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 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.

This volume brings together a group of leading international researchers and practitioners in voice pedagogy alongside emerging academics and practitioners. Encompassing research across voice science and pedagogy, this innovative collection transcends genre boundaries and provides new knowledge about vocal styles and approaches from classical and musical theatre to contemporary commercial music. The work is sure to be valuable in tertiary institutions, schools and community music associations, suitable for use by private studio teachers, and will appeal to choral leaders and music educators interested in vocal pedagogy. “I thoroughly enjoyed reading this book and I am confident it will help bring all aspects of vocal pedagogy firmly into the 21st century. Refreshingly, many different areas of pedagogy are included in the text so we can all work together to more fully understand the singing voice. Up to the moment research is included along with an exploration of the evolving contemporary styles of singing. Further, areas regarding teaching and curriculum in higher education are also reviewed. All in all, this text a crucial addition to a professional's vocal library.” Jeanne Goffi-Fynn, Teachers College, Columbia University, USA.

The music of the twentieth and twenty-first centuries in its cultural, social, and intellectual contexts. Joseph Auner's Music in the Twentieth and Twenty-First Centuries explores the sense of possibility unleashed by the era's destabilizing military conflicts, social upheavals, and technological advances. Auner shows how the multiplicity of musical styles has called into question traditional assumptions about compositional practice, the boundaries of music and noise, and the relationship among composer, performer, and listener. He also shows how composers and their works have played important roles in defining ideas of nation, race, and gender, and thus in shaping the modern world for better and worse. Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense—as sounds notated, performed, and heard—focusing not only on composers and works, but also on broader social and intellectual currents.

Sounding Together: Collaborative Perspectives on U.S. Music in the Twenty-21st Century is a multi-authored, collaboratively conceived book of essays that tackles key challenges facing scholars studying music of the United States in the early twenty-first century. This book encourages scholars in music circles and beyond to explore the intersections between social responsibility, community engagement, and academic practices through the simple act of working together. The book’s essays—written by a diverse and cross-generational group of scholars, performers, and practitioners—demonstrate how collaboration can harness complementary skills and nourish comparative boundary-crossing through interdisciplinary research. The chapters of the volume address issues of race, nationalism, mobility, cultural domination, and identity; as well as the crisis of the Trump era and the political power of music. Each contribution to the volume is written collaboratively by two scholars, bringing together contributors who represent a mix of career stages and positions. Through the practice of and reflection on collaboration, Sounding Together breaks out of long-established paradigms of solitude in humanities scholarship and works toward social justice in the study of music.

This practical handbook is designed to help anyone who is preparing to teach a world history course - or wants to teach it better. It includes contributions by experienced teachers who are reshaping world history education, and features new approaches to the subject as well as classroom-tested practices that have markedly improved world history teaching.