10
Phillip M. Hash, Calvin College Music Education at the New York Institution for the Blind: 1832-1863
The purpose of this study was to document the history of music education at the New York Institution for the Blind from the opening of the school in 1832 through the tenure of the facility’s first music director, Anthony Reiff, who retired in 1863. Research questions pertained to the school’s origin and operation, and to its music curriculum, pedagogy, faculty, ensembles, and resources. The NYIB opened in 1832 and provided a home and education for students ages eight to twenty-five. The music program served as recreation and vocational training, and as a means of promoting the school. Reiff joined the faculty in 1835 and established a band and choir that performed throughout the city and surrounding states. He also organized a monitorial system whereby advanced students taught private lessons to beginning musicians. George F. Root, a prominent teacher and composer, joined the faculty in 1847 as director of vocal music, while Reiff assumed leadership of the instrumental division. Sigismund Laser replaced Root in 1855 and remained at the NYIB until 1863, when both he and Reiff left the school. The faculty at the NYIB developed and promoted effective methods for teaching music to the visually impaired and prepared graduates to serve as church musicians, piano tuners, and music teachers. Findings from this study may have implications for teaching blind and other impaired individuals today.
Brandon L. Haskett, Saginaw Valley State University The Attitudes of U.S. K-12 and Collegiate Steel Band Directors Regarding Curriculum and Pedagogy
As world music offerings in the K-12 and collegiate levels increase it is essential to consider the current state of the pedagogy and curriculum being applied in steel bands in the United States. There is considerable variation in the teaching approaches used as well as repertoire selection. This is partially due to the several traditions of steel bands that have development in academia as well as wide difference in the backgrounds of the steel band directors. Additionally, this reflection is critical for currently and potential steel band director's professional development. This research is based on a March 2012 survey study of 216 steel band directors of U.S. K-12 and collegiate steel bands. There are distinct trends regarding both teaching methods and repertoire choices that would be informative to directors and initiate important critical questions for the field. This study fills a significant gap in the literature, as it is the first widely distributed survey of steel band directors in the United States. In addition to demographic and Likert-type questions, open-ended responses were also encouraged in the survey and later coded by theme. They are used as part of this research to add a narrative component to the findings.
Some of the main issues that will be addressed in the findings include: • The balance of written notation versus learning by ear • The balance of traditional genres (calypso and soca) versus pop, classical, and jazz • The degree to which steel bands are auditioned ensembles • The degree of switching between instruments that occurs • The extent of improvisation opportunities in the ensembles • The teaching of historical and musical context within the steel band ensemble • The level of steel band playing experience of current steel band directors
49
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60