Higher Education In Music In The Twenty First Century

In this book, the contributors reconsider the fundamentals of Music as a university discipline by engaging with the questions: What should university study of music consist of? Are there any aspects, repertoires, pieces, composers and musicians that we want all students to know about? Are there any skills that we expect them to be able to master? How can we guarantee the relevance, rigour and cohesiveness of our curriculum? What is specific to higher education in music and what does it mean now and for the future? The book addresses many of the challenges students and teachers face in current higher education; indeed, the majority of today’s music students undoubtedly encounter a greater diversity of musical traditions and critical approaches to their study as well as a wider set of skills than their forebears. Welcome as these developments may be, they pose some risks too: more material cannot be added to the curriculum without either sacrificing depth for breadth or making much of it optional. The former provides students with a superficial and deceptive familiarity with a wide range of subject matter, but without the analytical skills and intellectual discipline required to truly master any of it. The latter easily results in a fragmentation of knowledge and skills, without a realistic opportunity for students to draw meaningful connections and arrive at a synthesis. The authors, Music academics from the University of Glasgow, provide case studies from their own extensive experience, which are complemented by an Afterword from Nicholas Cook, 1684 Professor of Music at the University of Cambridge. Together, they examine what students can and should learn about and from music and what skills and knowledge music graduates could or should possess in order to operate successfully in professional and public life. Coupled with these considerations are reflections on music’s social function and universities’ role in public life, concluding with the conviction that a university education in music is more than a personal investment in one’s future; it contributes to the public good.

Technological innovations, evolving demographics in the school-age population, and students' omnipresent access to music and music making all suggest that contemporary teaching and learning occurs in environments that are much more complex than those of the nineteenth century that served as music education's primary model. This book surveys emerging music and education landscapes to present a sampling of the promising practices of music teacher education that may serve as new models for the twenty-first century.

For any undergraduate/graduate-level course in Music Education. Unique in both content and approach, this text offers a single-volume authoritative comparison of the four most popular music education methods used in North America--Jacques-Dalcroze, Kodály, Orff, and Comprehensive Musicianship. Its in-depth examination of the methods and underlying philosophies of each method--and its suggested lessons for each method at each grade level--will help students make educated curricular choices among methods.

In the United States, broad study in an array of different disciplines â€"arts, humanities, science, mathematics, engineeringâ€" as well as an in-depth study within a special area of interest, have been defining characteristics of a higher education. But over time, in-depth study in a major discipline has come to dominate the curricula at many institutions. This evolution of the curriculum has been driven, in part, by increasing specialization in the academic disciplines. There is little doubt that disciplinary specialization has helped produce many of the achievement of the past century. Researchers in all academic disciplines have been able to delve more deeply into their areas of expertise, grappling with ever more specialized and fundamental problems. Yet today, many leaders, scholars, parents, and students are asking whether higher education has moved too far from its integrative tradition towards an approach heavily rooted in disciplinary "silos". These "silos" represent what many see as an artificial separation of academic disciplines. This study reflects a growing concern that the approach to higher education that favors disciplinary specialization is poorly calibrated to the challenges and opportunities of our time. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education examines the evidence behind the assertion that educational programs that mutually integrate learning experiences in the humanities and arts with science, technology, engineering, mathematics, and medicine (STEMM) lead to improved educational and career outcomes for undergraduate and graduate students. It explores evidence regarding the value of integrating more STEMM curricula and labs into the academic programs of students majoring in the humanities and arts and evidence regarding the value of integrating curricula and experiences in the arts and humanities into college and university STEMM education programs.

This new edition explores current issues of central importance to the academy: leadership, accountability, access, finance, technology, academic freedom, the canon, governance, and race. Chapters also deal with key constituencies -- students and faculty -- in the context of a changing academic environment.

In recent research, there has been growing emphasis on the collaborative, social, and collective nature of musical behaviour and practices. Among the emerging hypotheses in this connection are the idea that listening to music is always listening together and being with the other; that music making is a matter of intercorporeality, mutuality, and emphatic attunement; and that creative agency in musical practices is fundamentally a distributed phenomenon. Chamber music provides an ideal context for the testing and actualization of these notions. This Special Issue on chamber music and the chamber musician aims to explore the psychological, social, cultural, historical, and artistic issues in the practice of classical chamber music in the twenty-first century. Contributions are invited on any of these aspects and issues involved in being a contemporary classical chamber musician. Authors are encouraged to contextualise their research by reference to the recent literature on collaborative musicking, and among the topics they may choose to address are the cultural and musical demands chamber musicians face and the implications of these demands for their artistic practice, the ways the twenty-first-century chamber musicians engage with historical practices, the newly emerging musical identities and artistic roles available to them, and expressivity in current chamber music practices.

This accessible and compelling collection of faculty reflections examines the tensions between the arts and academics and offers interdisciplinary alternatives for higher education. With an eye to teacher training, these artist scholars share insights, models, and personal experience that will engage and inspire educators in a range of post-secondary settings. The authors represent a variety of art forms, perspectives, and purposes for arts inclusive learning ranging from studio work to classroom teaching to urban settings in which the subject is equity and social justice. From the struggles of an arts concentrator at an Ivy League college to the challenge of reconciling the dual identities as artists and arts educators, the issues at hand are candid and compelling. The examples of discourse ranging from the broad stage of arts advocacy to an individual course or program give testimony to the power and promise of the arts in higher education.

An indispensable reference that everyone concerned with the future of American colleges and universities should acquire. First published in 1999, American Higher Education in the Twenty-First Century offered a comprehensive introduction to the central issues facing American colleges and universities. This thoroughly revised edition brings the classic volume up to date. The contributors have rewritten every chapter to address major changes in higher education, including the rise of organized social movements, the problem of income inequality and stratification, and the growth of for-profit and distance education. Three new chapters cover information technology, community colleges, and teaching and learning. This edition seeks to capture several crucial dynamics in the nexus of higher education and society. Placing higher education within its social and political contexts, the contributors discuss finance, federal and state governance, faculty, students, curriculum, and academic leadership. They also grapple with growing concerns about the future of the academy and reflect more deeply on the racial, ethnic, and socioeconomic diversity within higher education. No other book covers such wide-ranging issues under the broader theme of higher education’s relationship to society. Highly acclaimed and incorporating cutting-edge research, American Higher Education in the Twenty-First Century is now more useful and engaging than ever. Contributors: Michael N. Bastedo, Philip G. Altbach, Patricia J. Gumport, Benjamin Baez, Peter Riley Bahr, Joy Blanchard, Corbin M. Campbell, Melanie E. Corrigan, Peter D. Eckel, Roger L. Geiger, Lawrence E. Gladieux, Sara Goldrick-Rab, Jillian Leigh Gross, D. Bruce Johnstone, Adrianna Kezar, Jacqueline E. King, Aims C. McGuinness, Jr., Michael Mumper, Anna Neumann, Robert M. O’Neil, Laura W. Perna, Gary Rhoades, Roman Ruiz, Lauren Schudde, Sheila Slaughter, Daryl G. Smith