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Academic Insights for the Thinking World
Teachers of the performing arts are adapting their classes to go online. The problems and challenges range from ensuring enough physical space for movement around each student’s computer to overcoming audio and video syncing delays during the live feed. But what about elementary music?
I think we can all agree that recent months of pandemic and political unrest have been difficult ones, and often entirely bereft of humor. I am therefore pleased to announce the revival of the Grove Music Online Spoof Article Contest 2021.
Joseph Riepel’s celebrated music theory treatise, Anfangsgründe zur musicalischen Setzkunst, unfolds in a lively and witty manner. Most of its chapters are framed in the guise of lessons, presented as dialogues between a teacher and student.
I was fortunate enough to rehearse daily with the Truro cathedral choristers from the age of 8 to 13 (in the days before girl choristers). This fostered in me a love for choral music and for singing, which has continued throughout my life.
The pandemic will leave a lasting impression on music education for years to come. Though we do not have to use technology every day after the pandemic ends, there are ways to use technology that can level up and benefit music-making with elementary students.
Susan Alexander found a way to fill the “big, depressing hole in your life where playing music with other people used to be” when she discovered JamKazam, one of several free music-making software programs that nearly eliminate the annoying lag time in sound transmission that occurs when musicians try to make music together on Zoom or Skype.
How could it ever have seemed like a good idea to set one of the most familiar Christmas hymns in the English language to a tune intended by Mozart (a genius at close-binding music to drama) as a vehicle for a seductive outpouring of double-entendre?
Written, staged, and performed entirely by African Americans, Shuffle Along was the first show to make African-American dance an integral part of American musical theater, eventually becoming one of the top ten musical shows of the 1920s. Authors Richard Carlin and Ken Bloom provide a list of ten little-known facts about the show.
Beethoven wrote an enormous quantity of music: nine symphonies, some fifty sonatas, seven concertos, sixteen string quartets, more than a hundred songs…the list goes on and on. It is almost inevitable that certain of these works have been relatively neglected by performers and the listening public alike. Here are a few overlooked gems.
The first movement of Brahms’s Violin Sonata No. 1 in G, op. 78, has led many violin-piano duos either to ignore Brahms’s tempo markings or actually play the opposite of what he wrote. Joel Lester considers the what might we learn from this oddity.
In the second and final part of this interview, author Michael B. Bakan speaks to his co-author Graeme Gibson, Dr Deborah Gibson, and legendary science fiction author William Gibson about writing science fiction, musical influences, and essential lessons autism has taught them.
In the first part of this two-part interview, author of “Music and Autism,” Michael Bakan speaks to his co-author Graeme Gibson, Dr Deborah Gibson, and legendary science fiction author William Gibson about musical instruments and autism.
All of us who are devoted to music education are facing new challenges due to the pandemic, and while we are lucky and grateful to have extraordinary technology at our disposal, it is undeniably frustrating to be isolated from each other, to deal with inadequate sound quality, poor connections, and time delays. We need to temporarily but urgently reinvent how we teach and connect with students.
Three music therapy scholars examine rising college student stress levels and how music might help.
In Western society, we spend a lot of time celebrating and welcoming new life, but very few cultures celebrate when a person dies. While death is not as taboo as 50 years ago, death is still a topic that many individuals are not comfortable speaking about in conversations.
Trump is Punk! It’s a hashtag. It’s a slogan on t-shirts and trucker hats. It’s a click-bait headline. Milo Yiannopoulos, a former Breitbart editor, may have started this buzz with his speech (delivered in drag) at Louisiana State University on 22 September 2016, in which he claimed that “being a Donald Trump supporter is the new punk” because it would “piss off your teachers, piss off your parents, piss off your friends.” Then in October, The Atlantic published “Donald Trump, Sex Pistol: The Punk Rock Appeal of the GOP Nominee,” and after the election, the New York Post ran an opinion piece with the headline “Trump is the Punk-Rock President America Deserves” (9 November 2016). Despite social media protestations, “punk” became shorthand for Trump’s rule-breaking, anti-establishment campaign filled with unapologetic vulgarity and appeals to white male grievance.