feminist and Non-Western Perspectives in the Music Theory Classroom: John Harbison's Mirabai Songs. Paper presentation sponsored by the College Music Society at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

Collaros, Pandel. 2000. "The Music of the Beatles in Undergraduate Music Theory Instruction." Poster presentation sponsored by the Society for Music Theory at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

Davis, Stacey, Linda Garton, and Eric Honour. 2000. "Rethinking Pedagogical Norms: Northwestern University's New Approach to Teaching Music Theory." Poster presentation sponsored by the College Music Society at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

De l'Etoile, Shannon. 2000. "The History of the Undergraduate Curriculum in Music Therapy." Journal of Music Therapy 37 (1): 51-71.

Motivated by the merging of the National Association for Music Therapy and the American Association for Music Therapy, this article traces the history of the undergraduate music therapy curriculum with the goal of providing direction for further development. The scope of the history extends from 1919, when Columbia University in New York offered the first college course in music therapy, to the creation of a nationally-recognized undergraduate curriculum in 1952, and concludes with the earliest revisions and developments of the curriculum in the 1950s and 1960s.

Garrison, Karen, Lester D. Brothers, Deanna D. Bush, and John Michael Cooper. 2000. "Charting the Course: Intercultural Directions in the Gateway Introduction to Music at the University of North Texas." Panel discussion sponsored by the College Music Society at the Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

Gaunt, Kyra D. 2000. "The 2:00 Vibe: Mixing Cultures, Amplifying Gender, and Producing an Alternative Pedagogy for Popular Music." Paper presentation sponsored by the International Association for the Study of Popular Music at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

Hickey, Maud (chair). 2000. "Teacher Training and Curriculum." Panel discussion sponsored by the College Music Society at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

Included the following papers:

-Miller, Scott, L. and Margaret Schmidt. "Integrating Preservice Teacher Education with Technology: A Work in Progress."

-Robinson, Mitchell. "A Theory of Collaborative Music Education between Higher Education and Urban Public Schools."

-Deal, John J. "Development and Delivery of a First-Year Experience Course in Music."

*

Hickey, Maud, J. Peter Burkholder, William Pelto, Sally Reid, and Robert Weirich. 2000. "Innovative Ideas for Changing the Undergraduate Music Curriculum." Panel discussion sponsored by the College Music Society at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

Horner, Bruce. 2000. "Toward the Labor of Listening: Toward a Pedagogy of Music as Social." Paper presentation sponsored by the International Association for the Study of Popular Music at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

Lam, Joseph S. C. 2000. "Chinese Music, American College Students, and Ethnomusicology Professors." Paper presentation sponsored by the Society for Ethnomusicology at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

McLucas, Anne, James Grier, Jeffery Kite-Powell, Gerald Hoekstra, and Cecil Adkins. 2000. "Early Music in U.S. and Canadian Higher Education." Panel session jointly sponsored at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

Sarkissian, Margaret, Kate van Orden, John Wallace, and Ross Duffin. 2000. "Teaching Early Music in the Curriculum." Panel session jointly sponsored at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

Seaton, Gayle (chair). 2000. "Canonical Considerations for the American Musical Theater and its Inclusion in College and University Curricula." Panel session jointly sponsored by the College Music Society and the Society for American Music at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

Included the following papers:

-Laird, Paul. "'If You Asked Me I Could Write A Book': An Approach to an American Musical Theater Canon."

-Riis, Thomas. "'You've Got to Be Carefully Taught': Canonical Concerns."

-Everett, William. "'They Say It's Wonderful': The American Musical Theater in Courses for Undergraduate and Graduate Music Majors."

-Sears, Ann. "'Say it with Music': The American Musical Theatre in General Studies Courses."

*

Théberge, Paul. 2000. "The Project Ahead: Some Thoughts on Developing a Popular Music Curriculum." Canadian University Music Review 21 (1): 28-39.

The study of popular music in universities is continuously expanding, yet most Canadian universities only teach popular music in the form of stand-alone courses. Théberge argues that a comprehensive and integrated model for popular music programs is needed. Such a model would be interdisciplinary and involve all areas of music study including musicology, ethnomusicology, theory, performance, and composition. Finally, the author addresses the challenges and requirements of implementing such programs.

Turek, Ralph, Max Lifchitz, Paul Konye, and Brenda Romero. 2000. "Diversity in Today's College Music Curriculum." Panel discussion sponsored by the College Music Society at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

Westney, William. 2000. "Nourishing the Spark of Communication in Student Performers: An Effective Approach through Unconventional Course Design." Workshop sponsored by the College Music Society at Toronto 2000: Musical Intersections, Toronto, ON, November 1-5, 2000.

(summary forthcoming)

Callon, Gordon J. 1999. "Methodology in Music History for Undergraduate Music Majors at Acadia University: Music 2273." CAML Newsletter 27: 20-24.

In this article, Callon describes Music 2273, an introductory course to music history and research methodology, which he introduced to the curriculum at Acadia University in 1988. Originally intended for first year students, Music 2273 was changed to a second-year course in 1995. The purpose of the course is to teach students research skills at the beginning of their post-secondary studies in music which they can then develop and make use of throughout the rest of their academic careers. Owing to limited resources and exemplars for developing such courses, the author provides a detailed description of Music 2273, including a summary of the content, resources, and learning activities used in the course.

McCarthy, Marta. 1999. "Choral Conducting Curricula in Ontario Universities." Canadian Journal of Research in Music Education 40 (4): 21-25.

In this article, McCarthy presents the results of her study on the scope of undergraduate conducting courses in Ontario universities offered in the 1998/99 academic year. Data were collected from course outlines, classroom observations, and instructor and student questionnaires. The study aimed to identify (1) rationales of conducting courses, (2) emphasized skills, (3) classroom procedures and assignments, (4) prioritization of course work, and (5) opportunities for practicing conducting inside and outside the university. The findings of the study include: (1) course rationales are a source of struggle for many instructors to create due to student diversity; the size and scope of music programs is an important factor in determining course rationales; (2) the most frequently emphasized skills are conducting technique, score preparation and aural discrimination; (3) the most frequently used teaching procedures are modeling by the instructor, student/lab workshop, and videotaping students' conducting; (4) student participation, collaboration, a positive learning environment, and process-based learning are highly valued; and (5) the conducting classroom is the primary place in which students practice their conducting skills.

Wollenzien, Timothy John. 1999. "An Analysis of Undergraduate Music Education Curriculum Content in Colleges and Universities of the North Central United States." PhD diss., University of Minnesota.

This study analysed music education curriculum topics in forty-seven NASM accredited colleges and universities of the North Central Division of the Music Educators National Conference. Findings indicate that while curriculum components largely follow NASM guidelines, curriculum topics are very different across schools. The author concludes that music educators must be willing to adapt to change, and remain current in the latest curriculum developments to maintain the relevance of their programs.

Callon, Gordon J., Patricia Debly, and Paul Rice. 1998. "Searching, Surfing, and Signifying: Methodology and Research in Musicology for Undergraduates." Roundtable discussion at the 1998 Canadian University Music Society Annual Meeting in Coordination with the Congress of the Humanities and Social Sciences, University of Ottawa, Ottawa, ON, May 27-31, 1998.

This roundtable discussion considered undergraduate musicology courses that focus on developing skills in the areas of research, methodology, and historiography. Roundtable participants discussed reasons why students should be educated in these areas; how to balance history, methodology, and historiography content; and methods of instruction, including assessment tools, and online learning resources. The roundtable was divided into two parts. Part 1 focussed on first- and second-year introductory courses, discussing the second-year music history course at Acadia University as an example. Part 2 focussed on courses of the upper-undergraduate level, with discussion of specific courses at Brock University, Memorial University, and the University of Manitoba.

(summary based on abstract provided in conference program)

Frederickson, Karen, Duane Bates, and Roberta Lamb. 1998. "Orchestrating the Sound of Music: Analysis and Design of a University Music Education Curriculum." The Canadian Music Educator 39 (3): 15-22.

This article is a report on the Music Education Needs Assessment General Survey. The survey was conducted by the authors as part of a larger research project operating out of Queen's University in Kingston, Ontario, to examine and revise music education curriculum. As part of the project, the researchers designed the survey to determine the qualities of music education and music teachers that stakeholders most value. Over 1000 surveys were distributed to schools throughout the province of Ontario and 247 were returned to the researchers. Although there were differences in responses between gender, age, and educational role, the majority of respondents agreed that interpersonal skills and classroom management skills were the most important skills for music educators. There was far less agreement on the specific music skills that are most important for educators, potentially revealing that there is little consensus on content and objectives in music education.

Clark, Caryl, and Suzanne Meyers. 1997. "Faculty-Librarian Cooperation in Bibliographic Instruction." Paper presented at the 1997 Canadian University Music Society Annual Meeting in Coordination with the Congress of the Humanities and Social Sciences, Memorial University of Newfoundland, St. John's, NL, June 11-14, 1997.

This paper explored the challenges of developing assignments that incorporate music history and library skills, with the aim of encouraging greater collaboration between professors and librarians. The authors discussed sample assignments, various pedagogical strategies, and the advantages of cooperative teaching.

(summary based on abstract provided in conference program)

Ethier, Glen. 1997. "Desegregating the Halves: Integrating Compositions by Women into Core Undergraduate Theory and Analysis Courses." Paper presented at the 1997 Canadian University Music Society Annual Meeting in Coordination with the Congress of the Humanities and Social Sciences, Memorial University of Newfoundland, NL, June 11-14, 1997.

Although the body of feminist scholarship is growing, music by women is still marginalized in the curriculum of undergraduate music theory courses. Drawing on various examples, the author discusses the value of analysing works by "lesser" women composers and suggests an anthology structure that includes music by men and women.

(summary based on abstract provided in conference program)

Cyr, Mary, Patricia Debly, Glen Carruthers, and Paul F. Rice. 1996. "Teaching Music History and Music Appreciation: Aims, Issues and Resource Materials." Roundtable discussion at the 1996 Canadian University Music Society Annual Meeting, Brock University, St. Catharines, ON, May 30-June 2, 1996.

Panel members discussed the challenges of using new technology and other resources to teach music, with consideration given to cost and large class sizes. Mary Cyr discussed the adaptation of resources for distance education courses. Patricia Debly discussed multimedia in the classroom, specifically relating to projection technologies. Glen Carruthers considered the effectiveness of resources that integrate a text, anthology and recordings. Finally, Paul Rice examined different video programmes for teaching music and art history.

(summary based on abstract provided in conference program)

Shand, Patricia, and James Kippen. 1996. "Perspectives on Education in World Music." Paper presented at the 1996 Canadian University Music Society Annual Conference, Brock University, St. Catharines, ON, May 30-June 2, 1996.

In this paper, Shand and Kippen discussed the development of world music education curriculum at the University of Toronto Faculty of Music and suggested possibilities for future work in this area. The paper began by reviewing curriculum development in world music over the past ten years at the University, which included the establishment of ensembles and a variety of courses including a multicultural music education course, the Music as Culture compulsory first-year music history core course, and the Education in World Music series which combined world music ensembles and the multicultural music education course. The paper discussed four specific courses in this series: West African Drumming and Dancing, Middle Eastern and Persian Music, Japanese Shakuhachi Ensemble, and Balinese Gamelan. Based on information collected from student projects, interviews, and written feedback, the researchers learned about the objectives of instructors, student perceptions of world music before and after taking courses, student experience, and educational results.

(summary based on abstract provided in conference program)

Diamond, Beverley. 1995. "Narratives in Canadian Music." In Taking a Stand: Essays in Honour of John Beckwith, edited by Timothy McGee, 273-305. Toronto: University of Toronto Press.

In this essay, Diamond states that her aim is "to deconstruct the values and assumptions of the 'narrative'" of Canadian music history created during the post-1960 period (274). She begins by analysing three important monographs on Canadian music history that are often used as textbooks: Helmut Kallmann's A History of Music in Canada, 1534-1914 (1960), Clifford Ford's Canada's Music: An Historical Survey (1982), and Timothy McGee's The Music of Canada(1985). Her analysis includes examination of each monograph's stated intent or goal; the amount of textual space and detail provided to different musics, forms of musical activity, eras, places, individuals, and social groups; the means of structuring and organizing each book; and qualities of the language used in musical description. Many of these aspects speak to fundamental socio-political values about music and musical culture that guided the writing of these texts. According to Diamond, these narratives of Canadian music tend to privilege "sophisticated" composition in urban and institutional settings. The final section of her analysis compares narratives of Canadian music with those of American music. She closes by calling on the reader to reflect on structures of power in narratives of music history as a way of encouraging scholars to rethink and rewrite narratives in Canadian music in the future.

Dineen, Murray, William Renwick, Carmen Sabourin, and Anna Ferenc. 1995. "Theory Colloquium I: On the Canon: Established Theory, Its Provenance, Influence, and Future." Panel discussion at the 1995 Joint Meeting of the Canadian University Music Society, Canadian Association of Music Libraries, Archives and Documentation Centres, and the Association pour l'avancement de la recherche en musique du Québec (ARMuQ). McGill University, Montréal, QC, June 1-4, 1995.

The panel discussion addressed the relationship between musical canons, methods, and philosophies in the study of music theory. Renwick considered changes to the undergraduate theory curriculum to expand its purview beyond the study of Lutheran chorales. Sabourin discussed Schenkerian analysis in relation to the canon and as an exclusionary method of musical analysis. Finally, Anna Ferenc discussed the Russian modernist composer Nikolai Roslavets and his music's challenge to past and contemporary musical canons.

(summary based on abstract provided in conference program)

Dust, Thomas James. 1995. "Curricular Structure and the Music and Music Education Components of Secondary Music Education Programs at Canadian Institutions of Higher Education." DME diss., Indiana University.

This study investigates various features of music teacher education programs in Canada, comparing them to guidelines set out by NASM. The features analysed include degree-type, curriculum, certification requirements, admission criteria, major and minor subject requirements, class sizes, and number of faculty. The study found that while Canadian programs do meet the expectations of some NASM recommendations, they fall short of many others. The author suggests that a set of guidelines, similar to those of NASM, should be developed for Canadian programs.

Peters, Diane. 1995. "Canadian Music and Music Education: An Annotated Bibliography." Paper presented at the 1995 Joint Meeting of the Canadian University Music Society, Canadian Association of Music Libraries, Archives and Documentation Centres, and the Association pour l'avancement de la recherche en musique du Québec (ARMuQ), McGill University, Montréal, QC, June 1-4, 1995.

(further information currently unavailable)

Spring, Howard, Robert Witmer, Nancy Marrelli, Andrew Homzy, Reno de Stefano, and André White. 1995. "Jazz Studies in Canada." Panel discussion at the 1995 Joint Meeting of the Canadian University Music Society, Canadian Association of Music Libraries, Archives and Documentation Centres, and the Association pour l'avancement de la recherche en musique du Québec (ARMuQ), McGill University, Montréal, QC, June 1-4, 1995.

This discussion of jazz studies in Canada addressed research, archival, and pedagogical topics. Witmer discussed the jazz archives at York University and suggested how they may be made more widely accessible. Marrelli described a ten-year project of creating an archive of Montréal jazz history. Homzy discussed the scholarship on jazz musicians Charles Mingus, Duke Ellington, Francy Boland, and Charlie Barnet, and considered their inclusion in university curriculum. De Stefano reported on his research on jazz guitarist Wes Montgomery and discussed the challenges of studying jazz improvisation. Finally, André White discussed uses of the internet for jazz research.

(summary based on abstract provided in conference program)

Dineen, Murray. 1994. "Whither our Undergraduate Core Curriculum in Theory?*" Canadian University Music Review 14: 146-159.

This article is based on the roundtable discussion "The Undergraduate Core Curriculum in Theory: What Can Be Taught? What Should Be Taught?" which took place at the 1992 meeting of the Canadian University Music Society in Charlottetown, Prince Edward Island. According to Dineen, the current core curriculum combines "poiesis" (the act of creating/composing) with "apologetics" (the act of analysis). Drawing an example from Aldwell and Schachter's Harmony and Voice Leading, Dineen criticizes theory pedagogy that simultaneously tasks students with following rules for harmonization and considering how these rules were crafted by means of analysis. Rather, he proposes that these two goals, "poiesis" and "apologetics" should be treated as separate skills in the core curriculum. Furthermore, Dineen suggests that more emphasis should be placed on developing skills to understand and engage with music and musical discourses than familiarity with the canonical repertoire. In the final section of the article Dineen comments on the power of textbook publishers to influence curriculum in the absence of organized methods for curriculum development by theorists.

Rushton, David William. 1994. "The Music Program at Trinity Western University: Curriculum Perspectives, Past, Present, and Future." EdD diss., University of British Columbia.

The purpose of this dissertation is to evaluate the music program at Trinity Western University according to the standards of the National Association of Schools of Music and to identify qualities of excellent music programs for the present and future. The ideology behind the study drew on the comprehensive musicianship movement and the College Music Society's recommendation for comprehensive musical perspectives to guide curriculum. Data was collected through questionnaires given to students, graduates, faculty, administrators, and members of the board of governors. Based on the study, the author provides six recommendations aimed at diversifying and expanding curriculum options at Trinity Western University, and five recommendations for future research.

Shand, Patricia. 1994. "The North York Choral Development Project: An Innovative Approach to Music Teacher Education." Paper presented at the 1994 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, University of Calgary, Calgary, AB, June 3-6, 1994.

In this paper, Shand discussed her analysis of the North York Choral Development Project considering the following aspects: music and performance, contextualized learning, opportunities for long-term in-service education, the relationship between the school board and university, integration of theory and practice, and the involvement of different individuals and their roles including pre-service and in-service music teachers, researchers, practitioners, and professional musicians.

(summary based on abstract provided in conference program)

Backus, Joan, Ted Dawson, John Glofcheskie, Gordon E. Smith (chair), Elaine Keillor, and Nancy Vogan. 1993. "Critical and Historical Approaches to Teaching Canadian Music." Roundtable discussion at the 1993 Canadian University Music Society Annual Meeting, Carleton University, Ottawa, ON, May 29-June 1.

The roundtable included the following presentations:

- Joan Backus. "An Interdisciplinary Context for the Study of Canadian Music."

- Ted Dawson. "Resources for Designing Canadian Studies Courses."

- John Glofcheskie. "Incorporation of Canadian Music into an Introductory Music History Course."

- Elaine Keillor. "Upper-level Undergraduate Courses in the History of Canadian Music, with Special Emphasis on Folk and Native Music."

- Nancy Vogan. "Use of Technology in Teaching Canadian Music."

(further information currently unavailable)

Code, Jim, Richard Parks, and Sr. Claudette Melanson. 1993. "The Preparedness of Students for the Theory Components of B. Mus. Programs." Roundtable discussion at the 1993 Canadian University Music Society Annual Meeting, Carleton University, Ottawa, ON, May 29-June 1, 1993.

This roundtable discussed concerns regarding student ability in music theory prior to entering Bachelor of Music programs. Richard Parks discussed the correspondence course that is taken by students before they begin their first year at the University of Western Ontario. Sr. Claudette Melanson discussed student preparedness in Atlantic Canada and the "preparatory year" approach at l'Université de Moncton.

(summary based on abstract provided in conference program)

Crutcher, Ronald A. 1993. "Transforming the Music Curriculum." Proceedings of the 68th Annual Meeting: National Association of Schools of Music 81: 6-12.

Despite advances in research on African American music, the author's examination of institutions of higher learning reveals that there is a significant lack of diversity with respect to curricula, programming, social interactions, policies, procedures, management style and structures. Although music programs welcome a diversity of students, the curriculum remains largely Euro-centric, marginalizing the musical traditions of people of colour. The author offers three recommendations for the integration of diversity into music programs: (1) examine alternatives to the typical European art music survey, (2) perform acts of volunteer service in diverse communities, and (3) focus on developing musicians as communicators who can reach broad audiences.

Hobbs, Wayne. 1993. "Pattern and Sequence in the Undergraduate Music Curriculum." Proceedings of the 68th Annual Meeting: National Association of Schools of Music 81:113-123.

In this article, Hobbs critiques the course structure of the Bachelor of Music in Performance degree at American institutions which combines a three-year European conservatory style performance degree with the American four-year liberal arts degree. Although liberal arts curricula traditionally move from general to more specific content with increasing complexity, this logical structure is distorted in the undergraduate music curricula. While the first and second years of the degree are devoted to courses in music specialization, students often take their more general liberal arts credits in English, math, science, etc., in their third and fourth years, resulting in a degree that moves from greater specialization to more general courses. In the appendices, Hobbs provides an alternative structuring of a four-year degree in which students take their general liberal arts courses in the early years of the degree, and progressively gain greater specialization in music which each passing year.

Morrison, Charles. 1992. "The Undergraduate Core Curriculum in Theory: What Can Be Taught? What Should Be Taught?" Roundtable discussion at the 1992 Canadian University Music Society Annual Conference in Coordination with the Congress of Learned Societies, University of Prince Edward Island, Charlottetown, PEI, 1992.

See Dineen, Murray. 1994. "Whither our Undergraduate Core Curriculum in Theory?*" for a summary of Dineen's contribution to the roundtable (further information currently unavailable).

Shand, Patricia. 1992. "Canadian Music in the School Curriculum: Illusion or Reality." Paper presented at the 1992 Canadian University Music Society Annual Conference in Coordination with the Congress of Learned Societies, University of Prince Edward Island, Charlottetown, PEI, 1992.

(further information currently unavailable)

Simosko, Vladimir. 1992. "Ethnomusicology and Education in the 1990s." Canadian Folk Music 26 (3): 3-6. http://cfmb.icaap.org/content/26.3/.

In this article Simosko explains that despite the significant value of "authentic ethnic music," access to studying this music is severely limited in university settings, largely owing to lack of interest. Thus, Simosko argues that a change in cultural values in North America would be necessary to make the widespread availability of this music a worthwhile pursuit. The author proposes that education in ethnomusicology can facilitate such a shift in cultural values, yet significant ethnomusicological course offerings are rare in North America, and program structures typically leave little opportunity for students to pursue musical interests beyond their required courses.

Hope, Simon. 1991. "The Changing Role of Music and Music Education in the 1990's." Lecture presented at the 1991 Canadian University Music Society Annual Conference in Coordination with the Congress of Learned Societies, Queen's University, Kingston, ON, May 27-30, 1991.

The conference program indicates that Simon Hope is from the North American Schools of Music, but a penciled-in correction indicates that Simon Hope is from the National Association of Schools of Music (further information currently unavailable).

Beaudry, Nicole, Beverley Diamond Cavanagh, Virginia Garrison, Regula Burckhardt Qureshi, George Sawa, and Robert Witmer. 1990. "Roundtable Discussion: Ethnomusicology in the Canadian University." In Ethnomusicology in Canada: Proceedings of the First Conference on Ethnomusicology in Canada, edited by Robert Witmer, 349-370. Toronto: Institute for Canadian Music.

Participants in this roundtable discussion began by sharing data they collected on ethnomusicology programs and course offerings at graduate and undergraduate levels in Canada, divided into four categories: Eastern Canada, Quebec, Ontario, and Western Canada. Summary tables of ethnomusicology courses in Ontario organized by university, field, and topic are provided. Following this initial sharing of information, participants discussed major issues of concern including: the treatment of ethnomusicology as an "exotic fringe" in Canadian universities, concerns of disciplinary placement, guidelines for "core" programs in ethnomusicology, funding and resources, engagement with broader communities outside the academy, the potential for drawing on U.S. models for the creation of Canadian programs, Canadian content/topics in Canadian ethnomusicology programs, the relationship between Francophone and Anglophone ethnomusicologists, interdisciplinary and interinstitutional cooperation, and the creation of specifically PhD ethnomusicology programs in Canada. The discussion concluded with questions and comments from the audience.

Diamond, Beverley. 1990. "Canadian Music Studies in University Curricula." ACS Newsletter 12 (3):16-18.

In this article, Diamond describes a study she conducted of the Canadian music studies content of 41 Canadian university music programs. She found that 24 programs offered separate courses in Canadian music. Courses that focussed on a particular location within Canada were rare: only the University of British Columbia and York University offered these types of courses, focussing on music in Vancouver and Toronto, respectively. Jazz appeared to be one of the most prominent subject areas featuring North American music.

Cavanagh, Beverley. 1989. "Narratives in Canadian Music." Paper presented at the 1989 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, Université Laval, Québec City, QC, May 29-June 1, 1989.

In this paper, the author examined various English-language texts on Canadian music history (post-1950) to identify underlying narratives, question their relevance, and suggest alternative narratives for Canadian music history. The author examined five monographs (Kallmann 1960; Amtmann 1975; Proctor 1980; Ford 1982; and McGee 1985) and two essay compilations (MacMillan 1955; and Walter 1969), considering the intentions of the authors, the priorities and points of emphasis in each text, and the inclusion/exclusion of certain groups and musical traditions.

(summary based on abstract provided in conference program)

College Music Society. 1989. Music in the Undergraduate Curriculum, a Reassessment: Report of the Study Group on the Content of the Undergraduate Music Curriculum. Boulder, CO: College Music Society.

This report details a study of undergraduate music curricula in colleges and universities in the United States, initiated in the fall of 1986 by the College Music Society (CMS). The group of researchers involved in the study were tasked with initiating serious discussion about the curriculum, reassessing the content and value of the curriculum in the context of multiculturalism, considering the preparation of music students to be life-long learners and contributing members of a diverse society, examining assumptions made about music studies, and finally exploring changes to the curriculum that will respond to the previously listed factors. Drawing on contemporary reports on undergraduate education, and commentary from individuals in the musical community, the study group compiled this report which addresses the impact of cultural diversity, cultural identity, and the changing social roles of music on undergraduate music curriculum.

ennerstrom, Mary H. 1989. "The Undergraduate Core Music Curriculum at the Indiana University." Journal of Music Theory Pedagogy 3 (2): 153-176. https://jmtp.appstate.edu/ jmtp-volume-3.

This study reviews the core music curriculum at the Indiana University School of Music from 1950 to 1989. In 1950, the curriculum was designed to teach students a basic core of knowledge (major composers and composition) and skills (theory, analysis). The core also including training in aural skills, sight-reading, and keyboard proficiency. Throughout the 1950s and early 1960s, the faculty developed the curriculum to broaden the scope of music theory from harmony and Bach chorales to include examples and elements of music from across history, including twentieth-century music. Furthermore, courses were modified to focus less on chronology and style, and more on the integration of melody, counterpoint, and harmony. The curriculum was changed again the in 1970s in accordance with a series of goals that were set out to guide curriculum development. The goals emphasized the importance of the cultural context of music, critical thinking, historical knowledge, analysis, composition, aural skills, keyboard realization, and sight-reading. The last section of the report discusses the current core curriculum including its effectiveness and ongoing challenges.

Cadrin, Paul. 1988. "L'Enseignement du langage tonal à l'Université Laval : bilan de neuf années d'innovation." Les Cahiers de l'ARMuQ 10: 49-57.

In this article, Paul Cadrin describes the tonal language course required of all undergraduate students at the School of Music at l'Université Laval, based on Schenkerian thought. Cadrin notes that the course does not follow a "historicizing" model nor the notion of evolutionary "progress" in history. However, the course is still anchored within a historical framework, built around the perspective that musical languages transform over time and that the period between 1500 and 1900 was a time of relative stability. Topics include linear writing, four-part harmony, and harmonic function, drawing examples from all across the tonal era.

Cramer, Eugene, Damjana Bratuž, Isabelle Mills, Eric Cameron, and Douglas Buck. 1988. "Current Issues in Canadian University Teaching in Music and the Related Arts." Panel discussion with the Canadian Society for the Study of Higher Education at the 1988 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, University of Windsor, Windsor, ON, June 1-3, 1988.

(further information currently unavailable)

Forand, Maryse. 1988. "Profils d'apprentissage musical individualisé: un compte rendu de recherche." Les Cahiers de l'ARMuQ 10: 41-48.

This article presents the objectives and conclusions of a three-year research project on individualized music learning profiles, conducted by Gilles Simard, and funded by FCAR and SSHRC. In particular, the study was aimed at determining the effectiveness of computer-assisted learning and identifying students who most benefit from computer-assisted learning in the context of aural skills training. The specific aural skills tested in the study include identification of intervals, chords and degrees of range. Overall, the results indicated that computer-assisted teaching is an effective pedagogical method, and in some instances may be more effective than traditional group instruction. In terms of student profiles, computer-assisted learning was very effective for a variety of different learners, including high-achieving students, older individuals, individuals who do not respond well to traditional teaching methods, and those interested in exploratory learning.

Ringuette, Raymond. 1988. "La recherche en éducation musicale au Québec: bilan de la situation et perspectives d'avenir." Paper presented at the 1988 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, University of Windsor, Windsor, ON, June 1-3, 1988.

(further information currently unavailable)

Gillmor, Alan, John Rea, Alfred Fisher, and Gordana Lazarevich. 1987. "Contemporary Canadian Music in the Universities in the Year 2000." Canadian League of Composers panel discussion at the 1987 Canadian University Music Society Annual Meeting in Coordination with the Canadian League of Composers, McMaster University, Hamilton, ON, May 24-25, 1987.

The panel discussed the inclusion of Canadian music repertories in the curriculum of undergraduate music programs in Canadian universities. The session was guided by the following questions: "What amount of Canadian music is a reasonable minimum? What training can be sacrificed to make more room for Canadian content? How can music be incorporated in non-curricular activities? How should concert music be balanced with ethnic, jazz, pop and other contemporary Canadian musics?"

(summary based on abstract provided in conference program)

Klocko, David G. 1987. "Undergraduate Music Curriculum." Sonneck Society Bulletin 13 (1): 12-13.

In this article, Klocko critiques the NASM guidelines that allow individual university music programs to determine an appropriate balance between Western concert music, contemporary 'pop' music, music of non-Western cultures, folk music of Europe and America, and Western art music since 1950. Klocko claims that under this policy, most instructors who are trained only in Western classical music continue to teach only Western classical music. In order to achieve a more balanced curriculum, Klocko suggests that changes to the undergraduate curriculum for music teachers at elementary/secondary and college levels are necessary, so that teachers are trained in traditions beyond Western art music. He provides rationale for the change, and some preliminary suggestions for implementing the curricular changes.

Lazarevich, Gordana, Albert La France, Cynthia Floyd, Paul Cadrin, Peter Hatch, Beverley Cavanagh, and Alfred Fisher. 1987. "Music in the Canadian University in the Year 2000." Panel at the 1987 Canadian University Music Society Annual Meeting in Coordination with the Canadian League of Composers, McMaster University, Hamilton, ON, May 24-25, 1987.

(further information currently unavailable)
*1986*
Simard, Gilles. 1985. "Profils d'apprentissage musical individualisé." Paper presented at the 1985 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, Université de Montréal, Montréal, QC, 1985.

In this paper, Simard presented research on the use of computers in music education, with a particular focus on auditory training. Involving more than 250 students from Université Laval and Cégep de Sainte-Foy, the efficacy of computer-assisted instruction, traditional group instruction, and a combined approach to instruction were analyzed in relation to different learning styles.

(summary based on abstract provided in conference program)

Lessem, Alan. 1984. "The Refugee Composer: A Topic for Twentieth-Century Music History." Paper presented at the 1984 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, University of Guelph, Guelph, ON, June 2-4, 1984.

(further information currently unavailable)
*1983**1982**1981*
In this essay, Umberson reflects on future directions for university programs in the areas of opera and music theatre. He predicts that there will be an increase of opera/music theatre programs in terms of number, size, and scope. Regarding training and curriculum, Umberson predicts that future opera/musical theatre singers will require serious training in acting as well as singing, and they will need to broaden their expertise of different styles and new or lesser known repertoire. The essential components of the training of the singer/actor will be vocal technique, musicianship (piano), acting (including dance and theatre training), singing-acting, and performance.

Werner, Robert J. 1979. "The Place of Music in Interdisciplinary Studies." National Association of Schools of Music: Proceedings of the 54th Annual Meeting 67: 83-90.

In this paper, Werner defines an interdisciplinary approach to music education, provides case study examples from different institutions, and discusses the responsibilities of faculty who engage in interdisciplinary education. The author argues that the most successful programs will include a core curriculum that ensures basic competence in a single discipline. In terms of faculty responsibility, Werner notes that interdisciplinary teaching requires a significant amount of time spent on planning, coordination, learning about disciplines outside one's own specialty, and developing interrelationships with teachers in other disciplines. Werner concludes by suggesting some areas of music study that may be most compatible with an interdisciplinary approach, particularly music history, ethnomusicology, and music theory. Music history or ethnomusicology foci could be enhanced through courses in social history, dance, technology, philosophy, literature, art, architecture, and drama. Music theory could be paired with courses in aesthetics, physics, philosophy, and mathematics.

Boylan, Paul, Robert House, and Fred C. Mayer. 1978. "Revitalizing the Summer Session." National Association of Schools of Music: Proceedings of the 53rd Annual Meeting 66: 118-127.

This panel session included individual papers by each of the three authors on the topic of revitalizing summer music programming. Citations for the individual contributions are listed below. After describing the declining enrollment of summer programs in schools of music, Paul Boylan identifies four areas that could benefit from revitalization: promotional efforts, the attraction of more students, financing, and program development. In terms of program development, Boylan encourages faculty members to devise new attractive course offering that will spark student interest. Robert House offers thirteen strategies for increasing enrollment in summer sessions. Suggestions are focussed on the scheduling and rotation of courses, maintaining scholarship funds and graduate assistantships, offering unique courses and workshops, maintaining large ensembles and performing groups, and hiring guest clinicians and faculty with strong teaching records. After describing the negative consequences of poor summer enrollment and identifying the types of students who typically participate in summer courses, Fred C. Mayer proposes a few suggestions to revitalize the summer programs. These suggestions include inviting specialist or guest professors to teach summer courses, increasing financial support for students in the summer, determining summer courses based on student interest and need rather than faculty availability, encouraging state departments to support summer education, and finally, encouraging non-music students to take electives in music in the summer term.

Boylan, Paul. 1978. "Revitalizing the Summer Session." National Association of Schools of Music: Proceedings of the 53rd Annual Meeting 66: 118-122.

House, Robert. 1978. "Revitalizing Summer Programs." National Association of Schools of Music: Proceedings of the 53rd Annual Meeting 66: 123-124.

Mayer, Fred C. 1978. "Revitalizing the Summer Session." National Association of Schools of Music: Proceedings of the 53rd Annual Meeting 66: 125-127.

*

Clarke, Garry E. 1978. "The Introduction to Music Course: Some Observations and Suggestions." National Association of Schools of Music: Proceedings of the 53rd Annual Meeting 66: 75-82.

In this paper, Clarke considers strategies for revitalizing music appreciation courses. Based on years of teaching the introduction to music course at Washington College in Maryland, Clarke shares a few key observations: first, non-music majors have significant potential to grasp musical knowledge and skills, and are capable of meaningfully engaging with music; second, many musicians and instructors have an attitude of disdain toward music appreciation courses; and third, music appreciation textbooks focus on the music of the "masters," providing students with a very limited conception of musical culture. Noting that "the most important works are not always the best teaching devices" (79), Clarke describes his use of vernacular music and works of his own composition to teach different musical concepts. He also suggests that the music appreciation course could be enriched by exposing students to live performances, discussing the rich cultural context of music, considering fascinating musical phenomena such as synaesthesia, and introducing students to the study of aesthetics.

Hutchinson, Lucie. 1978. "Marylhurst Education Center." National Association of Schools of Music: Proceedings of the 53rd Annual Meeting 66: 77-79.

This article discusses the development of new music programming after the closing of Marylhurst College and subsequent opening of Marylhurst Education Center in 1974 in Oregon. The new programs were created to support older students through personalized education plans. Students can fulfil degree requirements through both traditional and alternative learning approaches including internal and external institutional coursework, experiential learning, and independent or directed studies. Finally, program directors/instructors strive to respond directly to student needs and requests, as evidenced by the establishment of a Jazz Studies program.

Johnson, Sarah, Steven Lee, and Vincent Cichowicz. 1978. "Applied Instruction for Majors: Can We Be More Efficient?" Panel session in the National Association of Schools of Music: Proceedings of the 53rd Annual Meeting 66: 77-91.

This panel session included individual papers by each of the authors on the topic of the efficiency of applied instruction. Citations for the individual contributions are listed below. Johnson discusses the curricular approach to freshman vocal instruction at Wright State University (WSU), which includes 30-minute private lessons for performance majors (15-minute private lessons for music education majors), classes in repertoire and pronunciation of foreign languages, and a small group class where students work on technical skills, perform solo works, and discuss readings. Based on five years of implementing this group approach, the author and her colleagues have seen positive results in the areas of basic singing technique, vocal production, musicianship and interpretation, and self-confidence. Steven Lee describes his own experiences teaching group piano, in which he combines aspects of master classes and piano lab classes. The pedagogical advantages of group instruction include decreased performance anxiety, peer instruction/learning, and exposure to a greater amount of repertoire. He finishes his article with a few comments on practical considerations such as scheduling and reactions from other faculty. Cichowicz describes the benefits, organization, and curriculum of an approach to applied instruction that combines individual and group lessons for orchestral musicians. In order to accommodate group lessons, individuals meet with their private teacher every 10-12 days instead of every week. The group classes have several advantages: they allow students to learn about topics that do not typically arise in private lessons, they serve as a forum for performance-oriented lectures, and they expose students to a larger amount of repertoire than they might encounter in their individual lessons. Following the individual responses, the three authors participated in a question and answer forum. Questions focused on the practicalities of implementing alternative teaching methods and curricular structures, addressing student reactions, program structures, scheduling realities, methods of grouping students, number of students, and program time frame.

Johnson, Sarah. 1978. "Group Instruction - An Alternative for the Freshman Voice Student." National Association of Schools of Music: Proceedings of the 53rd Annual Meeting 66: 77-79.

Lee, Steven. 1978. "Applied Instruction For Majors: Can We Be More Efficient?" National Association of Schools of Music: Proceedings of the 53rd Annual Meeting 66: 80-84.

Cichowicz, Vincent. 1978. "Applied Instruction for Majors: How Can We Be More Efficient?" National Association of Schools of Music: Proceedings of the 53rd Annual Meeting 66: 85-87.

*

In this article, Carpenter predicts possible future developments in university and college music curricula regarding increased use of media-related technology, new scientific discoveries about music and the brain, the increasing popularity of competency-based teacher certification programs, and the restructuring of degree programs to accommodate diverse career options in the music industry. Concerning technology, Carpenter predicts that skill-based courses such as ear training and theory will be taught with the aid of computer programs; music history lessons will be taught with recorded audio and video files; and students may use computer-generated instrumental sounds for orchestration assignments. In terms of the brain, knowledge of how the brain functions will likely assist teachers in differentiating their instruction to appeal to different forms of cognition and learning. As competency-based teacher certification programs are being introduced all over the country, Carpenter notes that these types of programs, based on identifiable competencies, will become common in other types of music degree programs. Finally, as available career paths in music diversify, Carpenter predicts that schools may move to a degree-structure that contains a core curriculum for all music students, and a variety of electives to allow students to design their own degrees around particular specialities.

This roundtable discussion, introduced by Edward F. D'Arms, marked the beginning of a two-year project by NASM to discuss and initiate action in the area of music in general education. Charles Schwartz outlines the development of music education in the U.S. from the 17 th century to the present and argues that music education should return to its earlier focus on public participation and education, instead of the European tradition which focusses on creating professional musicians. Jeanne Schaffer describes the benefits of creative arts courses that challenge students to develop their creativity, curiosity, subjectivity, and critical thinking skills. Eugene T. Simpson discusses the declining interest in classical music and increasing interest in popular music in America. He argues that the lack of job opportunities for performers and teachers, and the lack of audience for classical performances, are dictated by the level of musical taste in America, which in turn, is dictated by the media. Thus, he proposes that "top forty" programming should be replaced with classical music and music programs based on the theories of Suzuki and Kodaly should be implemented in schools. Finally, Arno Drucker discusses various opportunities for community colleges to facilitate music-making on campus and in the wider community.

Includes the following papers:

*

Davey, Earl. 1977. "The Development of Undergraduate Music Curricula at the University of Toronto, 1918-68." PhD diss., University of Toronto.

(summary forthcoming)

In this paper, Ellard introduces the nature and function of the Canadian Association of University Schools of Music to members of NASM and outlined a history of the music programs offered at Canadian institutions of higher learning from 1840 to 1976. According to Ellard, since 1940 Canadian institutions have modelled their programs after those in the United States, resulting in a greater variety of fields of study and a greater integration of applied music studies. Based on the inventory of undergraduate programs in music that the author compiled during the 1975-76 school year, there are currently 29 programs at Canadian universities offering bachelor degrees in music. Ellard reviews data concerning faculty members, student enrollment, entrance requirements, and program content and structure.

In light of the oversupply of college graduates and the difficult job market following graduation, Troth discusses strategies for reducing the number of graduates in music education programs. He encourages music schools to find ways to identify students who are committed to teaching music and display significant potential for success in music education. At his own institution, various methods for screening students to identify those who may be more suited to alternate career paths have been implemented. For example, students are required to take an orientation course that broadly outlines the profession of music education, the necessary training for the profession, and other possible career paths. Troth has found that many students after taking this course decide for themselves that music education is not right for them. He suggests that during the early stages of degree programs, music schools must provide students with the opportunity to explore alternative careers such as business, therapy, or recording.

Anhalt, István. 1976. "Where is the Teaching of Composition in Canadian Universities Going?" Paper presented at the 1976 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, Université Laval, Québec City, QC, May 25-28, 1976.

(further information currently unavailable)

Bellingham, Bruce. 1976. "Canadian Higher Education in Music." Paper presented at the 1976 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, Université Laval, Québec City, QC, May 25-28, 1976.

(further information currently unavailable)

Blume, Helmut. 1976. "The Training of Professional Instrumentalists in Canada." Paper presented at the 1976 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, Université Laval, Québec City, QC, May 25-28, 1976.

(further information currently unavailable)

In this article, Carlson describes the increasing use of guitars in classroom music instruction at all levels. Carlson argues that as guitar instruction becomes more important in public schools, post-secondary schools have a responsibility to train music students in guitar. Guitar may be incorporated into the curriculum by including guitar instruction in music fundamentals courses and offering summer workshops in guitar. The author concludes by describing his own experiences teaching summer guitar workshops at Indiana University and DeLourdes College.

Ellard, Brian. 1976. "Inventaire comparatif des exigences en heures contact des programmes de formation musicale offerts dans les universités canadiennes." Paper presented at the 1976 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, Université Laval, Québec City, QC, May 25-28, 1976.

(further information currently unavailable)

Keane, David. 1976. "A Historical-Compositional Approach to First Year Music Theory." Paper presented at the 1976 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, Université Laval, Québec City, QC, May 25-28, 1976.

(further information currently unavailable)

Manny, Gilles. 1976. "The Problem of Contemporary Music in the Training of Instrumentalists." Paper presented at the 1976 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, Université Laval, Québec City, QC, May 25-28, 1976.

(further information currently unavailable)

Mather, Christine K. 1976. "The Nature or Role of the Teaching of History in the Training of the Contemporary Musician." Paper presented at the 1976 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, Université Laval, Québec City, QC, May 25-28, 1976.

(further information currently unavailable)

In this paper, Mayer explores curricular modifications to expand the choices of specialization available to Bachelor of Music students. Schools of music frequently divide their students between two specializations: performance and music education. Performance streams often require a high level of performance ability, while the performance requirements for music education are far less demanding. Thus, Mayer suggests that curricular alternatives are needed for students who do not wish to pursue music education and have not achieved a level of performance ability adequate for the performance stream. Mayer proposes a Bachelor of Music degree structure that includes a specialized education block which may include courses such as journalism, business/management, music librarianship, television/radio, church music, theater, music therapy, pedagogy, and accompanying.

McMillan, Barclay. 1976. "Contemporary Requirements in the Training of a Musicologist." Paper presented at the 1976 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, Université Laval, Québec City, QC, May 25-28, 1976.

(further information currently unavailable)

Pederson, P. 1976. "The Place of Modern Canadian Music in the Program of Canadian Universities." Paper presented at the 1976 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, Université Laval, Québec City, QC, May 25-28, 1976.

(further information currently unavailable)

Perron, Pierre. 1976. "Ear-Training at the University Level." Paper presented at the 1976 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, Université Laval, Québec City, QC, May 25-28, 1976.

(further information currently unavailable)

"The University and Pre- or Extra University Instrumental Studies." 1976. Paper presented at the 1976 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, Université Laval, Québec City, QC, May 25-28.

(further information currently unavailable)

Bonelli, Eugene. 1975. "Implications of the Revised NASM Standards." National Association of Schools of Music: Proceedings of the 50th Anniversary Meeting 63: 137-143.

In this article, Bonelli examines three main implications of the revised NASM standards. First, schools of music must respond to the realities of music in the current age, most importantly the great diversity of compositional practices that coexist such as western art music, jazz, popular music, experimental music, Asian and African musics, and various hybrid combinations. Second, schools must prepare students for promising career opportunities in music as performance opportunities continuously decrease. Finally, schools of music must increase support for music in general education to expand support for the arts.

Crighton, Arthur. 1975. "Form and Analysis for Undergraduates." Paper presented at the 1975 Canadian University Music Society Annual Meeting, University of Alberta, Edmonton, AB, June 5-7, 1975.

(further information currently unavailable)

Lee, William F. 1975. "Curricula for Music/Business Applications." National Association of Schools of Music: Proceedings of the 50th Anniversary Meeting 63: 155-156.

This article introduces a panel discussion on curricula for music/business applications, considering decreasing employment opportunities in the areas of performance and teaching. The roundtable includes responses by Larry R. Linkin, Henry Romersa, and Darwin Fredrickson. Larry Linkin discusses the process of training music students for jobs that exist with manufacturers, retailers, and suppliers, through education in business and economics. Henry Romersa provides a detailed account of the commercial music curricula developed by the NARAS (National Academy of Recording Arts & Sciences) Institute and implemented in over 24 colleges in the United States. This curriculum covers topics such as music merchandising and business, recording engineering and arranging, legal aspects of the music industry, and song writing. In the second half of his response, he discusses the educational position of the music industry, largely consisting of entrepreneurs with little formal music education. The final contribution by Darwin Fredrickson provides an overview of the state of music curricula in California community colleges and considers in greater detail approaches to the two-year commercial-vocational curricula at six different colleges.

Includes the following papers:

Linkin, Larry R. 1975. "Curricula for Music/Business Applications." National Association of Schools of Music: Proceedings of the 50th Anniversary Meeting 63: 157-160.

Romersa, Henry. 1975. "Curricula and Vocational Opportunities in the Recording Industry." National Association of Schools of Music: Proceedings of the 50th Anniversary Meeting 63: 161-166.

Fredrickson, Darwin. 1975. "Two-Year Curricula in Music in the California Community Colleges." National Association of Schools of Music: Proceedings of the 50th Anniversary Meeting 63: 167-171.

*

Miller, Samuel. 1975. "Competency Based Teacher Education in Music." National Association of Schools of Music: Proceedings of the 50th Anniversary Meeting 63: 129-136.

Miller begins with an overview of the changing ideas in educational theory over the past several decades and then shifts to describe competency-based teacher education which responds to the needs of the contemporary classroom. Competency-based teacher education focuses on hands-on learning with a practical teaching component. These programs are field-centered, with students observing, teaching and interacting with students at all levels. Competency-based teacher education also emphasises individualization and varied modes of instruction that accommodate different learning styles. Student teachers are taught to design lessons that incorporate sound pedagogical methods, specific and measurable goals, clear expectations, and methods of evaluation.

Hieronymus, Gretchen. 1974. "Competency-Based Programs in Teacher Education." National Association of Schools of Music: Proceedings of the 49th Annual Meeting 62: 78-84.

In this article, Hieronymus describes the competency-based teacher education movement which has gained increasing momentum, owing in large part to a conference conducted at the University of Houston in 1971. Competency-based teacher education programs seek to increase the responsiveness of schools to societal change. The primary features of these programs include precise and clear learning goals, student accountability, individualization, and learner-centered pedagogy. At its core, the system is aimed at changing the teacher, and thus, it seeks to identify individual actions, abilities, or behaviours that contribute to good teaching. After detailing some specific strategies for implementing these programs and the kinds of pedagogical activities that align with the values of competency-based teacher education, Hieronymus notes that the success of these programs will require great flexibility, interaction, and cooperation within faculties of music.

Mason, James A. 1974. "Humanizing a Competency-Based Curriculum." National Association of Schools of Music: Proceedings of the 49th Annual Meeting 62: 59-63.

As knowledge, technology, population, mobility, and leisure experience increasing growth, the educational expectations of students, teachers, and parents increase as well. In response to the changing conditions of the world, Mason suggests that NASM-accredited music schools should focus on a single educational position that combines aspects of both behavioural and humanistic approaches, termed humanized competency-based curriculum. A humanized competency-based curriculum focuses on the creation and fulfilment of objectives that are characterised as (1) important, (2) focussed on content and process, (3) individualized, (4) co-created by students and teachers, (5) creatively and meaningfully implemented and (6) measurable by different kinds of evidence.
*1973*
Carlisle, Roxane C. 1972. "The Current Ethnomusicology Curriculum in Canadian Universities." Ethnomusicology 16 (3): 488-498.

This article reviews ethnomusicology program offerings at Canadian universities in the year 1972. Carlisle provides detailed program and course descriptions organized by university, as well as selected commentary from professors teaching ethnomusicology at these universities. Carlisle draws four main conclusions from her research findings: (1) the number of universities offering major graduate and undergraduate courses in ethnomusicology is very small; (2) some Canadian universities offer programs/courses related to ethnomusicology and folk music studies in a limited capacity, but could be further developed and expanded; (3) a few Canadian universities employ academics who, although trained in ethnomusicology, do not currently teach ethnomusicology for administrative and/or budgetary reasons; and (4) although there are many universities that do not offer music instruction at all, there is significant and wide-ranging interest in music and ethnomusicology across Canada, demonstrated by various campus activities.

Elson, Lise. 1972. "Un projet pilote: l'enseignement collectif du violon à l'Université." Paper presented at the 1972 Canadian University Music Society Annual Meeting, McGill University, Montréal, QC, June 7-10, 1972.

(further information currently unavailable)

McKellar, Donald. 1972. "Sociomusicology: The Next Horizon for Music Education." Paper presented at the 1972 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, McGill University, Montréal, QC, June 7-10, 1972.

(further information currently unavailable)

Patterson, Lawrence William Alexander. 1972. "Undergraduate Programs for Music Teacher Preparation in Canadian Colleges and Universities." DME diss., University of Illinois at Urbana-Champaign.

In this dissertation, the author considers the status of music teacher education programs in Canada. Patterson surveyed both undergraduate music programs and the music components of education degrees with respect to program structure, faculty and administration personnel, and curriculum. In addition, Patterson conducted an evaluation of each program, in which program administrators and music faculty contributed to compiling appropriate criteria for evaluating music programs and assessed the strengths and weakness of their own programs. As indicated by the author, of great significance was the finding that choral music and music history tend to be the strongest aspects of music education programs and instrumental music tends to be weakest.

Trowsdale, G.C. 1972. "Public Institutions in Music Education: A Study of Poland's Music Schools." Paper presented at the 1972 Canadian University Music Society Annual Meeting in Coordination with the Congress of Learned Societies, McGill University, Montréal, QC, June 7-10, 1972.

(further information currently unavailable)

Beckwith, John. 1971. "Aims and Methods for a Music-Theory Program." CAUSM Journal 1 (1): 27-30.

In this article, Beckwith outlines the structure of a music theory program aimed at developing skills in writing, reading, playing, and listening to the types of music that students will most likely encounter in their future careers. Beckwith considers three major curricular components for the first two years of a four-year program: the first component is what Beckwith calls "basic immersion in musical phenomena," the second is the study of the music and language of the common practice era, and the third is the introduction of twentieth-century music. For each of the three areas, he discusses curriculum content and learning activities.
*1970**1969*
O'Neill, Mary Elizabeth. 1968. "A Plan for the Development of a Curriculum in Music for Marianopolis College, Montreal Canada." EdD diss., Columbia University.

(further information currently unavailable)

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MusCan - Undergraduate Music Curriculum Research Bibliography

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MusCan is a bi-lingual scholarly society dedicated to the promotion of music in Canadian post-secondary institutions through a variety of activities: we sponsor an annual three-day conference in late May, publish a scholarly journal (Intersections: A Canadian Journal of Music) and provide support for music programs across the country through the Standing Committee of Institutional Members.

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Smithsonian Folkways Recordings: In partnership with World Music Pedagogy

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Smithsonian Folkways Recordings: In partnership with World Music Pedagogy

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Culturally Responsive Teaching

Intercultural Understanding

Global Competence

World Music Pedagogy

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2020-04-08 1303 NAfME PLC Webinar_ Smithsonian Folkways Recordings_ In Partnership with World Music Pedagogy By_ Patricia Shehan

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From Conflict to Celebration: Music from the Middle East through the lens of World Music Pedagogy

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From Conflict to Celebration: Music from the Middle East through the lens of World Music Pedagogy

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2020-05-12 1604 NAfME PLC Webinar_ From Conflict to Celebration_ Music from the Middle East through the Lens of World Music Peda

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Culturally Responsive Choral Pedagogy - Learning from Students’ Experiences

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Culturally Responsive Choral Pedagogy - Learning from Students’ Experiences

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Culturally Responsive Choral Pedagogy_ Learning from Students’ Experiences - By Julia T Shaw

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Embracing Music in Multiculturally Sensitive Ways

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Embracing Music in Multiculturally Sensitive Ways

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2020-05-11 1400 NAfME PLC Webinar_ Embracing Music in Multiculturally Sensitive Ways_ Northeastern Brazilian Traditions By Julia

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Teaching General Music During COVID-19 through the lens of Music Learning Theory and World Music Drumming

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Teaching General Music During COVID-19 through the lens of Music Learning Theory and World Music Drumming

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VIDEO

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Teaching General Music during COVID-19 through the lens of Music Learning Theory and World Music Drumming

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Resources and articles on inclusive teaching in a university

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The My Course Analytics Dashboard (MCAD) allows you to compare how various groups are performing in your classes. One of the ways that faculty often respond to difference in student performance is by developing more inclusive practices in their classrooms.

At Carolina, we are fortunate to have a diverse community of students. Yet, as bell hooks famously wrote "most of us were taught in classrooms where styles of teachings reflected the notion of a single norm of thought and experience, which we were encouraged to believe was universal...Most of us learned to teach by emulating this model" (1994: 35). As a result, the best response is to use some of the evidence-based best practices for engaging diverse students in the classroom.

At UNC, the Center for Faculty Excellence provides many resources for inclusive teaching that can be found here: https://cfe.unc.edu/teaching-and-learning/inclusive-teaching/

We have also compiled some additional resources for various topics:

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The My Course Analytics Dashboard (MCAD) allows you to compare how various groups are performing in your classes. One of the ways that faculty often respond to difference in student performance is by developing more inclusive practices in their classrooms. At Carolina, we are fortunate to have a diverse community of students.

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Yale’s Poorvu Center for Teaching and Learning

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Yale’s Poorvu Center for Teaching and Learning

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List of effective approaches to teaching and classroom climate

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Effective approaches to teaching and classroom climate are founded on the same principles that drive diversity and inclusion: equal access and opportunity for all students to thrive, honest dialogue about important issues, and protocols for managing difficult, sudden, and emotional moments.

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Scores by composers of color

Analytical Notes and Annotated Scores

Lesson Materials

Music Theory Examples by BIPOC Composers

Music Theory Examples by Women

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Welcome

This webpage houses public domain scores by composers of color. Analytical notes are being made available, while a Google Sheet summarizes music theory topics that can be taught using the repertoire. We welcome submissions of annotated scores and lesson plans that incorporate the music of composers of color. This site will be continually updated with more resources for music theory instructors.

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As a quick and manageable first step towards anti-racist music theory pedagogy, many of the scores on this site are readily adaptable to the classroom environment. Simply swap out some of the examples by white men that you fall back on when teaching, e.g., the IV chord, and you'll introduce the representation of voices of color and non-canonic composers overnight. An easy way to get started is to check out the examples collated in the Anti-Racist Example Google Sheet.

Of course, it will be important to consider how to contextualize these examples-and more broadly, how to contextualize all musical examples, including those written by white men. Online resources, as well as more details on music by composers of color are available here, and biographical information for each composer is linked at the composer's page.

If you find yourself wanting to expand beyond swapping out examples to more thoroughgoing studies of pieces by composers of color, explore the Analytical Notes and Annotated Scores page. There, you'll find links to a bookmarked Google Doc, which houses crowdsourced notes from group analysis meetings.

If you're feeling the urge to contribute your own public domain scores, annotated scores, lesson plans, or other materials, request to join the Humanities Commons group. We have also begun a Slack Channel, where you can get involved in deeper conversations about curriculum design and wider initiatives. If you'd like access, or have other questions, feel free to email ccresourceproject@gmail.com.

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This webpage houses public domain scores by composers of color. Analytical notes are being made available, while a Google Sheet summarizes music theory topics that can be taught using the repertoire. We welcome submissions of annotated scores and lesson plans that incorporate the music of composers of color.

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Theoretical concepts illustrated in a series of examples by women and BIPoC composers

Each example includes:
1) a PDF of an excerpt of an appropriate length for teaching ready for you to download and use in your lectures
2) a link to a public domain version of the full score
3) a link to a public domain recording when available
4) a link to a biography of the composer

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Excerpts and complete musical compositions by women composers categorized by theoretical concept for use in music education

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musictheoryexamplesbywomen.com - Domain Name For Sale | Dan.com

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The domain name musictheoryexamplesbywomen.com is for sale. Make an offer or buy it now at a set price.

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Living collection of books, articles, documentaries, series, podcasts and more about the Black origins of traditional and popular music dating from the 18th century to present day

Materials range from informal to scholarly and span a wide range of genres

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This is a living collection of books, articles, documentaries, series, podcasts and more about the Black origins of traditional and popular music dating from the 18th century to present day. Resources are organized chronologically and by genre for ease of browsing. For more information about that decision and the curation process, please visit the about page.

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This is a living collection of books, articles, documentaries, series, podcasts and more about the Black origins of traditional and popular music dating from the 18th century to present day. Resources are organized chronologically and by genre for ease of browsing. For more information about that decision and the curation process, please visit the about page.

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Home of interchange between performers and scholars interested in art song by African-American composers

Composers, performers, scholars, publishers, conferences

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Founded in 1997, this is the home of interchange between performers and scholars interested in art song by African-American composers. Here you will find information and links to assist with your discovery of our contribution to song.

Promote and Uplift the contributions made by African-Americans to art song, be they composers, performers or scholars. Art song here is defined as belonging to the tradition of Western art culture.

Serve the needs of scholars, teachers, and performers seeking information about African-American art song. Such service includes maintenance of this web site.

Share information and repertoire between teachers, scholars, and performers. It is essential to the mission of AASA that repertoire not be considered as a precious commodity to be kept from other performers. This repertoire must be performed, repeatedly, by many performers if it is to make its way into the mainstream of liter

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Founded in 1997, this is the home of interchange between performers and scholars interested in art song by African-American composers. Here you will find information and links to assist with your discovery of our contribution to song. Promote and Uplift the contributions made by African-Americans to art song, be they composers, performers or scholars.

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Bibliography to encourage music scholars to engage directly with issues of cultural politics—race, ethnicity, gender, sexuality, class, intersectionality, decolonization, and disability—in their research and teaching

Highlight scholarly work that confronts the centralized, historically Eurocentric and heteropatriarchal framing of North American music theory

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Inspired by Naomi André's vision of an "engaged musicology" ( 2018), the members of the Engaged Music Theory Working Group collectively assembled the following bibliography to encourage music scholars to engage directly with issues of cultural politics-race, ethnicity, gender, sexuality, class, intersectionality, decolonization, and disability-in their research and teaching. We especially highlight scholarly work that confronts the centralized, historically Eurocentric and heteropatriarchal framing of North American music theory. Thus we include scholarship that has explicitly and significantly intervened in our field's established practices at the time of publication, especially in terms of subject position, topic, methodology, and repertoire. While this list is not meant to be exhaustive, we hope it offers a starting point for engaged music theoretical research. It focuses primarily on music theoretical work as well as directly relevant scholarship from musicology and ethnomusicology.

The bibliography purposefully omits work by scholars who do not self-identify as music theorists or musicologists, but whose work is indispensable to the aims of our group. A list of these authors would include Sara Ahmed, Daphne Brooks, Patricia Hill Collins, Rosemarie Garland-Thomson, Saidiya Hartman, Lisa Lowe, Fred Moten, José Esteban Muñoz, Christina Sharpe, Eve Tuck, and Alexander G. Weheliye, among many others. We strongly encourage anyone who is interested in the goals of our group to read and cite this body of scholarship.

Please contact the administrators of this group at engagedmusictheory@gmail.com if you require assistance accessing any of the items on this list.
New Item Suggestions
Please use this form to suggest new items for this bibliography. You will need to provide a full citation using Chicago footnote style, 17th edition, as well as suggested keywords.
Important Notes on the Search Function
The search bar will filter the bibliography so that it only includes items that contain your word(s). This search includes both the complete bibliographic entry ("black" will include any item from Black Music Research Journal or with "Black" in the title or author name, for example) and a set of invisible keywords that we have entered for each item. All keywords are constructed as one word.

Suggested keywords include: blackmusic, colonialism, disability, embodiment, feminism, gender, hiphop, historyoftheory, improvisation, indigenousmusic, interculturality, intersectionality, jazz, metatheory, methodology, nonwesternmusic, pedagogy, philosophy, popularmusic, posttonal, publicmusictheory, queertheory, race, rhythmandmeter, schenker, sexuality, timbre, tonality, 16thcentury, 17thcentury, 18thcentury, 19thcentury, 20thcentury, and 21stcentury.

Enter the keyword "primer" for a list of texts the group considers foundational to Engaged Music Theory.

Entering numbers such as 198 will produce a list of anything published in the 1980s (useful), but will also include anything with a page range that includes these numbers (less useful).

Search items are additive: entering "queer 198" will include items that include "queer" anywhere in their bibliographic entry or keywords, published in the 1980s, and any page ranges that include "198."

Attas, Robin. "Music Theory as Social Justice: Pedagogical Applications of Kendrick Lamar's To Pimp a Butterfly." Music Theory Online 25/1 (2019). https://mtosmt.org/issues/mto.19.25.1/mto.19.25.1.attas.html

primer

blackmusic

hiphop

pedagogy

race

21stcentury

Carter-Ényi, Quintina, Aaron Carter-Ényi, and Kevin Nathaniel Hylton. "How We Got Into Drum Circles, and How To Get Out: De-essentializing African Music." Intersections 39/1 (2019): 73-92. https://doi.org/10.7202/1075343ar.

blackmusic

colonialism

nonwesternmusic

pedagogy

race

Ewell, Philip A. "Introduction to the Symposium on Kendrick Lamar's To Pimp a Butterfly." Music Theory Online 25/1 (2019). https://mtosmt.org/issues/mto.19.25.1/mto.19.25.1.ewell.html

blackmusic

hiphop

popularmusisc

race

21stcentury

Maxile, Jr., Horace J. "Extensions to the Pedagogical Canon: Expanding Perspectives on William Grant Still and the Teaching Applications as Realized in the Seven Traceries." College Music Symposium Vol. 55 (2015). http://dx.doi.org/10.18177/sym.2015.55.sr.10881

blackmusic

pedagogy

posttonal

20thcentury

About

The members of the Engaged Music Theory Working Group are:

Group Members
Makulumy Alexander-Hills (he/him)
Clifton Boyd(he/him)
Michael Bruschi (he/him)
Samuel Chan (he/him)
Johanna Devaney (she/her)
Kristi Hardman (she/her)
Stephen Lett (he/him)
Vivian Luong (she/her)
Rowland Moseley (he/him)
Nathan Pell (he/him)
Blake Ritchie (they/them/she/her)
Lauren Shepherd (she/her)
Danielle Shlomit Sofer (they/them/she/her)
Noel Torres-Rivera (he/him/his)

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Inspired by Naomi André's vision of an "engaged musicology" ( 2018), the members of the Engaged Music Theory Working Group collectively assembled the following bibliography to encourage music scholars to engage directly with issues of cultural politics-race, ethnicity, gender, sexuality, class, intersectionality, decolonization, and disability-in their research and teaching.

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Creative Black Music at the Walker Art Center

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Creative Black Music at the Walker Art Center

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Focuses on a select group of influential black artists who came to the fore in the ’60s and ’70s and appeared at the Walker multiple times, each having an indelible impact on US musical culture

Archival material, including rare audio and video recordings, photographs, posters and programs, and correspondence.

Also features commissioned essays and interviews offering insightful perspectives from new generations of artists on these groundbreaking figures and movements

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Jazz and the broader worlds of creative black music have been important parts of the Walker Art Center's Performing Arts program since its inception. In the early 1960s the volunteer-run Center Arts Council began presenting genre-defining, totemic black jazz figures, often introducing their music to the Upper Midwest for the first time. While the Walker's programming has over decades involved many leading figures in jazz and experimental music across racial, generational, cultural, and transnational lines, this volume of the Living Collections Catalogue-Creative Black Music at the Walker: Selections from the Archives -focuses on a select group of influential black artists who came to the fore in the '60s and '70s and appeared at the Walker multiple times, each having an indelible impact on US musical culture.

Archival material not before available for public view is at the center of this publication, including rare audio and video recordings, photographs, posters and programs, and correspondence. The volume also features commissioned essays and interviews offering insightful perspectives from new generations of artists on these groundbreaking figures and movements. A timeline of selected performances highlights the remarkable range of black musicians and writers who appeared at the Walker from 1963 to 2019. In focusing on these vanguard artists with whom the Walker has had sustained relationships over time, Creative Black Music aspires to honor them and the art forms they helped forge-work that exemplifies artistic freedom, self-determination, racial justice, interdisciplinarity, and free-flowing creative expression.

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Creative Black Music at the Walker: Selections from the Archives

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Jazz and the broader worlds of creative black music have been important parts of the Walker Art Center's Performing Arts program since its inception. In the early 1960s the volunteer-run Center Arts Council began presenting genre-defining, totemic black jazz figures, often introducing their music to the Upper Midwest for the first time.

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Articles that shed more light on an often under-appreciated aspect of rappers’ work: their impressive musicianship.

Transcriptions of rappers’ rhythms; charts of their harmonic progressions; and plots of the intricacy of their multilayered beat drops

Understanding what people love about rap, and why

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Blog launched in order to seek racial, gender, and social justice in the field of music theory

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Strategies for Settler Decolonization: Decolonial Pedagogies in a Popular Music Analysis Course

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Strategies for Settler Decolonization: Decolonial Pedagogies in a Popular Music Analysis Course

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Strategies for Settler Decolonization: Decolonial Pedagogies in a Popular Music Analysis Course - Canadian Journal of Higher Education / Revue canadienne d'enseignement supérieur

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Strategies for Settler Decolonization: Decolonial Pedagogies in a Popular Music Analysis Course. An article from journal Canadian Journal of Higher Education / Revue canadienne d'enseignement supérieur (Volume 49, Number 1, 2019, pp. 1-184), on Érudit.

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Lifting the Cone of Silence From Black Composers

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Lifting the Cone of Silence From Black Composers

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Listen to how artists have explored what it means - and could mean - to be American.

Credit... Yann Kebbi

A cone of silence hangs over the work of Black composers from Africa and its diaspora. It is not that Black men and women have not written music, but too often it has been ignored - and thus assumed not to exist at all.

The work of Black composers is more often heard if they are working in forms thought to exemplify "the Black experience": jazz, blues, rap. However, as the composer and pianist Muhal Richard Abrams once said, "We know that there are different types of Black life, and therefore we know that there are different kinds of Black music. Because Black music comes forth from Black life."

In the late 1980s, the Caribbean writers Jean Bernabé, Patrick Chamoiseau and Raphael Confiant proclaimed themselves "Creoles": "torn between several languages, several histories, caught in the torrential ambiguity of a mosaic identity." In that light, as we contemplate an Independence Day unlike any in my memory, I want to highlight some of the ways African-American composers have explored what it means - and could mean - to be American, helping to foster a creolized, cosmopolitan new music for the 21st century.

If Black lives matter now more than ever, hearing Black liveness in classical music also matters. The alternative is an addiction to exclusion that ends, as addictions often do, in impoverishment.

The first movement of William Grant Still's Symphony No. 1, "The Afro-American" (1930), develops a 12-bar blues using classical sonata form. This served Still's avowed purpose - consistent with 1920s New Negro discourses of racial uplift - of demonstrating how the blues "could be elevated to the highest musical level." Today, I also hear a foreshadowing of two musical cultures collaborating as equals.

One day in 1970, my freshman-year college roommate, the violist Miles Hoffman, mentioned that he was performing an unusual work with the Yale Symphony that I might like to hear. Indeed, the piece captivated me, and I was astonished to see a young African-American graduate student, Alvin Singleton - now one of America's most distinguished composers - take the stage to accept the applause. I don't think I had seen or even heard of a Black composer before. His "Mestizo II" is an ebullient infusion of free improvisation into the classical orchestra.

In 1999, Tania Léon created "Horizons" for orchestra, a work that is well described by the musicologist Jason Stanyek as a kind of sonic creolization: "All at once, this is music of the Americas, of the trans-Atlantic world, of the Cuban diaspora, of the European avant-garde. It is pan-Latin, local, intercultural, cosmopolitan, indigenous, global, transcendent, grounded."

The Haitian-American composer, flutist, vocalist, and electronic artist Nathalie Joachim's "Fanm d'Ayiti" ("Women of Haiti") is perhaps the quintessential example of the situation of the Creole. Ms. Joachim combines traditional and modern text and song in the kreyòl language with extended string techniques and electronics that bring musical Minimalism home to the African diaspora from which it has drawn so much. Black liveness, Black women and Black spirituality arrive at the center of the classical music table.

Ms. Joachim's project is close in spirit to "Coin Coin," the saxophonist, composer and visual artist Matana Roberts's series of extended works, now in its fourth volume of a projected 12. Ms. Roberts uses texts, field recordings, voice, instruments and visual elements to explore history, memory, legacy, family, sexuality and myth in the American Afrodiaspora, exemplifying the power of the creative artist to infuse history with the spiritual.

Before George Floyd, there was Sandra Bland - and far too many others. In July 2015, Ms. Bland, a 28-year-old Chicago native, was found hanged in a Texas jail cell, three days after her arrest during a traffic stop. In a Facebook video posted two months before her death, she said, "In the news that we've seen as of late, you could stand there, surrender to the cops, and still be killed."

By that point, the African American Policy Forum had already coined the Twitter hashtag #SayHerName to call attention to police violence targeting Black women. Courtney Bryan's "Yet Unheard" (2016), for soprano, chorus and orchestra, which premiered on the first anniversary of Ms. Bland's death, was a musical response to that call. As Sharan Strange's libretto demands: "My people, won't you sing her name?"

Born a slave in Georgia, the sightless composer and virtuoso pianist Thomas Wiggins (1849-1908), popularly known as Blind Tom, was promoted by his owner as an "idiot" to enhance his marketability. Willa Cather described Tom's performance of works by Liszt and Paderewski as "genius which has no basis in intellect," a common view of Black humanity that characters debate in Jeffery Renard Allen's 2014 novel about Tom, "Song of the Shank."

In Blind Tom's "The Battle of Manassas," from 1863,the sounds of cannons are recalled through tone clusters that anticipate early Henry Cowell. Created by an enslaved Southern composer in ostensible tribute to the first major Civil War battle won by the Confederacy, the work can be heard today as an anticipation of that regime's collapse - and as a soundtrack for the decommissioning of Confederate statues, those physically imposing paeans to Jim Crow that merely posture as history.

Since the end of the Great Migration in the 1960s, the African-American experience has been represented as almost exclusively urban. In "America's National Parks" (2017), the composer and trumpeter Wadada Leo Smith, rural son of a Mississippi Delta bluesman, reclaims the Western expanses that classical music has long ceded to Aaron Copland and Roy Harris.

Sections of "America's National Parks" refer to Yellowstone, Sequoia, Yosemite - the country's national land trust (even if people are still harassed for hiking while Black). Another movement is named for the musicologist Eileen Southern, whose landmark 1971 book "The Music of Black Americans" is, as Mr. Smith puts it, "a literary national park."

Ornette Coleman (1930-2015), a major figure in the emergence of the transgressive new Black music of the 1960s, became a symbol of daring artistic mobility, in genre and practice, with his 1972 orchestral work "Skies of America." It is structured as a series of vignettes representing aspects of contemporary American life: "Holiday for Heroes," perhaps a reference to the Fourth of July; "Sunday in America," a possible nod to Martin Luther King Jr.'s observation that "Sunday morning is one of the most segregated hours in Christian America"; and "The Men Who Live in the White House," which I find reminiscent of John Williams's Copland-esque accompaniment to Richard Nixon's farewell speech in the Oliver Stone film "Nixon."

The operas of Anthony Davis - the recipient of this year's Pulitzer Prize for Music for "The Central Park Five" - are sonically audacious and politically pointed. "Amistad" (1997) concerns the 1839 revolt in which captured slaves took over their ship and demanded a return to Africa. They ended up in the United States, where an attempt to legally re-enslave them failed. As astonishing as Mr. Davis's music is Thulani Davis's libretto, which condenses John Quincy Adams's 130-page argument to the Supreme Court to a few potent lines that resonate this summer:

Here our laws permit bondage,

even beastly vengeance, within our shores.

But now with men taken hostage,

we seek to deny even nature's law.

This cannot stand

This cannot stand in our land.

George E. Lewis is a composer, a musicologist and the Edwin H. Case Professor of American Music at Columbia University.

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Lifting the Cone of Silence From Black Composers

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Listen to how artists have explored what it means - and could mean - to be American. A cone of silence hangs over the work of Black composers from Africa and its diaspora. It is not that Black men and women have not written music, but too often it has been ignored - and thus assumed not to exist at all.

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Juneteenth Thoughts on Boston & Current African American Composers

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Juneteenth Thoughts on Boston & Current African American Composers

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Extensions to the Pedagogical Canon: Expanding Perspectives on William Grant Still and the Teaching Applications as Realized in the Seven Traceries

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Extensions to the Pedagogical Canon: Expanding Perspectives on William Grant Still and the Teaching Applications as Realized in the Seven Traceries

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William Grant Still's Seven Traceries (1940) is a set of piano pieces that exhibits a number of post-tonal materials and techniques such as octatonicism, extended tertian sonorities, dense chromaticism, and extensive motivic development. Still's concentration on these more contemporary features marks definite contrasts from the more conservative character of his acclaimed, and perhaps better-known, nationalist compositions from the early 1930s. Studies of post-tonal music in theory and history courses would benefit from an expansion of repertoire, and the Traceries provide solid examples of the aforementioned materials and techniques as well as extensions to our pedagogy and teaching pieces by way of a diverse voice in Western concert music. This essay draws attention to the pedagogical potential of two of the Traceries ("Woven Silver" and "Out of the Silence") and extends discourses on Still into non-black-nationalist compositions. Through general orientations and examinations of structural details, I demonstrate the applicability of the two selected Traceries for music theory or history courses.

Almost twenty years ago, Lucius Wyatt noted a "notorious deficiency" in the treatment of concert music by African-American composers in general music histories. There have been some advances since the time of his call for more inclusion. William Grant Still (1889-1978) has received a fair amount of scholarly attention since Wyatt's call. In addition, he is the African-American composer most frequently mentioned in music history and appreciation textbooks. Often heralded as the "Dean of Afro-American composers," Still was as prolific as he was pioneering. He composed over 150 works for various performance forces over the course of his long and distinguished career, but he is perhaps best known for the acclaimed Afro-American Symphony (1931). The symphony was lauded for its blend of blues and Western European elements. While significant and deserving of continued study, the Afro-American and other black-nationalist works composed around that time constitute only a portion of his output. There was much more music written after the Afro-American, and various styles, techniques, and influences appear in works composed from 1935 onward. The Seven Traceries (1940) is a set of piano pieces that demonstrates this variety, as they include modern styles and techniques, and black vernacular emblems, if at all present, are subtly engaged. The following commentaries on William Grant Still and the Seven Traceries serve a two-fold purpose: (1) to draw attention to the potential of the Seven Traceries in pedagogical and performance settings and (2) to further extend discourses on the composer into non-black-nationalist compositions. Furthermore, this study seeks to broaden pedagogical perspectives of the composer by examining structural details in "Woven Silver" and "Out of the Silence" from the Seven Traceries -short pieces which utilize post-tonal materials and techniques that could be incorporated in music theory classes, music history classes, or both. Whereas Wyatt's inclusionary call focused on traditional music history courses, the implications also reach into music theory courses.

Studies of post-tonal techniques and materials in music theory and history courses might benefit from an expansion of repertoire that employs dense chromaticism, extensive motivic development, octatonic and hybrid scales, "tall" chords (e.g., ninth and/or thirteenth chords), and so forth. Indeed, the inclusion of Still's "Woven Silver" in the Kostka/Graybill anthology is encouraging. Their reading of "impressionist" influences places the piece in a modernist context and welcomes differing perspectives and methods of analysis. In addition to providing solid examples of the aforementioned techniques and materials associated with post-tonal music, the Traceries afford extensions to our pedagogy and teaching pieces by way of a diverse voice in Western concert music. The individual pieces are also small enough to where coverage, over a short period of time, could afford opportunities for students to explore formal schemes and relationships between harmonies, motives, or both that contribute to global unity. Such explorations would enhance the sometimes taxonomic outcomes that surveys of various contemporary techniques yield and expand musical contexts beyond the excerpt. Following the next section that provides additional contexts and orientation, I offer overviews and analytical notes on two pieces from the collection, "Woven Silver" and "Out of the Silence." The analytical notes are generally presented in a "left-to-right" fashion, suggestive of an approach that may be used to discuss the entire piece from beginning to end-with occasional moments of added emphasis on details of local and global significance.
Context and Orientation
In the Introduction to the William Grant Still Reader, Jon Michael Spencer identifies three stylistic periods for the composer's works. Spencer's first two periods cover a twelve-year period (1923-1934) highlighted by the composer's study with Edgard Varesé (a French avant- garde composer) and a deliberate turn toward the use of black cultural subjects in his compositions. The third period, from 1935 to the mid-1970s, is one defined by "stylistic eclecticism." Still referred to this latter period as one that favored a "universal idiom" where "instead of limiting [him]self to one particular style, [he] wrote as [he] chose, using whatever idiom seemed appropriate to the subject at hand." He incorporated many styles and references in his works during this period, including black cultural themes (African, African-American, and Afro-Caribbean subjects), Mexican folk song, and the modern influences of Varesé. He began writing original music for piano in 1935 and the body of solo works similarly shows a variety of styles and influences. These range from folk-like, pentatonic themes in "Quit Dat Fool'nish" (1935) to extended tertian complexes that characterize "Phantom Chapel" from the Bells (1940).

Carolyn Quin identified three categories for Still's piano works: (1) mystic/academic, (2) Afro-American, and (3) neo-romantic film music style. Quin's "neo-romantic" category is designated for pieces that display "impressionistic parallel chords and floating rhythms." Most of Still's solo piano music falls under the mystic/academic and neo-romantic categories. The mystic label is based on the composer's growing interest in spirituality and the interpretation of dreams and visions during the post-nationalist phase of his career. Titles such as "Radiant Pinnacle" and "Cloud Cradles" are considered representative of that particular facet of Still's inspiration. The academic designation is related to Still's freer use of dissonance and the incorporation of more contemporary materials such as polychords and octatonic scales. The mystic/academic works are somewhat similar to pieces composed during Still's early period because they reflect modernist influences that affected Still during his years of study with Varesé. Still referred to his early works as "ultramodern," as he was probably encouraged to eschew conventional approaches and to experiment with different harmonies, timbres, and effects. Many of the works were more demonstrative of his instructor's influence than his own compositional voice. In an essay, entitled "A Composer's Viewpoint," Still recalled the encounter with ultramodernism:

... for me, the so-called avant-garde is now the rear guard, for I studied with its high priest, Edgar Varesé, in the 20s, and I was a devoted disciple. Some of my early compositions in that idiom were auspiciously performed in New York. ... I learned a great deal from the avant-garde idiom and from Mr. Varesé but, just as with jazz, I did not bow to its complete domination."

The time Still spent with Varesé was certainly meaningful, as he reflected on his teacher opening "new horizons" and avant-garde influences "loosen[ing] up his music" in interviews recorded as late as 1969.

Considering the influence of Varesé and the number of Still's piano works which utilize contemporary techniques and styles associated with French impressionist composers, were there any connections between Still and impressionist composers such as Claude Debussy or Maurice Ravel? While I have found no mention of Debussy in connection with the Still's two years of study with Varesé, he may have become familiar with the works of impressionist composers through the concert programming and lessons of his teacher. Debussy was a significant figure quite early in Varesé's musical life and they maintained a friendship for a number of years. Varesé founded the International Composer's Guild in 1921 and Ravel was among the composers for whom the Guild programmed world or American premieres. The Guild was active through the 1920s and programmed some of Still's works as well. It is reasonable to assume that score study was a part of Varese's pedagogy and that Debussy and Ravel may have been among the composers Still studied. Still was also a conductor and arranger for a New York-based radio orchestra in the early 1930s, referring to his work with the Deep River Broadcast as "the most remarkable opportunity I'd ever had." Not only did he have "splendid musicians" play his arrangements, the orchestra "played all sorts of things, Debussy and things of that sort." Furthermore, Still named Debussy and Ravel as European composers who incorporated black-folk elements in compositions in at least three different articles written between 1944 and 1950.

Connections to the French composers notwithstanding, there are musical features in the Traceries that exhibit contemporary styles and techniques. Tertian chords are the harmonies of choice in most of the pieces; chromatic extensions and added notes are sometimes employed. Some of the harmonic dissonances also result from chords that are derived from non-conventional scale types (e.g., octatonic and hybrid scales). Each of the Traceries is in ternary form and prominent ideas are sometimes combined at or near the end of the pieces, contributing additional unifying elements. Quin describes the formal processes in "Cloud Cradles" as "organic, i.e., growing out of the motive," and this is certainly the case in four more of the Traceries: "Muted Laughter," "Woven Silver," "Wailing Dawn," and "A Bit of Wit." The other two pieces, "Out of the Silence" and "Mystic Pool," are based on longer melodic ideas. In all of the pieces, however, motives and melodic fragments recur frequently, often with some form of variation (e.g., altered contours, transposition, etc.). Harmonic treatments involve root relationships by second, third, and tritone, and there are also a few instances of functional harmonic activity on local and global levels. Still's concentration on the aforementioned features in the Seven Traceries marks definite contrasts from the more conservative character of Still's black-nationalist compositions from the early 1930s. Verna Arvey noted in 1940:

It is significant that many of his compositions for piano solo are couched in a style different from the majority of his orchestral works. Many of them are almost completely lacking that deep racial quality that characterizes much of his music. The Seven Traceries are abstractions bearing the imprint of mysticism, yet none of their dissonance is illogical: everything blends harmoniously into the whole. Each has a delicacy of a rare print. ... Each is based on the simplest of motifs, developed to the extent of its own possibilities.

Pianist Richard Crosby agrees with Arvey regarding inspiration and interpretation and also observes "exquisite craftsmanship" in the composer's treatment of motive. Whereas "Still did not rely on his inspiration only," the works demonstrate "a great skill of proportion and balance."
"Woven Silver"
"Woven Silver," as noted earlier, is included in the Kostka/Graybill anthology where the Seven Traceries are considered "somewhat impressionistic in style, with few instances of the African-American elements that can be heard in some of his music." With the exception of a few minor major seventh chords that may evoke a jazz presence or transitory, understated pitch inflections that might signal shadings of blue, the vernacular emblems in "Woven Silver" are, at best, trace in appearance. Among the devices and techniques identified "Woven Silver" are hybrid (synthetic) scales (mm. 39-48), octatonic scales (mm. 23-36), polytonal episode (mm. 1-8), and establishing pitch centricity by pitch assertion and gesture.

There are other linear and horizontal constructs based on manipulations of major, augmented, and diminished triads. The main sections of the ternary form are articulated by statements and varied restatements of the primary motives in the outer sections (mm. 1-20 and 37-48) and a contrasting section (mm. 21-36) that consists of developmental episodes. Contrast is also facilitated by a marked arrival at new tonal center that is confirmed by a particular gesture (the P5/P4 figure) discussed below. A sketch showing the formal functions of the structural pitches appears in Figure 1. The structural pitches, Eb, F#, and A, are supported with minor triads. Also note the diminished triads that frame the F# minor chord. This is particularly relevant because these triads are comprised of the structural pitch classes and the chords function globally to move the piece into and out of the contrasting section. The F# from the diminished sonority in measure 17 creates a relatively smooth common-tone modulation to the F# minor tonal area in measure 21. The D# diminished chord that occurs after the F# minor arrival tonicizes the pitch (E-natural) that ultimately prepares the arrival of A minor in the final A section. These features are likely to surface in discussions about harmonic details, and drawing attention to these particular treatments of the diminished sonority may prompt students to consider other factors that contribute to the global unity within "Woven Silver." The final sonorities in the sketch show some play between Eb and E-natural at the conclusion of the piece. A discussion of this feature will be included with the discussion of motive.

Figure 1. Bass sketch and form diagram, "Woven Silver."

Perpetual triplet motion and two primary motives constitute much of the piece's content. See Figure 2 (mm. 1-6). The motives are introduced at the beginning of the piece and are labeled a and b. Sometimes fragmented or treated with changes in the intervallic content of the leaps, these motives appear in some form in each of the piece's main sections and transitional sections. Note the ascending perfect fifth/perfect fourth (P5/P4) figure in measure 5. This figure is significant because it aids in establishing Eb as a pitch center. Considering Still's opening statements that suggest a polytonal treatment of D (in the right hand) and Eb (in the left), this relatively consonant gesture provides contrast and also aids in articulating the pitch center for this section. It is important to note here that there are only three occurrences of the ascending P5/P4 figures in "Woven Silver." Each assists in confirming the pitch centers (Eb, F#, and A) and articulating formal structure. The figure in measure 5 and its repetition in measure 7 provide a strong confirmation of Eb as a pitch center at the beginning of the piece, although the right hand figures suggest a subsidiary presence of D. In addition, Eb is asserted through its longer duration in the local context of the initial P5/P4 figures. See Figure 1 again. When the figure appears in measure 21, it confirms F# minor by having all members of the triad present. Its statement in opening measures of the final A section (m. 39) suggest A minor, but the minor triad is somewhat destabilized by the Eb. Still's treatment of rhythm with the P5/P4 gesture is also noteworthy, as the duration of the emphasized pitch after the P5/P4 gesture decreases over the course of the piece-from 1 and ½ beats in measure 7 to less than one beat at measure 39. Still believed that "recurrence brings a well-defined unity" but did not "believe in exact repetitions" as he worked to avoid monotony in treatments of form, theme, and motive.

Figure 2. "Woven Silver," mm. 1-6, Copyright © William Grant Still Music. All rights reserved.

Although a number of the chromatic passages in "Woven Silver" can be attributed to imaginative uses of tertian harmonies, Still also utilizes octatonic scales in transitional and contrasting sections. Two octatonic scales are employed in the B section and in the transitional passage that prepares the final A section (mm. 23-36). Similar uses of octatonicism occur in "Out of the Silence," which will be discussed later. Referring to Figure 3. The B section begins with brief statements of figures that outline F# minor harmony and an immediate shift to ascending arpeggios outlining a D# diminished chord in measure 23. This activity accompanies melodic fragments of motive a that are repeated and altered by subtle intervallic changes with each statement. All of the pitches in this episode (mm. 23-26), excepting a lone C# of relative brief duration in measure 26, belong to the OCT (2,3) collection. The C# functions as part of embedded melodic fragment based on F#, a vestige from the F# minor tonal area confirmed just before the shift to the D# diminished arpeggios. The fragment can be extracted from the second division of each right-hand triplet figure [F#, G#, B, E# (F), C#].

Figure 3. "Woven Silver," mm. 23-26, Copyright © William Grant Still Music. All rights reserved.

An OCT (1, 2) collection is employed in measure 27, and Still uses it for the remainder of the B section as well as the transition into the final A section. The two collections share the common pitches [D, F, G#, B]. These pitches figured prominently in the development of motive a in measures 23-26, but they assume a more harmonic function in measures 27-36. The B section continues with a transposition of the accompaniment figures down a perfect fifth, yielding arpeggios that outline Ab (G#) diminished harmony (mm. 27-30). While alterations in the intervallic content within motive a continue, the G# diminished triad accompaniment is constant. E-natural becomes the predominant pitch in the transition (mm. 31-36) primarily because it is reiterated many times, but other pitches from the OCT (1,2) collection are also present and contribute to a hearing of the E as a root of a dominant preparation (E7) for the key of A. G#/D dyads are stated melodically and harmonically in close proximity to the E in measures 31-35. In addition, the melodic G-naturals and F-naturals that occur in this passage function as colorful extensions (#9 and b9, respectively) to E dominant harmony. One final detail related to the importance of E in the transition is in its final bars. In Figure 4, the rests assure abrupt articulations of the three- and four-note figures, but this does not interrupt the persistent flow of triplets. Each figure highlights E as either the first or last pitch. Also note the D# in measure 36. It is the only pitch in this episode that does not belong to the OCT (1,2) collection; however, it tonicizes E-natural just before the arrival of A minor and the final A section.

Figure 4. "Woven Silver," mm. 33-36, Copyright © William Grant Still Music. All rights reserved.

A few additional details of Still's treatment of motive and the pitches Eb and A can be seen in the opening measures of Figure 2 and in Figure 5 (mm. 9-10). Please see Figure 2 again, in which it shows each of the first four measures with statements of the pitches Eb and A in both of the main motivic figures. Eb is featured in the left hand figures that outline major or minor triads, and the pitch A occurs in each of the tails of motive a as well as the repeating tail of motive b. With reference to Figure 5, measures 9 and 10 mark a departure from Eb, as a new pitch center (D), is suggested by the literal transposition of the head of motive a down a minor ninth. The statements of motive a's tail, however, feature changes in intervallic structure while maintaining certain pitches. The tails (C#-A) and (A-F) remain unchanged, though presented an octave lower than their original statements in measures 1 and 2. These tails contain the pitch A even as the composer moves away from the Eb center of the opening measures. Figure 6 shows reductions of the various transformations of motive b that occur throughout the piece. Note that the pitch A is associated with all of the statements of the motives at points that articulate harmonic structure. Motive b is subject to rhythmic displacement and large, upward leaps during the transition to the final A section at measures 33 and 34, but the treatment at measures 39-40 is significant because it involves a change in contour and also marks the arrival of final section and the pitch center, A-natural. All prior statements of motive b featured upward leaps, but the statement at measure 39 features downward leaps.

Figure 5. "Woven Silver," mm. 9-10, Copyright © William Grant Still Music. All rights reserved.

Figure 6. Reductions of motive b, "Woven Silver."

Still concludes "Woven Silver" with one last round of play with A and Eb. Referring to Figure 1 again, the ascending P5/P4 strongly establishes A as the pitch center in measure 39 and the C and E in the tail of motive b yield A minor as a likely key area, but there is also a D# (Eb) in the motive's tail that somewhat trivializes the confirmation. Although the D# in measures 39 and 40 could be viewed as a chromatic neighbor to the consonant E-natural, the pitch class Eb becomes more prominent in harmonic constructs that have A as the chord root from measure 41 to measure 44. Most of the melodic figures are based on a G# fully diminished seventh chord, and it appears as though Still employs a hybrid scale collection based in A minor in these final measures. The collection used in the final A section includes natural and lowered versions of the fifth scale degree as well as both realizations of scale degree 7 [A, B, C, D, Eb, E, F, G, G#]. The last four measures offer a synthesis of the melodic and harmonic features of the final section, which includes the reworking of Eb into the local pitch scheme. This synthesis is realized linearly and vertically in the final measures. Restatements of the primary motives aid in articulating the global ternary design, and Still enhances the sense of unity in these final measures by stating the structural pitches, A and Eb (D#), in the outer voices of the piece's penultimate chord.
"Out of the Silence"
Whereas the harmonic plan for "Woven Silver" features mediant relationships between pitch centers, "Out of the Silence" has more functional tonal implications. See the large-scale ii-V-I progressions in the sketch given in Figure 7a. The highlight of this piece's arch shape is the significant arrival in C major at the beginning of the B section (mm. 16-27). The framing A sections (mm. 1-15 and 28-48) are characterized by a four-measure thematic statement and the subsequent development of melodic fragments. The opening of the final A section is almost a literal restatement, but Still harmonizes the theme and some developmental episodes with added pitches. Colorful chord progressions complement fluid melodic lines in the B section, many of which contain mediant relationships. The B section is a good place to begin introducing the piece for a few reasons: (1) the harmonic progressions present a more "tonal" landscape than the more complex harmonies of the outer sections, (2) it is tonally closed-beginning and ending on a C major seventh chord, and (3) discussions that lead to an understanding of the local significance of CM7 can ignite inquiries into larger structural issues (e.g., How does the composer get into and out of the B section?). Figure 7b provides a sketch of the primary harmonic events that lead into the B section; discussions on these events follow. The contemporary devices and techniques in "Out of the Silence" include:

Extended tertian sonorities (e.g., ninth chords, found throughout)

Chromatic alterations of tertian sonorities (mm. 5-9, m. 15, and elsewhere)

Planing/Parallelism (mm. 40-44)

Modal passages (mm. 1-3, mm. 18-25, mm. 30-33)

Octatonic scales (mm. 5-13, mm. 35-39)

Notes related to these materials within the context of the piece follow as well as a synopsis on the local and global significance of the major seventh interval.

Figure 7a. Bass line sketch of primary harmonic events, "Out of the Silence."

Figure 7b. Reduction of harmonic activity, mm. 1-16, "Out of the Silence."

The piece begins with a leaping melodic gesture encompassing a major seventh between the pitches F and E and the first chord stated in the piece is an extended tertian harmony (Dm9) (see Figure 8). The opening gesture is accompanied with D Dorian harmonic activity in measures 1-2 and a shift to Aeolian mode in measure 3. Also note the rhythmic ostinato in the left hand. This rhythmic pattern is maintained for the better part of the first nine measures, although Still's harmonic treatments vary. The opening thematic statement also contains melodic fragments that are developed in the A sections. They are labeled as x and y in Figure 8. Chromatic excursions and development of the melodic fragments begin immediately after the opening measures (see measures 4-7). The fragments are transposed down a minor sixth and the tail of fragment y is rhythmically altered in measure 5. There are some slight variations in the intervallic structure of the tail of fragment y, but the shape of the gesture is maintained. The chromatic excursion begins in measure 4 with extended tertian complexes that could be analyzed as inverted ninth chords. However, the primary sonority supporting most the melodic activity in measures 5 through 9 is a Db major-minor seventh chord (Db7).

Figure 8. "Out of the Silence," mm. 1-7, Copyright © William Grant Still Music. All rights reserved.

The Db7 chord is constantly coupled with a G and D in the restatements of fragment x. Both the Db7 and melodic [G-D] dyad are pervasive because they are asserted through reiteration and they appear in the same register. Considering the arrival of C major as the main harmonic goal, the Db7 chord functions like a tritone substitution for a V chord in C-the melodic D and G could be viewed as (a flat ninth and a sharp eleventh). Tritone substitutions are considered one of the most common harmonic substitutions used by jazz musicians, and it is possible that Still may have encountered or even experimented with this particular device when he worked in popular music circuits in the late 1910s and early 1920s. An alternative analysis for this chord could be an inverted altered dominant (with a split fifth). Both analyses address the dominant function of the chord. Also note the oscillating chords surrounding the Db7 chord in the left hand of the piano. Whereas the upward shifts explore harmonies that have some relationship to the local pitch center of Db, the downward shifts only land on chords with G as the root. These particular harmonic features affect not only the musical surface, but also the global harmonic structure: the tritone substitute (or altered dominant) chord in tandem with the G chords functions as the structural dominant. Figure 7b shows a common tone resolution between Db7 and the C major seventh chord (CM7) that signals the beginning of the B section. This is a typical resolution for tritone substitutions.

Octatonicism also occurs in this passage, as most of the pitch content in measures 5 through 9 belongs to the OCT (1,2) collection. Both the dominant seventh chord in C major (G7) and its tritone substitute can be generated from this collection. Exceptions to the OCT (1,2) collection are a passing Eb in an inner voice in measure 7 and two brief statements of F# and C in the oscillating accompaniment chords (measures 5 and 9). A transitional passage follows in measures 10-15 which features statements of Cb (or B) fully-diminished harmony through ascending arpeggio figures in the left hand. This activity is coupled with sprightly sixteenth note figures in the right hand that blend minor third fragments from B fully diminished and C# fully diminished chords. Thus, Still only uses pitches from the OCT (1,2) scale at the beginning of the transition (mm. 10-13). The transition assumes a foreshadowing role when a CM7 chord is briefly introduced in measure 14. Although the register is similar to treatments in the ensuing section, Still weakens the statement of the CM7 chord by preparing it with a V4/2 chord on the second half of beat 4 in measure 13 and by stating the major seventh chord in first inversion. Still then harmonizes the melodic B-natural, from the C major seventh sonority, with an altered subdominant chord (Fm7 #11) in measures 14 and 15. This altered chord anticipates some of the modal inflections that occur in the B section. By maintaining the melodic B through this passage, the composer creates a local common tone resolution to the major seventh chord at measure 16 (see Figure 7b).

Still renders a lyrical melody supported by rolling triplet accompaniment in the B section (mm. 16-26). See Figure 9 (mm. 16-20) for a change in meter from 4/4 to 12/8 that contributes to the flowing nature of the melodic shapes and to the delineation of sectional boundaries. The major seventh sonority chord is significant in this section because the first and last of the three phrases in this section begin with CM7 chords. In addition, the final cadence in this section ends with a major seventh chord. Still also explores the harmonic possibilities of various modal infections, as hints of the Lydian and Aeolian modes appear in the melodic line in measures 18 and 19. These measures also feature a brief, chromatic excursion. Figure 9 shows that, following a statement of a minor "tonic" chord, Still progresses through a series of chords that share some mediant relationships (Cm - Abm - EM). The root of the last chord in the cycle (Db7 (b5)) is also related to the string of mediant relationships, but its function is worthy of note. It can also be analyzed as an inverted G7 chord with an altered fifth in the bass. Because this chord is leading into the beginning of another phrase that begins with a C7 chord, its dominant function is clear.

Figure 9. "Out of the Silence," mm. 16-20, Copyright © William Grant Still Music. All rights reserved.

Following the chromatic episode, more functional progressions confirm C as a tonal center and the B section ends with a ii-V-I progression in measures 26-27. Still continues to emphasize the major seventh interval at the end of the B section, shifting to a melodic usage for the next transitional episode. He accompanies a leaping major seventh figure between the pitches C and B with sustained, ascending, arpeggio figures that outline an A minor chord (mm. 28-30). See Figure 7a again as the transitional episode prepares the arrival of final A section by way of fifth relationship (vi) to the Dm9 chord (ii) that constitutes its return. Following an almost literal restatement of the opening measures at the beginning of the final A section (mm. 31-39), Still combines the principal harmonic entity of the B section (CM7) with the primary melodic ideas of the opening A section. Referring to Figure 10 (mm. 40-42), although there are subtle variations, the melodic shapes are essentially the same as those in measures 5 through 9, and most of the accompaniment chords are major seventh chords. The composer concludes the piece with a small coda that restates the melodic fragments ( x and y) with a polychordal treatment emphasizing chords built on F and E, a major seventh.

Figure 10. "Out of the Silence," mm. 40-42, Copyright © William Grant Still Music. All rights reserved.

A synopsis of Still's treatment of the major seventh interval is provided in Figure 11. The piece opens with a leaping major seventh gesture (m. 1) with the pitches F and E. The leaping gesture is transposed and used as the main thematic idea for a varied thematic statement (m. 5). The major seventh interval is compressed and stated in a harmonic context, with the pitches C and B, as part of the contrasting theme in the B section (m. 16). The C and B are then displaced and stated, melodically, in the transition before the restatement of the primary theme (mm. 27-30). The restatement is ornamented with added pitches, but the melodic major seventh [F-E] is still intact (m. 31). The melodic seventh continues to dominate the literal restatement of the A section theme in mm. 35-39 [Figure 11 letters e and f]. Here the final statement of C tonality combines the melodic seventh (Ab-G) from the A section with the harmonic seventh (C-B) from the B section theme. Still concludes the piece by harmonizing the pitches from the initial introductory passage (F-E), stating E major triads with a heavy emphasis on F in the bass voice. The piece ends with an ascending figure based on the F/E polychord, and concludes with a sonority where F and E sound almost simultaneously and are the lowest and highest pitches respectively. Still's treatment of the major seventh affects the melodic, harmonic, and formal structures in "Out of the Silence." Although he offers rather disparate themes for the contrasting A and B sections, the manipulations of the horizontal and vertical realizations of the major seventh contributes to the global unity of the work.

Figure 11. Synopsis of treatments of the interval of a seventh, "Out of the Silence."

Conclusion
Through general overviews and examinations of structural details in two of the Seven Traceries, this essay sought to demonstrate the potential of the pieces for study in the music theory classroom (or period-specific courses devoted to musical developments in the twentieth century). Certain excerpts from the Traceries would provide good examples of post-tonal techniques and materials such as extended tertian harmony and octatonic collections, but the added instructional benefits are in the brevity of the pieces and in Still's use of ternary form. Although Still explores sonorities and ideas more with modern styles, the broader formal principle of "statement-contrast-restatement" can be applied effectively to the two pieces covered in this essay and to the other Traceries as well. An overarching impressionist quality is evoked in all of the Traceries, and the formal and harmonic schemes in "Out of the Silence" and "Woven Silver" suggests that the composer relied on conventional formulae as well. Chromatic mediant relationships are shared between the three primary pitch centers in "Woven Silver" and Still uses a specific motive to emphasize those points of centricity. A global ii-V-I progression governs "Out of the Silence," but tertian complexes such as tritone substitution (or altered dominant) chords affect local and large-scale structures. Octatonic scales are used in both pieces during transitional episodes, but sometimes pitches are given more structural weight for the purpose of creating functional harmonic relationships. The extent of motivic development encountered in the pieces ranges from virtual saturation and perpetual play in "Woven Silver" to confirming agents of formal processes in "Out of the Silence."

In complement to music theory exercises that involve identifying the particular post-tonal materials (scales, chords, etc.) mentioned, discussions on the Seven Traceries can be extended to inquiries about how Still avoids monotony within ternary forms. In such discussions, harmony, motivic development, and texture are all possible points for engagement. For more historical or cultural studies that involve African-American music and musicians, the Seven Traceries and similar piano works by Still can offer a platform for discourses on artists who did not always actively engage vernacular emblems in their works. The modernist affinities in the Traceries could serve as a point of departure for discussions of the numerous influences that informed black arts aesthetics in the twentieth century. Continued studies of William Grant Still's entire output will bring about a greater consideration of the fusions of styles and techniques that shaped his aesthetic for the better part of his career, and will also position him as one whose craft and inspiration extends well beyond black vernacular subjects.

Postscript: The Seven Traceries are in print and available through William Grant Still Music: www.williamgrantstill.com. Inquiries related to purchases or licensing (for classroom use or performances) may be directed to William Grant Still Music. Among the commercial compact disc recordings available are ones by Mark Boozer, Monica Gaylord, Denver Oldham, Richard Crosby, and Seta Karakashian von Bartesch. I would like to thank Peter Shultz, Edward J. Taylor, and Greg P. Newton for their assistance in preparing the graphs and musical examples for this article.
Notes
Lucius Wyatt, "The Inclusion of Concert Music of African-American Composers in Music History Courses," 240.

Claude V. Palisca, Norton Anthology of Western Music, Third Edition, 322-338. The third movement of the Afro-American Symphony first appeared in the Norton Anthology in 1996. Subsequent editions have included the first movement instead of the third movement. See Joseph Auner, Anthology for Music in the Twentieth and Twenty-First Centuries, 163-171. A piano reduction of the second movement of Still's Africa (1930) appears in Auner's collection. See also James R. Briscoe, Contemporary Anthology of Music by Women. Tania Leon, Undine Smith Moore, and Mary Lou Williams are included in Briscoe's collection. I also note the inclusion of notable jazz and blues musicians in the appendices of the Charles Burkhart Anthology for Musical Analysis beginning in 1994 and continuing to the present.

Much of what has been written on Still's music involves discussions about black cultural subjects in concert works. See Gayle Murchison, "Current Research Twelve Years After the William Grant Still Centennial," 119-154. See also Scott Farrah, "Signifyin(g): A Semiotic Analysis of Symphonic Works by William Grant Still, William Levi Dawson, and Florence B. Price," 29-75.

Stefan Kostka and Roger Graybill, Anthology of Music for Analysis, 522-524.

Edward Gollin, "On a Transformational Curiosity in Riemann's Schematisirung der Dissonanzen," in Oxford Handbook of Neo-Riemannian Music Theories, 389-90. Gollin adapts Riemannian theories related to dissonance to analyze harmonic constructs in post-tonal music. Among the passages Gollin analyzes are the first eight measures of "Cloud Cradles" from the Seven Traceries.

Still, interview by R. Donald Brown, 9. See also interview by Robert A. Martin, 25.

Verna Arvey, notes to the Seven Traceries, original publication in 1940. Arvey also noted that the titles for the pieces "were suggested to the composer by the music-the music did not arise from the titles." This draws an intriguing conceptual parallel to Claude Debussy's presentation of titles in the Preludes (1910-1913).

Kostka and Graybill, 522.

Quin, 177. Quin notes similar treatments in "Summerland" from Three Visions (1936). The author also identifies planing techniques in "Fairy Knoll" from Bells (1944).

Nicole Biamonte, Augmented Sixth Chords vs. Tritone Substitutes. "Jazz theory textbooks uniformly present the technique of tritone substitution as applying to dominant-function chords, and some even refer to dominant substitution rather than tritone substitution [14] ... In tritone substitutes that resolve to tonic harmonies, b2 generally resolves down to 1, but 7 is equally likely to resolve up to 1, to move down to 6 in an added sixth chord, or to be held constant in a tonic major-seventh chord. [15]"

Wyatt, 247-48. Wyatt offers more examples from the many "musical resources" from where black composers draw inspiration and influence.
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Still, Judith Anne, managing editor. William Grant Still and the Fusion of Cultures in American Music. Flagstaff, AZ: The Master Player Library, 1995.

Still, Judith Anne, Michael J Dabrishus, and Carolyn A. Quin, editors. William Grant Still: A Bio-Bibliography. Westport, CT: Greenwood Press, 1996.

Still, William Grant. Interview by R. Donald Brown. California State University, Fullerton. November 16, 1967 and December 4, 1967. Transcript.

____. Interview by Robert A. Martin. May 1964. Transcript

Varese, Edgard and Alcopley. "Edgard Varese on Music and Art: A Conversation Between Varese and Alcopley." Leonardo 1/2 (1968): 187-95.

Wyatt, Lucius R. "The Inclusion of Concert Music of African-American Composers in Music History Courses." Black Music Research Journal 16/2 (1996): 239-57.
Scores
Still, William Grant. Bells, "Fairy Knoll". Los Angeles, CA: Delkamp Music Publishing Company, 1944.

Still, William Grant. Bells, "Phantom Chapel". Los Angeles, CA: Delkamp Music Publishing Company, 1944.

Still, William Grant. Seven Traceries. New York: J. Fischer, 1940.

Still, William Grant. Seven Traceries. ed. Richard Crosby. Flagstaff, AZ: William Grant Still Music, 1999.

Still, William Grant. Three Visions. New York: J. Fischer, 1936.
Recordings
von Bartesch, Seta Karakashian. Rarely Performed Piano Works, Vol. 2. Romeo Records 7298, 2013, compact disc.

Boozer, Mark. William Grant Still: Piano Music. Naxos (American Classics), 8.559210, 2005, compact disc.

Crosby, Richard. An American Portrait. Capstone Records, CPS-8671, 1994, compact disc.

Gaylord, Monica. A Treasury of Works for Solo Piano by Black Composers. Music and Arts CD-737, 1992, compact disc.

Oldham, Denver. Africa: The Piano Music of William Grant Still. Koch International Classics 3-7084-2 H1, 1991, compact disc.

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Extensions to the Pedagogical Canon: Expanding Perspectives on William Grant Still and the Teaching Applications as Realized in the Seven Traceries - College Music Symposium

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Abstract William Grant Still's Seven Traceries (1940) is a set of piano pieces that exhibits a number of post-tonal materials and techniques such as octatonicism, extended tertian sonorities, dense chromaticism, and extensive motivic development. Still's concentration on these more contemporary feat...

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Why is Everyone Always Stealing Black Music?

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Why is Everyone Always Stealing Black Music?

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I've got a friend who's an incurable Pandora guy, and one Saturday while we were making dinner, he found a station called Yacht Rock. "A tongue-in-cheek name for the breezy sounds of late '70s/early '80s soft rock" is Pandora's definition, accompanied by an exhortation to "put on your Dockers, pull up a deck chair and relax." With a single exception, the passengers aboard the yacht were all dudes. With two exceptions, they were all white. But as the hours passed and dozens of songs accrued, the sound gravitated toward a familiar quality that I couldn't give language to but could practically taste: an earnest Christian yearning that would reach, for a moment, into Baptist rawness, into a known warmth. I had to laugh - not because as a category Yacht Rock is absurd, but because what I tasted in that absurdity was black.

I started putting each track under investigation. Which artists would saunter up to the racial border? And which could do their sauntering without violating it? I could hear degrees of blackness in the choir-loft certitude of Doobie Brothers-era Michael McDonald on "What a Fool Believes"; in the rubber-band soul of Steely Dan's "Do It Again"; in the malt-liquor misery of Ace's "How Long" and the toy-boat wistfulness of Little River Band's "Reminiscing."

Then Kenny Loggins's "This Is It" arrived and took things far beyond the line. "This Is It" was a hit in 1979 and has the requisite smoothness to keep the yacht rocking. But Loggins delivers the lyrics in a desperate stage whisper, like someone determined to make the kind of love that doesn't wake the baby. What bowls you over is the intensity of his yearning - teary in the verses, snarling during the chorus. He sounds as if he's baring it all yet begging to wring himself out even more.

Playing black-music detective that day, I laughed out of bafflement and embarrassment and exhilaration. It's the conflation of pride and chagrin I've always felt anytime a white person inhabits blackness with gusto. It's: You have to hand it to her. It's: Go, white boy. Go, white boy. Go. But it's also: Here we go again. The problem is rich. If blackness can draw all of this ornate literariness out of Steely Dan and all this psychotic origami out of Eminem; if it can make Teena Marie sing everything - "Square Biz," "Revolution," "Portuguese Love," "Lovergirl" - like she knows her way around a pack of Newports; if it can turn the chorus of Carly Simon's "You Belong to Me" into a gospel hymn; if it can animate the swagger in the sardonic vulnerabilities of Amy Winehouse; if it can surface as unexpectedly as it does in the angelic angst of a singer as seemingly green as Ben Platt; if it's the reason Nu Shooz's "I Can't Wait" remains the whitest jam at the blackest parties, then it's proof of how deeply it matters to the music of being alive in America, alive to America.

It's proof, too, that American music has been fated to thrive in an elaborate tangle almost from the beginning. Americans have made a political investment in a myth of racial separateness, the idea that art forms can be either "white" or "black" in character when aspects of many are at least both. The purity that separation struggles to maintain? This country's music is an advertisement for 400 years of the opposite: centuries of "amalgamation" and "miscegenation" as they long ago called it, of all manner of interracial collaboration conducted with dismaying ranges of consent.

"White," "Western," "classical" music is the overarching basis for lots of American pop songs. Chromatic-chord harmony, clean timbre of voice and instrument: These are the ingredients for some of the hugely singable harmonies of the Beatles, the Eagles, Simon and Fleetwood Mac, something choral, "pure," largely ungrained. Black music is a completely different story. It brims with call and response, layers of syncopation and this rougher element called "noise," unique sounds that arise from the particular hue and timbre of an instrument - Little Richard's woos and knuckled keyboard zooms. The dusky heat of Miles Davis's trumpeting. Patti LaBelle's emotional police siren. DMX's scorched-earth bark. The visceral stank of Etta James, Aretha Franklin, live-in-concert Whitney Houston and Prince on electric guitar.

But there's something even more fundamental, too. My friend Delvyn Case, a musician who teaches at Wheaton College, explained in an email that improvisation is one of the most crucial elements in what we think of as black music: "The raising of individual creativity/expression to the highest place within the aesthetic world of a song." Without improvisation, a listener is seduced into the composition of the song itself and not the distorting or deviating elements that noise creates. Particular to black American music is the architecture to create a means by which singers and musicians can be completely free, free in the only way that would have been possible on a plantation: through art, through music - music no one "composed" (because enslaved people were denied literacy), music born of feeling, of play, of exhaustion, of hope.

What you're hearing in black music is a miracle of sound, an experience that can really happen only once - not just melisma, glissandi, the rasp of a sax, breakbeats or sampling but the mood or inspiration from which those moments arise. The attempt to rerecord it seems, if you think about it, like a fool's errand. You're not capturing the arrangement of notes, per se. You're catching the spirit.
[Listen to an episode of the "1619" podcast with Wesley Morris and Nikole Hannah-Jones on the birth of American music.]
And the spirit travels from host to host, racially indiscriminate about where it settles, selective only about who can withstand being possessed by it. The rockin' backwoods blues so bewitched Elvis Presley that he believed he'd been called by blackness. Chuck Berry sculpted rock 'n' roll with uproarious guitar riffs and lascivious winks at whiteness. Mick Jagger and Robert Plant and Steve Winwood and Janis Joplin and the Beatles jumped, jived and wailed the black blues. Tina Turner wrested it all back, tripling the octane in some of their songs. Since the 1830s, the historian Ann Douglas writes in "Terrible Honesty," her history of popular culture in the 1920s, "American entertainment, whatever the state of American society, has always been integrated, if only by theft and parody." What we've been dealing with ever since is more than a catchall word like "appropriation" can approximate. The truth is more bounteous and more spiritual than that, more confused. That confusion is the DNA of the American sound.

It's in the wink-wink costume funk of Beck's "Midnite Vultures" from 1999, an album whose kicky nonsense deprecations circle back to the popular culture of 150 years earlier. It's in the dead-serious, nostalgic dance-floor schmaltz of Bruno Mars. It's in what we once called "blue-eyed soul," a term I've never known what to do with, because its most convincing practitioners - the Bee-Gees, Michael McDonald, Hall & Oates, Simply Red, George Michael, Taylor Dayne, Lisa Stansfield, Adele - never winked at black people, so black people rarely batted an eyelash. Flaws and all, these are homeowners as opposed to renters. No matter what, though, a kind of gentrification tends to set in, underscoring that black people have often been rendered unnecessary to attempt blackness. Take Billboard's Top 10 songs of 2013: It's mostly nonblack artists strongly identified with black music, for real and for kicks: Robin Thicke, Miley Cyrus, Justin Timberlake, Macklemore and Ryan Lewis, the dude who made "The Harlem Shake."

Sometimes all the inexorable mixing leaves me longing for something with roots that no one can rip all the way out. This is to say that when we're talking about black music, we're talking about horns, drums, keyboards and guitars doing the unthinkable together. We're also talking about what the borrowers and collaborators don't want to or can't lift - centuries of weight, of atrocity we've never sufficiently worked through, the blackness you know is beyond theft because it's too real, too rich, too heavy to steal.

Blackness was on the move before my ancestors were legally free to be. It was on the move before my ancestors even knew what they had. It was on the move because white people were moving it. And the white person most frequently identified as its prime mover is Thomas Dartmouth Rice, a New Yorker who performed as T.D. Rice and, in acclaim, was lusted after as "Daddy" Rice, "the negro par excelle nce." Rice was a minstrel, which by the 1830s, when his stardom was at its most refulgent, meant he painted his face with burned cork to approximate those of the enslaved black people he was imitating.

In 1830, Rice was a nobody actor in his early 20s, touring with a theater company in Cincinnati (or Louisville; historians don't know for sure), when, the story goes, he saw a decrepit, possibly disfigured old black man singing while grooming a horse on the property of a white man whose last name was Crow. On went the light bulb. Rice took in the tune and the movements but failed, it seems, to take down the old man's name. So in his song based on the horse groomer, he renamed him: "Weel about and turn about jus so/Ebery time I weel about, I jump Jim Crow." And just like that, Rice had invented the fellow who would become the mascot for two centuries of legalized racism.

That night, Rice made himself up to look like the old black man - or something like him, because Rice's get-up most likely concocted skin blacker than any actual black person's and a gibberish dialect meant to imply black speech. Rice had turned the old man's melody and hobbled movements into a song-and-dance routine that no white audience had ever experienced before. What they saw caused a permanent sensation. He reportedly won 20 encores.

Rice repeated the act again, night after night, for audiences so profoundly rocked that he was frequently mobbed during performances. Across the Ohio River, not an arduous distance from all that adulation, was Boone County, Ky., whose population would have been largely enslaved Africans. As they were being worked, sometimes to death, white people, desperate with anticipation, were paying to see them depicted at play.
[To get updates on The 1619 Project, and for more on race from The New York Times, our weekly Race/Related newsletter.]
Other performers came and conquered, particularly the Virginia Minstrels, who exploded in 1843, burned brightly then burned out after only months. In their wake, P.T. Barnum made a habit of booking other troupes for his American Museum; when he was short on performers, he blacked up himself. By the 1840s, minstrel acts were taking over concert halls, doing wildly clamored-for residencies in Boston, New York and Philadelphia.

A blackface minstrel would sing, dance, play music, give speeches and cut up for white audiences, almost exclusively in the North, at least initially. Blackface was used for mock operas and political monologues (they called them stump speeches), skits, gender parodies and dances. Before the minstrel show gave it a reliable home, blackface was the entertainment between acts of conventional plays. Its stars were the Elvis, the Beatles, the 'NSync of the 19th century. The performers were beloved and so, especially, were their songs.

During minstrelsy's heyday, white songwriters like Stephen Foster wrote the tunes that minstrels sang, tunes we continue to sing. Edwin Pearce Christy's group the Christy Minstrels formed a band - banjo, fiddle, bone castanets, tambourine - that would lay the groundwork for American popular music, from bluegrass to Motown. Some of these instruments had come from Africa; on a plantation, the banjo's body would have been a desiccated gourd. In "Doo-Dah!" his book on Foster's work and life, Ken Emerson writes that the fiddle and banjo were paired for the melody, while the bones "chattered" and the tambourine "thumped and jingled a beat that is still heard 'round the world."

But the sounds made with these instruments could be only imagined as black, because the first wave of minstrels were Northerners who'd never been meaningfully South. They played Irish melodies and used Western choral harmonies, not the proto-gospel call-and-response music that would make life on a plantation that much more bearable. Black artists were on the scene, like the pioneer bandleader Frank Johnson and the borderline-mythical Old Corn Meal, who started as a street vendor and wound up the first black man to perform, as himself, on a white New Orleans stage. His stuff was copied by George Nichols, who took up blackface after a start in plain-old clowning. Yet as often as not, blackface minstrelsy tethered black people and black life to white musical structures, like the polka, which was having a moment in 1848. The mixing was already well underway: Europe plus slavery plus the circus, times harmony, comedy and drama, equals Americana.

And the muses for so many of the songs were enslaved Americans, people the songwriters had never met, whose enslavement they rarely opposed and instead sentimentalized. Foster's minstrel-show staple "Old Uncle Ned," for instance, warmly if disrespectfully eulogizes the enslaved the way you might a salaried worker or an uncle:

Den lay down de shubble and de hoe,
Hang up de fiddle and de bow:
No more hard work for poor Old Ned -
He's gone whar de good Niggas go,
No more hard work for poor Old Ned -
He's gone whar de good Niggas go.

Such an affectionate showcase for poor old (enslaved, soon-to-be-dead) Uncle Ned was as essential as "air," in the white critic Bayard Taylor's 1850 assessment; songs like this were the "true expressions of the more popular side of the national character," a force that follows "the American in all its emigrations, colonizations and conquests, as certainly as the Fourth of July and Thanksgiving Day." He's not wrong. Minstrelsy's peak stretched from the 1840s to the 1870s, years when the country was at its most violently and legislatively ambivalent about slavery and Negroes; years that included the Civil War and Reconstruction, the ferocious rhetorical ascent of Frederick Douglass, John Brown's botched instigation of a black insurrection at Harpers Ferry and the assassination of Abraham Lincoln.

Minstrelsy's ascent also coincided with the publication, in 1852, of "Uncle Tom's Cabin," a polarizing landmark that minstrels adapted for the stage, arguing for and, in simply remaining faithful to Harriet Beecher Stowe's novel, against slavery. These adaptations, known as U.T.C.s, took over the art form until the end of the Civil War. Perhaps minstrelsy's popularity could be (generously) read as the urge to escape a reckoning. But a good time predicated upon the presentation of other humans as stupid, docile, dangerous with lust and enamored of their bondage? It was an escape into slavery's fun house.

What blackface minstrelsy gave the country during this period was an entertainment of skill, ribaldry and polemics. But it also lent racism a stage upon which existential fear could become jubilation, contempt could become fantasy. Paradoxically, its dehumanizing bent let white audiences feel more human. They could experience loathing as desire, contempt as adoration, repulsion as lust. They could weep for overworked Uncle Ned as surely as they could ignore his lashed back or his body as it swung from a tree.

But where did this leave a black performer? If blackface was the country's cultural juggernaut, who would pay Negroes money to perform as themselves? When they were hired, it was only in a pinch. Once, P.T. Barnum needed a replacement for John Diamond, his star white minstrel. In a New York City dance hall, Barnum found a boy, who, it was reported at the time, could outdo Diamond (and Diamond was good). The boy, of course, was genuinely black. And his being actually black would have rendered him an outrageous blight on a white consumer's narrow presumptions. As Thomas Low Nichols would write in his 1864 compendium, "Forty Years of American Life," "There was not an audience in America that would not have resented, in a very energetic fashion, the insult of being asked to look at the dancing of a real negro." So Barnum "greased the little 'nigger's' face and rubbed it over with a new blacking of burned cork, painted his thick lips vermilion, put on a woolly wig over his tight curled locks and brought him out as 'the champion nigger-dancer of the world.' " This child might have been William Henry Lane, whose stage name was Juba. And, as Juba, Lane was persuasive enough that Barnum could pass him off as a white person in blackface. He ceased being a real black boy in order to become Barnum's minstrel Pinocchio.

After the Civil War, black performers had taken up minstrelsy, too, corking themselves, for both white and black audiences - with a straight face or a wink, depending on who was looking. Black troupes invented important new dances with blue-ribbon names (the buck-and-wing, the Virginia essence, the stop-time). But these were unhappy innovations. Custom obligated black performers to fulfill an audience's expectations, expectations that white performers had established. A black minstrel was impersonating the impersonation of himself. Think, for a moment, about the talent required to pull that off. According to Henry T. Sampson's book, "Blacks in Blackface," there were no sets or effects, so the black blackface minstrel show was "a developer of ability because the artist was placed on his own." How's that for being twice as good? Yet that no-frills excellence could curdle into an entirely other, utterly degrading double consciousness, one that predates, predicts and probably informs W.E.B. DuBois's more self-consciously dignified rendering.

American popular culture was doomed to cycles not only of questioned ownership, challenged authenticity, dubious propriety and legitimate cultural self-preservation but also to the prison of black respectability, which, with brutal irony, could itself entail a kind of appropriation. It meant comportment in a manner that seemed less black and more white. It meant the appearance of refinement and polish. It meant the cognitive dissonance of, say, Nat King Cole's being very black and sounding - to white America, anyway, with his frictionless baritone and diction as crisp as a hospital corner - suitably white. He was perfect for radio, yet when he got a TV show of his own, it was abruptly canceled, his brown skin being too much for even the black and white of a 1955 television set. There was, perhaps, not a white audience in America, particularly in the South, that would not have resented, in a very energetic fashion, the insult of being asked to look at the majestic singing of a real Negro.

The modern conundrum of the black performer's seeming respectable, among black people, began, in part, as a problem of white blackface minstrels' disrespectful blackness. Frederick Douglass wrote that they were "the filthy scum of white society." It's that scum that's given us pause over everybody from Bert Williams and Bill "Bojangles" Robinson to Flavor Flav and Kanye West. Is their blackness an act? Is the act under white control? Just this year, Harold E. Doley Jr., an affluent black Republican in his 70s, was quoted in The Times lamenting West and his alignment with Donald Trump as a "bad and embarrassing minstrel show" that "served to only drive black people away from the G.O.P."

But it's from that scum that a robust, post-minstrel black American theater sprung as a new, black audience hungered for actual, uncorked black people. Without that scum, I'm not sure we get an event as shatteringly epochal as the reign of Motown Records. Motown was a full-scale integration of Western, classical orchestral ideas (strings, horns, woodwinds) with the instincts of both the black church (rhythm sections, gospel harmonies, hand claps) and juke joint Saturday nights (rhythm sections, guitars, vigor). Pure yet "noisy." Black men in Armani. Black women in ball gowns. Stables of black writers, producers and musicians. Backup singers solving social equations with geometric choreography. And just in time for the hegemony of the American teenager.

Even now it feels like an assault on the music made a hundred years before it. Motown specialized in love songs. But its stars, those songs and their performance of them were declarations of war on the insults of the past and present. The scratchy piccolo at the start of a Four Tops hit was, in its way, a raised fist. Respectability wasn't a problem with Motown; respectability was its point. How radically optimistic a feat of antiminstrelsy, for it's as glamorous a blackness as this country has ever mass-produced and devoured.

The proliferation of black music across the planet - the proliferation, in so many senses, of being black - constitutes a magnificent joke on American racism. It also confirms the attraction that someone like Rice had to that black man grooming the horse. But something about that desire warps and perverts its source, lampoons and cheapens it even in adoration. Loving black culture has never meant loving black people, too. Loving black culture risks loving the life out of it.

And yet doesn't that attraction make sense? This is the music of a people who have survived, who not only won't stop but also can't be stopped. Music by a people whose major innovations - jazz, funk, hip-hop - have been about progress, about the future, about getting as far away from nostalgia as time will allow, music that's thought deeply about the allure of outer space and robotics, music whose promise and possibility, whose rawness, humor and carnality call out to everybody - to other black people, to kids in working class England and middle-class Indonesia. If freedom's ringing, who on Earth wouldn't also want to rock the bell?

In 1845, J.K. Kennard, a critic for the newspaper The Knickerbocker, hyperventilated about the blackening of America. Except he was talking about blackface minstrels doing the blackening. Nonetheless, Kennard could see things for what they were:

"Who are our true rulers? The negro poets, to be sure! Do they not set the fashion, and give laws to the public taste? Let one of them, in the swamps of Carolina, compose a new song, and it no sooner reaches the ear of a white amateur, than it is written down, amended, (that is, almost spoilt,) printed, and then put upon a course of rapid dissemination, to cease only with the utmost bounds of Anglo-Saxondom, perhaps of the world."

What a panicked clairvoyant! The fear of black culture - or "black culture" - was more than a fear of black people themselves. It was an anxiety over white obsolescence. Kennard's anxiety over black influence sounds as ambivalent as Lorde's, when, all the way from her native New Zealand, she tsk-ed rap culture's extravagance on "Royals," her hit from 2013, while recognizing, both in the song's hip-hop production and its appetite for a particular sort of blackness, that maybe she's too far gone:

Every song's like gold teeth, Grey Goose, trippin' in the bathroom
Bloodstains, ball gowns, trashin' the hotel room
We don't care, we're driving Cadillacs in our dreams
But everybody's like Cristal, Maybach, diamonds on your timepiece
Jet planes, islands, tigers on a gold leash
We don't care, we aren't caught up in your love affair

Beneath Kennard's warnings must have lurked an awareness that his white brethren had already fallen under this spell of blackness, that nothing would stop its spread to teenage girls in 21st-century Auckland, that the men who "infest our promenades and our concert halls like a colony of beetles" (as a contemporary of Kennard's put it) weren't black people at all but white people just like him - beetles and, eventually, Beatles. Our first most original art form arose from our original sin, and some white people have always been worried that the primacy of black music would be a kind of karmic punishment for that sin. The work has been to free this country from paranoia's bondage, to truly embrace the amplitude of integration. I don't know how we're doing.

Last spring, "Old Town Road," a silly, drowsy ditty by the Atlanta songwriter Lil Nas X, was essentially banished from country radio. Lil Nas sounds black, as does the trap beat he's droning over. But there's definitely a twang to him that goes with the opening bars of faint banjo and Lil Nas's lil' cowboy fantasy. The song snowballed into a phenomenon. All kinds of people - cops, soldiers, dozens of dapper black promgoers - posted dances to it on YouTube and TikTok. Then a crazy thing happened. It charted - not just on Billboard's Hot 100 singles chart, either. In April, it showed up on both its Hot R&B/Hip-Hop Songs chart and its Hot Country Songs chart. A first. And, for now at least, a last.

The gatekeepers of country radio refused to play the song; they didn't explain why. Then, Billboard determined that the song failed to "embrace enough elements of today's country music to chart in its current version." This doesn't warrant translation, but let's be thorough, anyway: The song is too black for certain white people.

But by that point it had already captured the nation's imagination and tapped into the confused thrill of integrated culture. A black kid hadn't really merged white music with black, he'd just taken up the American birthright of cultural synthesis. The mixing feels historical. Here, for instance, in the song's sample of a Nine Inch Nails track is a banjo, the musical spine of the minstrel era. Perhaps Lil Nas was too American. Other artists of the genre seemed to sense this. White singers recorded pretty tributes in support, and one, Billy Ray Cyrus, performed his on a remix with Lil Nas X himself.

The newer version lays Cyrus's casual grit alongside Lil Nas's lackadaisical wonder. It's been No.1 on Billboard's all-genre Hot 100 singles chart since April, setting a record. And the bottomless glee over the whole thing makes me laugh, too - not in a surprised, yacht-rock way but as proof of what a fine mess this place is. One person's sign of progress remains another's symbol of encroachment. Screw the history. Get off my land.

Four hundred years ago, more than 20 kidnapped Africans arrived in Virginia. They were put to work and put through hell. Twenty became millions, and some of those people found - somehow - deliverance in the power of music. Lil Nas X has descended from those millions and appears to be a believer in deliverance. The verses of his song flirt with Western kitsch, what young black internetters branded, with adorable idiosyncrasy and a deep sense of history, the " yee-haw agenda." But once the song reaches its chorus ("I'm gonna take my horse to the Old Town Road, and ride til I can't no more"), I don't hear a kid in an outfit. I hear a cry of ancestry. He's a westward-bound refugee; he's an Exoduster. And Cyrus is down for the ride. Musically, they both know: This land is their land.

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Why Is Everyone Always Stealing Black Music?

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I've got a friend who's an incurable Pandora guy, and one Saturday while we were making dinner, he found a station called Yacht Rock. "A tongue-in-cheek name for the breezy sounds of late '70s/early '80s soft rock" is Pandora's definition, accompanied by an exhortation to "put on your Dockers, pull up a deck chair and relax."

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Presents the music of rarely performed and underrepresented composers from around the world

The ÆPEX Anthology: A New Resource for Inclusive Music Pedagogy - open-source, free-to-use, online compendium of musical examples and recordings solely featuring the music of women, people of color, and musicians with other marginalized identities active from the sixteenth century through the early twentieth century

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ÆPEX Contemporary Performance will present video performances of solo works by composer Alice Jones as part of the ypsiGLOW public art festival on October 23, 2020. ﻿

Follow this link to watch the entire GLOW TV presentation anytime on ypsiGLOW's YouTube page!

About ÆPEX Contemporary Performance

ÆPEX Contemporary Performance is a nonprofit concert presenting organization whose mission is to share the music of rarely performed and underrepresented twentieth and twenty-first century composers from around the world with audiences across Michigan.

Our Story

ÆPEX Contemporary Performance was founded by composer Garrett Schumann and conductor Kevin Fitzgerald after they noticed the music they wanted to hear was not being programmed on concerts in their area.

Energized by a dream of connecting with audience communities throughout the state of Michigan, and determined to feature composers with diverse identities and overlooked creative outputs, Garrett and Kevin organized ÆPEX's first performance in Ypsilanti, MI on December 7, 2015.

Since this debut, ÆPEX has produced more than twenty concerts and community music events at venues in Ypsilanti, Detroit, Ann Arbor, Kalamazoo, and Mt. Pleasant. These performances have featured world-class musicians from across Michigan and guest artists from around the country, and have presented works by 85 different composers from four continents.

ÆPEX's vision is centered around the "Hear Different" ethos, a call to embrace many different contemporary musical styles, to program across genre and instrumentation, to serve our audience communities in innovative ways, and to support composers whose creativity has gone unrecognized by or whose identity has been excluded from the contemporary concert stage.

Connect with ÆPEX

Email: aepexcp@gmail.com

Twitter: aepexcp
Instagram: Facebook: ÆPEX Contemporary aepexcp

Our Fifth Anniversary Week comes to a close today with a reflective conversation between executive director @ garrt... https://t.co/imA7FwYROa

Our Fifth Anniversary week celebrations continue with our final guest artist conversation featuring The Honourable... https://t.co/WLsf3Lx4tT

Our Fifth Anniversary Week continues with this video featuring @ piargno84 sharing and discussing a selection from h... https://t.co/jIXSDfMqBU

Our fifth anniversary celebrations continue this week with special videos featuring guest artists from the 2019-20... https://t.co/LwygKuF4lk

Today is the Fifth Anniversary of ÆPEX's first concert on December 7, 2015! Explore this and other memories all we... https://t.co/XrtNEnoCNW

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Our Story - ÆPEX Contemporary Performance

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ÆPEX Contemporary Performance was founded by composer Garrett Schumann and conductor Kevin Fitzgerald after they noticed the music they wanted to hear was not being programmed on concerts in their area.

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Podcast produced by composer Elisabeth Blair

Episodes feature excerpts from interviews with femme composers, interwoven with samples of their work.

Each interview covers two main themes: the composer's experience of being a woman in this field, and the composer's music & aesthetics.

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A native Illinoisan, Krystee Wylder spent many years as a singer-songwriter in Chicago, performing at cafes, cabarets, bars, house concerts and variety shows. An enthusiastic proponent of improvisation, she has incorporated it often in her performances, both solo and with groups. In addition to music, Krystee enjoys writing, drawing, and sewing, and runs an Etsy shop featuring vintage clothing.

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A native Illinoisan, Krystee Wylder spent many years as a singer-songwriter in Chicago, performing at cafes, cabarets, bars, house concerts and variety shows. An enthusiastic proponent of improvisation, she has incorporated it often in her performances, both solo and with groups. In addition to music, Krystee enjoys writing, drawing, and sewing, and runs an Etsy shop featuring vintage clothing.

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Podcast that provides tips and strategies through honest discussions about experiences teaching music in an Urban setting.

Goal is to provide a positive and solution-based narrative to create more effective, compassionate and culturally relevant music educators

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The Score Podcast - Revival Music Project

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Support Us On Patreon or Paypal Reach Out & Connect With Us Email The Score

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International Alliance for Women in Music

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International Alliance for Women in Music

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Amplifies the progress women have worked so hard to achieve in every aspect of musical life, helping to ensure its continued momentum

Welcoming to members of all genders

Represents a diverse spectrum of creative specialization across genres within the music field and include composers, orchestrators, sound ecologists, performers, conductors, interdisciplinary artists, recording engineers, producers, musicologists, music librarians, theorists, writers, publishers, historians and educators

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International Alliance for Women in Music

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The International Alliance for Women in Music (IAWM) is an international membership organization of women and men dedicated to fostering and encouraging the activities of women in music, particularly in the areas of musical activity such as composing, performing, and research in which gender discrimination is an historic and ongoing concern.