http://users.rider.edu/~vrme/Visions of Research in Music Education is a fully refereed critical journal appearing exclusively on the Internet.en-usSun, 27 Nov 2011 08:00:00 EDThttp://users.rider.edu/~vrme/logo2.gifhttp://users.rider.edu/~vrme/VRME graphic5625abrahams@rider.edu (Frank Abrahams) http://www-usr.rider.edu/%7Evrme/v22n1/visions/Kruse_VRME_22_Editorial.pdfNathan B. Kruse, guest editorThis issue of Visions of Research in Music Education features articles that explore diverse areas of inquiry and expand the boundaries of music education. From early childhood music, songwriting, and preservice general music teacher preparation, to online learning, percussion methods course reflections, and non-traditional backgrounds of music teachers, the authors present a collection of important and timely considerations. Taken separately, these articles depict individual portraits of pedagogical and contextual issues within the profession. As an amalgam, however, these articles form an interconnected chain of trends representing the current landscape of music education; the diversity of issues presented here parallels the diversity now in the profession. Furthermore, at the end of this issue, a historical reprint and a book review offer additional portrayals of contextual learning in music, and serve as indicators of where the profession has been and where it could be going.Mon, 17 Dec 2012 1:38:00 ESThttp://www-usr.rider.edu/%7Evrme/v22n1/visions/Kruse_VRME_22_Editorial.pdf http://www-usr.rider.edu/%7Evrme/v22n1/visions/Lee_Young_Children.pdfSoojin LeeThe purpose of this study was to examine the trends of early childhood music education as they presented themselves from 1985 to 2010 in a major early childhood education journal, Young Children (YC). I reviewed all articles related to music and music education by analyzing the number of articles written per year, article content, and author background. I investigated the quantity and quality of the articles related to music and explored how early childhood professionals’ views on music in education had changed over time. My findings show that scholarship devoted growing attention to music’s role in early childhood education during this period, but that YC featured few music-related articles, tended to treat music as a support for the overall curriculum rather than as a subject in its own right, presented limited information on music education, and published few contributions by music educators.Mon, 17 Dec 2012 1:42:00 ESThttp://www-usr.rider.edu/%7Evrme/v22n1/visions/Lee_Young_Children.pdf http://www-usr.rider.edu/%7Evrme/v22n1/visions/Knowlton_Sharp_Journal_Writing_Practices_in_Music_Methods.pdfDave S. Knowlton and David C. SharpThis article presents an empirical investigation of students' opinions about summary/reaction journals and their practices in writing those journals within a percussion methods course. An end-of-semester questionnaire was given to students as a means of measuring their perceptions about the journal component of the course. Findings indicate that students did refer to the assignment guidelines while preparing to write their journals. Furthermore, students claim that the journal requirement led them to review course content and prompted their learning about percussion. However, questions remain about the depth of that review and learning. Recommendations for pedagogy of music methods classes and future research are included.Mon, 17 Dec 2012 1:45:00 ESThttp://www-usr.rider.edu/%7Evrme/v22n1/visions/Knowlton_Sharp_Journal_Writing_Practices_in_Music_Methods.pdf http://www-usr.rider.edu/%7Evrme/v22n1/visions/Bernard_Music_Educators_with_Non_Traditional_Backgrounds.pdfRhoda BernardThis study is a qualitative investigation of the perspectives of seven music educators with “nontraditional” backgrounds–individuals who play instruments that are not part of the traditional large ensemble, and/or those whose musical specialties lie in genres other than Western classical music–based on their lived experiences as preservice and in-service music educators. The three most robust themes from the interviews included: insecurities about previous training and background, striving for relevance, and flexibility. Coming to better understand the perspectives of music educators with “non-traditional” backgrounds contributes to two active streams in the current conversation in the field of music teacher education: the desire to update the curriculum of music teacher education programs to make them more relevant for preservice music educators and K-12 students of the 21st century as well as the growing interest in popular music and popular music pedagogy.Mon, 17 Dec 2012 1:48:00 ESThttp://www-usr.rider.edu/%7Evrme/v22n1/visions/Bernard_Music_Educators_with_Non_Traditional_Backgrounds.pdf http://www-usr.rider.edu/%7Evrme/v22n1/visions/Kos_Goodrich_Online_Graduate_Degree_Program.pdfRonald P. Kos Jr. and Andrew GoodrichIn recent years, increasing numbers of students have chosen to enroll in degree programs that include an online component. The purpose of this study was to explore music teachers’ perceptions about how their beliefs and practices changed as a result of their participation in an online music education graduate degree program, as well as whether or not online coursework met the professional development needs of the enrolled students. The authors interviewed nine graduates of an online master’s degree program. Interview questions explored participants’ various backgrounds and how the online program affected the participants on a professional level in their own teaching situation. Themes that emerged from the data included empowerment, diversity, relevance, flexibility, and support systems. The data revealed that online graduate education can be a rigorous and transformative form of professional development for teachers.Mon, 17 Dec 2012 1:51:00 ESThttp://www-usr.rider.edu/%7Evrme/v22n1/visions/Kos_Goodrich_Online_Graduate_Degree_Program.pdf http://www-usr.rider.edu/%7Evrme/v22n1/visions/Riley_Student_Development_Through_Songwriting.pdfPatricia E. RileyThis research explored the personal development resulting from songwriting interactions of undergraduate liberal arts students in two sections of a first-year experience course working to develop and refine songwriting skill. The goal of the course was to help students communicate and express themselves through songwriting in a supportive and collaborative environment. In-class activities included students collaboratively analyzing and discussing existing songs, interacting with guest songwriters, and discussing two texts. Student assignments included creating five original songs, analyzing pre-existing self-chosen songs, mentoring and collaborating with each other regarding their original songs, performing in a coffee-house presentation, and reflecting on their development in a songwriter’s journal and final reflection paper. Data were the students’ final reflection papers and lyrics from the original songs. Analysis of the data revealed numerous rewards of engaging in the songwriting activity. Songwriting appears to facilitate student development through enabling emotional stability, offering therapeutic benefits, and providing a vehicle for self-expression, self-discovery, and overcoming challenges.Mon, 17 Dec 2012 1:53:00 ESThttp://www-usr.rider.edu/%7Evrme/v22n1/visions/Riley_Student_Development_Through_Songwriting.pdf http://www-usr.rider.edu/%7Evrme/v22n1/visions/Valerio_et_al_General_Music_Teacher_Training.pdfWendy H. Valerio, Daniel C. Johnson, Timothy S. Brophy, Judith W. Bond, Brent M. Gault, Herbert D. Marshall, and Carlos AbrilThe purpose of this exploratory study was to examine perspectives of experienced university faculty and cooperating teachers in general music education. The co-authors’ four guiding research questions were: (a) What are the ideal components of preservice general music teacher preparation; (b) What do cooperating teachers and university supervisors expect of preservice music teachers; (c) How may preservice general music teacher preparation be improved; and (d) What are the possible roadblocks and solutions for improving preservice music teacher preparation? For this case study, 11 university faculty and 19 cooperating teachers completed a researcher-designed, open-ended survey (N = 30). Using a downward coding process to identify diversity within the data, followed by upward coding to determine synthesis within the data, three themes emerged: enabling conditions, inhibiting conditions, and curriculum reorganization. Research questions (a) and (b) matched with enabling conditions, when present, and inhibiting conditions, when absent. Curricular reorganization responses matched with question (c), while inhibiting conditions and elements of curricular reorganization matched with question (d). The co-authors discuss implications of their findings for music teacher education and make recommendations for further research to extend this exploratory study.Mon, 17 Dec 2012 1:56:00 ESThttp://www-usr.rider.edu/%7Evrme/v22n1/visions/Valerio_et_al_General_Music_Teacher_Training.pdf http://www-usr.rider.edu/%7Evrme/v22n1/visions/Benner_Teaching_Performing_Groups.pdfCharles H. BennerA reprint of From Research to the Music Classroom, No. 2: Teaching Performing Groups by Charles H. Benner. Copyright © 1972 by National Association for Music Education (formerly MENC). Reprinted with permission.Mon, 17 Dec 2012 1:59:00 ESThttp://www-usr.rider.edu/%7Evrme/v22n1/visions/Benner_Teaching_Performing_Groups.pdf http://www-usr.rider.edu/%7Evrme/v22n1/visions/Schmidt_Book_Review_Sociology_and_Music_Education.pdfPatrick SchmidtA review by Patrick Schmidt of Sociology and Music Education. Ruth Wright, editor. Burlington, VA: Ashgate Publishing Company, 2010. 322 pp. ISBN: 978-0-7546-6801-5Mon, 17 Dec 2012 2:01:00 ESThttp://www-usr.rider.edu/%7Evrme/v22n1/visions/Schmidt_Book_Review_Sociology_and_Music_Education.pdf http://www-usr.rider.edu/%7Evrme/v21n1/visions/Silverman-Editorial_VRME_21.pdfMarissa Silverman, guest editorDuring the 2010 Conference XXII of the MayDay Group at the John J. Cali School of Music at Montclair State University, Frank Abrahams invited me to examine the connections between the philosophies of John Dewey (1859-1952) and James Mursell (1893-1962) toward the production of this special issue of Visions of Research in Music Education. It has allowed me to revisit and examine both the familiar and the lesser known aspects of these scholars’ lives, dispositions, and arguments. It has also allowed me to engage with several colleagues whose reflections constitute the body of this issue on the legacies of Dewey and Mursell and the ways in which their works have affected music education. Despite the fact that the authors in this issue were invited to contribute, each article was reviewed by three outside readers; one within the editorial board and two beyond the editorial board.Thu, 30 Aug 2012 10:09:00 ESThttp://www-usr.rider.edu/%7Evrme/v21n1/visions/Silverman-Editorial_VRME_21.pdf http://www-usr.rider.edu/%7Evrme/v21n1/visions/Kelly-Dewey_Mursell_Progressive_Educators_for_Contemporary_Music_Education.pdfSteven N. KellyThe purpose of this paper was to compare and contrast basic information regarding philosophies, educational approaches, and societal debates involving John Dewey and James Mursell. The paper includes a comparison of societal situations and educational issues during the time of Dewey and Mursell to current educational debate, including similarities and differences between the Progressive Era and contemporary American society. The paper concludes with recommendations for today’s music educators.Thu, 30 Aug 2012 10:17:00 ESThttp://www-usr.rider.edu/%7Evrme/v21n1/visions/Kelly-Dewey_Mursell_Progressive_Educators_for_Contemporary_Music_Education.pdf http://www-usr.rider.edu/%7Evrme/v21n1/visions/Woodford-Dewey_Bastards_Mursell_Broudy_McMurray.pdfPaul WoodfordThis paper explores the demise of progressive music education in America during the 1940s and 1950s, when philosopher John Dewey and other social progressives were being blamed by conservatives for a lack of educational standards that purportedly hampered the country’s ability to fight the Cold War. Whereas Dewey had argued that the central purpose of education should be the creation of a politically informed and engaged citizenry as a check to government and corporate power and control, and that art education could be an important tool in that political project, conservatives contended that education needed to be harnessed in defense of democratic capitalism. The new educational emphasis was to be on the promotion of disciplinary knowledge, abstract thinking ability, and educational specialization—all of which were deemed useful to the Cold War effort—and not the fostering of democratic citizenship. Education was reconceived as a form “of social control rather than liberation” (Crist, 2003, p. 458). The story of the death of Dewey’s educational philosophy is told through the writings of progressive music educator James Mursell, government education spokesperson Jerome Bruner, and prominent individuals involved in the shaping of the early aesthetic education movement that arose in response to the new educational regime. The paper concludes with a review and discussion of Dewey’s philosophy to explain how those and subsequent educational reforms during the past half century have contributed to the political disfranchisement of children by keeping them in ignorance of real-world problems affecting them and societyThu, 30 Aug 2012 10:22:00 ESThttp://www-usr.rider.edu/%7Evrme/v21n1/visions/Woodford-Dewey_Bastards_Mursell_Broudy_McMurray.pdf http://www-usr.rider.edu/%7Evrme/v21n1/visions/Parker-Writings_by_James_Mursell.pdfElizabeth Cassidy ParkerThis qualitative exploration sought to understand how James Mursell (1893-1963) articulated the aims of music education, the role of the school music program, and the role of the music teacher throughout 25 years of published writings. Using a hermeneutical lens, this study viewed language as living, and human understanding as language-bound. The author analyzed selected chapters from five books including 370 pages of text. Twenty-four codes emerged, which were gathered into three themes, including (a) music-making as a vehicle for individual growth, (b) music teaching as influence, and (c) music-making fulfilling a community need. The discussion considers Mursell’s words within the dialogue of 21st century music education.Thu, 30 Aug 2012 10:24:00 ESThttp://www-usr.rider.edu/%7Evrme/v21n1/visions/Parker-Writings_by_James_Mursell.pdf http://www-usr.rider.edu/%7Evrme/v21n1/visions/Metz_Floyd-Mursell_and_Dewey_in_2012.pdfDonald Metz and Eva FloydJames Mursell was one of the most influential writers in the field of music education during the 20th century. His position that music should be presented to students as an aesthetic entity, its beauty and form studied for their intrinsic value, served as the basic premise of his many books and articles. He later changed his position to include music appreciated also for its extra-musical values. In this dimension, his thoughts merged with those of John Dewey. While Dewey’s educational influences were vast, one way to explore the relationship between his career contributions and music education is in relation to how he questioned the educational practices of his own time.Thu, 30 Aug 2012 10:26:00 ESThttp://www-usr.rider.edu/%7Evrme/v21n1/visions/Metz_Floyd-Mursell_and_Dewey_in_2012.pdf http://www-usr.rider.edu/%7Evrme/v21n1/visions/Mursell-Postwar_America.pdfJames L. MursellA reprint of two seminal speeches by James Mursell, originally published in Music Educators Journal, April-DOI: 10.2307/3386496 and May/June-DOI: 10.2307/3386463 issues. Copyright 1943 by National Association for Music Education (formerly MENC). Reprinted with permission.Thu, 30 Aug 2012 10:32:00 ESThttp://www-usr.rider.edu/%7Evrme/v21n1/visions/Mursell-Postwar_America.pdf http://www-usr.rider.edu/%7Evrme/v21n1/visions/Mantie-Book_Review_MENC_Handbook.pdfRoger MantieThe latest two-volume MENC Handbook of Research on Music Learning attempts to furnish the field with an up-to-date compendium of research in music education.Thu, 30 Aug 2012 10:37:00 ESThttp://www-usr.rider.edu/%7Evrme/v21n1/visions/Mantie-Book_Review_MENC_Handbook.pdf http://www-usr.rider.edu/~vrme/v20n1/visions/Editorial%20Bamberger.pdfGena R. Greher and S. Alex Ruthmann, guest editorsThe phrase “curiosity killed the cat” often serves as a warning to children that if they are too curious, they could get into trouble. Parents use it when they have been bombarded with too many ''why'' questions and teachers have been known to use it whenstudents' infinite questions threaten to veer their lessons off track and threaten their control. Yet, one of the many paradoxes of formal schooling is that teachers often repress students’ natural proclivity to ask questions and express their curiosity, wasting some of the most productive motivation for learning, exploring, and developing creative musical thinking. An insatiable curiosity is certainly one of the first things one notices upon meeting and spending time with Jeanne Bamberger. Jeanne is the embodiment of the curious questioner, a quality revered in many of the articles in this special issue of Visions of Research in Music Education.Thu, 23 Feb 2012 11:29:00 ESThttp://www-usr.rider.edu/~vrme/v20n1/visions/Editorial%20Bamberger.pdf http://www-usr.rider.edu/~vrme/v20n1/visions/Gardner%20Bamberger.pdfHoward GardnerExtending beyond her work in the psychology of music, Jeanne has become an important thinker in the cognitive sciences. While a deep concern about music has always been central to her work, she views musical cognition as a paradigmatic example of thinking and acting. Therefore, her work in the aforementioned areas has had meaning not only for individuals engaged in music or in other art forms. Her work has also captured the attention of psychologists, educators, philosophers, cognitive scientists, and others interested more generally in the relation between thought and action, the affinities and tensions among various modes of representation, the nature and status of different notational systems, and a raft of other fundamental epistemological issues. Indeed, I think it is appropriate to think of Jeanne as an epistemologist, I would go so far as to suggest that, if Piaget had been immersed in the study of musical cognition, that “genetic epistemologist” would have approached problems much in the way that Jeanne has.Thu, 23 Feb 2012 11:30:00 ESThttp://www-usr.rider.edu/~vrme/v20n1/visions/Gardner%20Bamberger.pdf http://www-usr.rider.edu/~vrme/v20n1/visions/Greher%20Ruthmann%20Bamberger.pdfGena R. Greher and S. Alex RuthmannMost schooling focuses on the learning of facts, imparted by the teacher for students to memorize and retrieve. Many teachers and professors assume that they have done their jobs if the students can pass memorization exams. The onus is on the student to learn these facts with little regard for a student's particular learning strengths, prior understandings, and intuitions; if a student "doesn't get it," it is the student's problem. This exemplifies what many know as "the deficit model" of instruction and reading Bamberger's research makes clear that early on she saw something was amiss with this approach. A great number of “under-performing” or “at-risk” students were actually quite skilled and clever, but they could not demonstrate this within the narrow parameters that generally frame the education system's approach to evaluation.Thu, 23 Feb 2012 11:31:00 ESThttp://www-usr.rider.edu/~vrme/v20n1/visions/Greher%20Ruthmann%20Bamberger.pdf http://www-usr.rider.edu/~vrme/v20n1/visions/Brown%20Bamberger%20.pdfAndrew R. BrownThis paper examines the integration of computing technologies into music education research in a way informed by constructivism. In particular, this paper focuses on an approach established by Jeanne Bamberger, which the author also employs, that integrates software design, pedagogical exploration, and the building of music education theory. In this tradition, researchers design software and associated activities to facilitate the interactive manipulation of musical structures and ideas. In short, this approach focuses on designing experiences and tools that support musical thinking and doing. In comparing the work of Jean Bamberger with that of the author, this paper highlights and discusses issues of significance and identifies lessons for future research.Thu, 23 Feb 2012 11:32:00 ESThttp://www-usr.rider.edu/~vrme/v20n1/visions/Brown%20Bamberger%20.pdf http://www-usr.rider.edu/~vrme/v20n1/visions/Ankney%20Bamberger.pdfKimberly Lansinger AnkneyMusic teachers use standard notation and alternative representations of music in software programs to engage children in composition. However, there are benefits and limitations to these representations. This paper examines the relationship between children’s internal representations of music and standard notation. In addition, this paper seeks to determine how alternative representations of music through music technology can enhance students’ compositional abilities and concludes with a review of Impromptu, Hyperscore, GarageBand, and the O-Generator that can be used for composition.Thu, 23 Feb 2012 11:33:00 ESThttp://www-usr.rider.edu/~vrme/v20n1/visions/Ankney%20Bamberger.pdf http://www-usr.rider.edu/~vrme/v20n1/visions/Downton%20Bamberger.pdfMichael P. Downton; Kylie A. Peppler; Adena Portowitz; Jeanne Bamberger; Eric LindsayMusic has long played a role as an ambassador for peace and understanding between cultures. Yet, there is little research that gauges how creating music aids in the development of cross-cultural awareness. Given today’s tense political climate post-9/11, further investigation of the role that music can play in fostering cross-cultural awareness is needed. Using a sociocultural constructionist framework, this study investigated how 22 youth (12 girls and 10 boys) from the United States, in communication with youth in Tel-Aviv, Israel, analyzed and composed music steeped in traditional Hebrew, Arabic, and Western traditions using the computer program, Impromptu. Participants took part in pre-tests and post-tests to measure their awareness and respect for Israelis at the start and end of the study using the Cross-Cultural Awareness Drawing Task (Bar-Tal & Teichman, 2005). Using qualitative techniques, the researchers analyzed the written reflections of participants on their music composition process over the course of the intervention. Findings suggest that the music composition and analysis exercises had a positive impact on the development of crosscultural awareness over time among American students, helping to counter the commonmisconceptions about the Middle East fostered in today’s media.Thu, 23 Feb 2012 11:34:00 ESThttp://www-usr.rider.edu/~vrme/v20n1/visions/Downton%20Bamberger.pdf http://www-usr.rider.edu/~vrme/v20n1/visions/Krash%20Bamberger.pdfJessica KrashI studied with Jeanne in the late 1970s and early 1980s when I was an undergraduate at Harvard and cross-registered to take classes at MIT. Jeanne and I have stayed in touch since my time studying with her. When my own children were looking at colleges in Boston, I visited Jeanne there. She had a spunky dog that liked to chase a ball back and forth in her home office. As Jeanne sat at her computer or talked with me, she tossed the ball for the dog, who brought it back to her over and over and over. I asked Jeanne what topic in music she was researching, and she said “repetition.”Thu, 23 Feb 2012 11:35:00 ESThttp://www-usr.rider.edu/~vrme/v20n1/visions/Krash%20Bamberger.pdf http://www-usr.rider.edu/~vrme/v20n1/visions/Kouffman%20Bamberger.pdfJoyce KouffmanWhen I received the invitation to write an article about Jeanne Bamberger and her work, I wrote her an email saying that I had not written an academic paper in many years. Her response: “Just tell stories.” I think her response speaks volumes about her own eloquent research and modus operandi over the past 40 years. She observes the details and then tells us the story. She chooses music examples and tells us about the design. Along the way, her examinations allow us to glimpse the workings of the human mind through that dynamic mirror of human culture, expression, and design - music. In accordance with the quote above, these snapshots of her will reveal my own subjective view of the Jeanne that I found and thereby “gave existence to” in my own mind over 35 years of knowing her.Thu, 23 Feb 2012 11:36:00 ESThttp://www-usr.rider.edu/~vrme/v20n1/visions/Kouffman%20Bamberger.pdf http://www-usr.rider.edu/~vrme/v20n1/visions/Gruhn%20Bamberger.pdfWilfried GruhnIn Jeanne Bamberger's (1991) instructive case study on Jeff's learning, Bamberger observed and systematically ordered altering qstates of mental representations. In this study, Bamberger introduced and discussed a differentiated perspective on various forms of representation. In addressing the processing of music in the mind, mental representations can refer specifically to neural correlates of music or they can address more metaphoric ideas. Therefore, there is a proposed differentiation between mental representations if the mind is involved and neural representations if the brain is addressed. Furthermore, corporeal sensations and bodily excitations provide a necessary prerequisite for the development of mental and neural representations. Empirical movement studies support the essential role of body movement for music perception and production. These studies also confirm a strong interaction of motion control, motor coordination, and musical abilities as well as underpinning the complexity of learning through the development of musical representations as a core issue in music learning.Thu, 23 Feb 2012 11:37:00 ESThttp://www-usr.rider.edu/~vrme/v20n1/visions/Gruhn%20Bamberger.pdf http://www-usr.rider.edu/~vrme/v20n1/visions/Graci%20Bamberger.pdfCraig GraciThis article serves as a tribute to Bamberger as a notable researcher and teacher. The author articulates “working principles” that characterize Bamberger’s work and draws comparisons between two programs, Impromptu and Music Exploration Machine (MxM). From the perspective of music cognition, the most significant elements of this paper concern explicitly representing grouping structure and reductional structure of melodies within a computational formalism. From a developmental perspective, the most salient element is the identification and discussion of working principles associated with Bamberger’s compelling and challenging approach to research on musical development.Thu, 23 Feb 2012 11:38:00 ESThttp://www-usr.rider.edu/~vrme/v20n1/visions/Graci%20Bamberger.pdf http://www-usr.rider.edu/~vrme/v20n1/visions/Chew%20Bamberger%20.pdfElaine ChewThis paper describes how insights into performance strategies can arise from observations derived from measurements as well as visual inspection of graphs of expressive parameters. The widespread availability of tools for quantifying expressive parameters have made it possible to incorporate engineering approaches to the study of performance for both experts and novices. Scientific graphs map the evolution of these parameters over time, allowing investigations that reveal correspondence or a lack thereof between expressive gestures and musical structures. Three examples illustrate discoveries of principles of performance using a scientific approach. The first example compares three performances of Beethoven’s Piano Sonata No. 14 in C# Minor, Op. 27, No. 2, commonly known as the Moonlight Sonata, highlighting Schnabel’s strategies for projecting long lines. The latter two examples are projects by engineering students with different degrees of musical training comparing guitar vs. piano performances of Granados’ Danza Española No. 5 and tracing the evolution of vibrato over a century in a small sample of notes from Bach’s Violin Sonata No. 1, respectively. These methodologies have the potential for transforming how musicians study and teach performance.Thu, 23 Feb 2012 11:39:00 ESThttp://www-usr.rider.edu/~vrme/v20n1/visions/Chew%20Bamberger%20.pdf http://www-usr.rider.edu/~vrme/v20n1/visions/Hasty%20Bamberger.pdfChristopher F. HastyThe terms and concepts of music theory serve as tools for maintaining a practice through teaching and learning. They can also serve for exploration and discovery to follow changing practice or to suggest new practice. To function creatively, terms and concepts must themselves have the mobility to grow in depth and complexity and so lead beyond themselves. “Exploration,” “discovery,’ “creativity,” “growth”… speak to the temporal, which is to say, to actual musical experience and practice. A conceptualization and terminology that gets stuck in its abstractions, mistaking them for the concrete, can still function for teaching and learning, but at the high cost of alienation from musical creativity. This essay joins the work of Jeanne Bamberger in recommending a focus on time, or process, or development as a way of criticizing the reifications of theory and encouraging the development of a thinking and theorizing that, aware of its own openness and mobility, would serve the interest of creative music-making.Thu, 23 Feb 2012 11:40:00 ESThttp://www-usr.rider.edu/~vrme/v20n1/visions/Hasty%20Bamberger.pdf http://www-usr.rider.edu/~vrme/v20n1/visions/D.Blair.VRME.pdfDeborah V. Blair, Ph.D.This study focuses on the nature of students’ musical expressions as they make meaning while listening. Based on the students’ natural and valued use of enactive strategies and visual representations of musical sounds, lessons were designed to enable their musical understanding while listening, culminating in a student-created musical mapping experience. Throughout this process, data were collected through audio- and videotape, teacher-researcher logs and journals, and artifacts. Findings a) provided insight into the nature of student interaction with music, with each other, and with the maps as evolving representations of the music they heard, and b) furthered the notion of listening as creative with musical maps as a viable tool for developing “felt pathways” of feeling and knowing experienced while creating musical maps and relived during the sharing of maps.Thu, 23 Feb 2012 11:41:00 ESThttp://www-usr.rider.edu/~vrme/v20n1/visions/D.Blair.VRME.pdf http://www-usr.rider.edu/~vrme/v20n1/visions/Bamberger%20Developing%20Musical%20Structures.pdfJeanne BambergerThu, 23 Feb 2012 11:42:00 ESThttp://www-usr.rider.edu/~vrme/v20n1/visions/Bamberger%20Developing%20Musical%20Structures.pdf http://users.rider.edu/~vrme/v19n1/visions/editorial.pdfF. Abrahams, senior editorIt is early fall in the United States and the time when children and their teachers return to school for the new academic year. As school begins, it is timely that the authors in this issue of Visions of Research in Music Education examine the relevance of music education philosophy and music instruction across several dimensions.Thu, 1 Dec 2011 12:30:00 ESThttp://users.rider.edu/~vrme/v19n1/visions/editorial.pdf http://users.rider.edu/~vrme/v19n1/visions/KertzWelzel.pdfA. Kertz-WelzelMany music educators choose their profession not only for the love of music, but also because of the desire to transform students’ personalities and character through the power of music. Idealistic notions such as making the world a better place through music dominate many teaching philosophies. Though these ideals are common in many teaching, they can be dangerous, not only as cause for a potential burnout due to unrealistic goals, but also because of their susceptibility to the influence of ideologies. The German philosopher Theodor W. Adorno criticized such idealistic teaching philosophies and educational approaches, referring to the misuse of music education by the National socialists. He argued for a critical examination of pedagogical beliefs and personal assumptions. Adorno’s ideas on music education provide an interesting framework for critically investigating idealistic teaching philosophies.Thu, 1 Dec 2011 12:31:00 ESThttp://users.rider.edu/~vrme/v19n1/visions/KertzWelzel.pdf http://users.rider.edu/~vrme/v19n1/visions/Griffin.pdfS. M. GriffinSeeing music education through the eyes of children leads to developing deepened conceptualizations of children’s daily musical lives, both in- and out-of-school. By thoughtfully attending to children’s perspectives and experiences, children become central informants to the life of elementary school music curricula. Various literature speaks to the relevance of this critical topic and examines various influences on children’s musical perspectives such as community context, digital media, and popular culture. A narrative is offered detailing a two-phase, three-month study guided by the research questions: 1) How do children experience music in their daily lives? and 2) How do children’s musical experiences in their daily lives interplay with their in-school music experiences? The narrative uncovers telling sentiments shared by a group of Grade 2/3 children regarding their musical lives. Conversations revealed pose wonderings for the relevance of elementary music curricula to children’s daily music experiences.Thu, 1 Dec 2011 12:35:00 ESThttp://users.rider.edu/~vrme/v19n1/visions/Griffin.pdf http://users.rider.edu/~vrme/v19n1/visions/Schatt.pdfM. D. SchattThe purpose of this qualitative study was to examine the attitudes and perceptions of junior highschool students (n = 6) regarding home musical practice through semi-structured interviews.The researcher approached students’ parents (n = 6) and their band director (n = 1) for theirviews on the subject. He interviewed a sample of seventh and eighth grade band students from asingle junior high school in the Midwest, their parents, and their band director to collect andtriangulate data. This data related to (a) how junior high school students describe instrumentalmusic practice, (b) how junior high school students and their parents attribute success andfailure in the practice room, (c) what motivates junior high school band students to practice theirinstrument, and (d) what information junior high school band parents feel that they need to helptheir son or daughter grow musically through home practice. Results indicated that allparticipants believed that practice was the single best way for students to improve on their bandinstrument. Pre-adolescent musicians noted a propensity toward internal attributions, such asability and effort, regarding successful practice outcomes. Students considered contemporarymusic selection, playing tests, and parental involvement to be the essential motivators towardpractice. Parent interviewees indicated that they were not interested in any additionalinformation or training that might help them aid their child in home practice. Nearly all parentsand students believed that home practice was solely the child’s responsibility.Thu, 1 Dec 2011 14:21:00 ESThttp://users.rider.edu/~vrme/v19n1/visions/Schatt.pdf http://users.rider.edu/~vrme/v19n1/visions/HoRevised.pdfW. HoThis paper examines students’ perceptions of parental involvement in and support fortheir learning a musical instrument. It draws from a self-completed questionnaire given to356 young instrumental learners attending Grades 4 to 13 in Hong Kong schools. Thefindings fall within three categories: the relationship between students’ school grade andtheir perceived parental support for learning an instrument; the extent to which thestudents perceived their parents’ involvement and support in terms of physical andfinancial assistance; and the extent of perceived parental support for students’ desire toenter the music profession. Despites a general positive student perception of parentalattitudes toward musical activities, students saw their personal interest in music, theirmotivation to practice, their intent to pursue a career in music, and the influence of theirinstrumental tutors as crucial factors to their learning an instrument.Thu, 1 Dec 2011 14:26:00 ESThttp://users.rider.edu/~vrme/v19n1/visions/HoRevised.pdf http://users.rider.edu/~vrme/v19n1/visions/Kruse.pdfN. B. KruseThe purpose of this descriptive case study was to examine the inner workings oftwo school-university partnerships as experienced by four stakeholders. The specificobjectives of this study included (a) exploring the inherent challenges and possibilities inthe partnerships, (b) investigating preservice and novice teachers’ perceptions of thepartnerships, and (c) examining cooperating teachers’ views of the partnerships. Datacollection and analysis included observations, e-journals, and reflective writing promptsover a four-week period. Findings indicated that the school-university partnerships wereessential features in the university students’ occupational socialization and in theconservation of cooperating teachers’ calling to teach. Distinct challenges of thepartnerships included preparatory work for the cooperating teachers, limited time in thefield, and unanticipated interruptions for novice teachers. This report details findingsfrom this study along with implications for navigating collaborations between schoolmusic programs and university methods courses.Thu, 1 Dec 2011 14:30:00 ESThttp://users.rider.edu/~vrme/v19n1/visions/Kruse.pdf http://users.rider.edu/~vrme/v19n1/visions/Duerksen reprint.pdfG. L. DuerksenSeeing music education through the eyes of children leads to developing deepened conceptualizations of children’s daily musical lives, both in- and out-of-school. By thoughtfully attending to children’s perspectives and experiences, children become central informants to the life of elementary school music curricula. Various literature speaks to the relevance of this critical topic and examines various influences on children’s musical perspectives such as community context, digital media, and popular culture. A narrative is offered detailing a two-phase, three-month study guided by the research questions: 1) How do children experience music in their daily lives? and 2) How do children’s musical experiences in their daily lives interplay with their in-school music experiences? The narrative uncovers telling sentiments shared by a group of Grade 2/3 children regarding their musical lives. Conversations revealed pose wonderings for the relevance of elementary music curricula to children’s daily music experiences.Thu, 1 Dec 2011 14:32:00 ESThttp://users.rider.edu/~vrme/v19n1/visions/Duerksen reprint.pdf http://www-usr.rider.edu/~vrme/v18n1/visions/Keilman-Editorial%20Volume%2018Chad Keilman Guest EditorNine years ago, Visions of Research in Music Education published an issue devoted to research by graduate students. The volume was well-received and featured articles by rising scholars, many of whom are now widely published and well-known. The work found in this volume represents a wide array of knowledge from graduate students at various stages in their degree programs. Students submitted articles for blind peer review by a panel of student reviewers, each recommended by members of the editorial board for Visions of Research in Music Education. Fifteen students submitted manuscripts, and the student reviewers selected seven for publication in this volume. I would like to thank each student reviewer for his or her helpful critiques.Sat, 1 Jun 2011 11:41:00 ESThttp://www-usr.rider.edu/~vrme/v18n1/visions/Keilman-Editorial%20Volume%2018 http://www-usr.rider.edu/~vrme/v18n1/visions/Andrews-Privileging%20CulturesStephanie AndrewsIn this paper, I argue for the integration of folk music from children’s home cultures in the general elementary classroom as a means to privilege culture. I argue that this approach to general elementary education should be incorporated into teacher training programs. While many teacher education programs presently overlook the integration of folk music from various cultures, this approach has the potential to become a valuable component of teacher education. I investigate ways in which teachers can create multiple pathways for learning by privileging the home cultures of children. This can be accomplished through the integration of music instruction that embraces the children’s musical “mother tongue” in elementary social studies and language arts curricula. I then explore the implications of training preservice elementary teachers in approaches to privileging culture through music instruction.Sat, 1 Jun 2011 11:42:00 ESThttp://www-usr.rider.edu/~vrme/v18n1/visions/Andrews-Privileging%20Cultures http://www-usr.rider.edu/~vrme/v18n1/visions/Baumgartner-Preservice%20music%20teacher%20reflectionsChristopher M. BaumgartnerTeachers reflect on their effectiveness in the classroom in both formal and informal manners. The purpose of this case study was to examine the reflective processes of one pre-service music teacher across two consecutive teaching placements. The pre-service teacher served eight weeks in an elementary music setting, followed by eight weeks in a comprehensive instrumental music program. Through written, guided reflections, classroom observations, and interviews, six themes emerged as areas of continual focus for the novice teacher: (a) preparation and lesson/rehearsal planning, (b) student achievement, (c) experience as an important factor in student teaching success, (d) classroom management, (e) extra-musical concerns, and (f) multiple forms of reflective practice. Written, guided reflections were found to be the most helpful form of reflective practice for the student teacher.Sat, 1 Jun 2011 11:43:00 ESThttp://www-usr.rider.edu/~vrme/v18n1/visions/Baumgartner-Preservice%20music%20teacher%20reflections http://www-usr.rider.edu/~vrme/v18n1/visions/Green-Permission%20to%20PlayChelsea C. GreenWhen the word play is used to describe music-making, the implication is that play is a sophisticated phenomenon involving an interaction of so many elements that it is both engrossing and beyond calculation. This definition of play hails from the field of philosophy and is the focus of this article. It is chiefly inspired by Hans George Gadamer’s magnum opus Truth and Method, in which he argues that art is able to communicate shared truths across both time and place via the phenomenon of play. Section I: Play is an illumination of Gadamer’s concept of play as it relates specifically to the performance of music. Quotations from renowned performers and snippets of poetry are woven throughout the essay. Section II: Meaning explores how musical play creates significant experiences via the phenomenon of transformation. The paradigm put forth asserts that meaning is created and shared by composer, performer, and audience.Sat, 1 Jun 2011 11:44:00 ESThttp://www-usr.rider.edu/~vrme/v18n1/visions/Green-Permission%20to%20Play http://www-usr.rider.edu/~vrme/v18n1/visions/Iverson-Music%20and%20GenderBrittany IversonAt the upper-elementary grade levels, motivating students to have the drive to learn can become a major challenge for music educators. Learning differences based on gender may be one main reason for this challenge. This study focused on strategies to increase motivation among upper-elementary level music students. To collect data, the researcher observed and interviewed two female elementary school music teachers and ten 5th grade students. She concluded that music teachers would be well-served to address differences in gender through the design of their lessons and curricula. She found that teachers may motivate music students by providing role models for both genders, providing performance opportunities, using music to stimulate kinesthetic learners, and incorporating current genres and styles of music into the curriculum.Sat, 1 Jun 2011 11:45:00 ESThttp://www-usr.rider.edu/~vrme/v18n1/visions/Iverson-Music%20and%20Gender http://www-usr.rider.edu/~vrme/v18n1/visions/McHughGrifaAbigail McHugh-GrifaIn this literature review, I explore research on touch and non-verbal communication from the fields of music education, general education, and child development, to examine the role of physical touch in music instruction. Several functions of touch in music education are identified, including: 1) to develop positive relationships, 2) to gain a child’s attention, 3) to direct the child, 4) to develop audiation, 5) to model musical behavior, 6) to elicit musical response, and 7) to raise body awareness. I conclude that touch plays an important role in the music learning process, and suggest several directions for future research on the use of touch in music education.Sat, 1 Jun 2011 11:46:00 ESThttp://www-usr.rider.edu/~vrme/v18n1/visions/McHughGrifa http://www-usr.rider.edu/~vrme/v18n1/visions/Palmer-Access%20to%20Music%20Ed%20for%20People%20of%20ColorC. Michael PalmerAccess to music teacher education programs in U.S. higher education is a growing concern among music educators, scholars, and critical theorists. A variety of factors can play a role in who gains access to a particular institution and program, including but not limited to (a) socioeconomic status, (b) test scores, (c) race, (d) gender, and (e) cultural expectations (i.e., “accepted” music styles). Although each of these issues is important and often related to the others, the issue of race is markedly significant in view of a field that is predominantly white and in a society where racism still plays a role in power and privilege. Using critical race theory (CRT) as a theoretical framework, this paper describes some of the challenges People of Color face in gaining access to predominantly white institutions (PWIs), and to music teacher education programs in particular. In so doing, I also examine the sources of these challenges, concluding with some potential solutions for leaders in higher education to consider.Sat, 1 Jun 2011 11:47:00 ESThttp://www-usr.rider.edu/~vrme/v18n1/visions/Palmer-Access%20to%20Music%20Ed%20for%20People%20of%20Color http://www-usr.rider.edu/~vrme/v18n1/visions/WeimerKristina R. WeimerDuring the first three years of teaching, most novice teachers are still learning how to apply the principles of teaching to the practice of teaching. Lack of personal experience often places novice teachers at a disadvantage when issues arise. Many find themselves unprepared for the daily mental and physical demands of the profession and become overwhelmed. Novice teachers need consistent support in order to be successful. Those who have access to support networks will be better equipped to gain the knowledge and experience required to meet the needs of their students and prosper in the profession. Mentoring is one such form of support that increases the effectiveness and retention of novice teachers. The purpose of this study was to investigate mentoring programs currently in existence for novice K-12 teachers in West Virginia public schools by exploring the nature, structure, and content of these mentoring programs with a survey of all 55 county school districts in the state. The study showed that nearly 100% of responding districts had mentoring programs that had been in place anywhere from one to 20 years. Other findings reflected the goals and timeframe of mentoring programs, mentor qualifications, mentor compensation, program assessment, and participant perceptions of the programs. The results of this survey may inform policy-makers and program designers in developing new or modifying existing mentoring programs to better assist novice teachers, especially novice music teachers, in their first years of teaching.Sat, 1 Jun 2011 11:48:00 ESThttp://www-usr.rider.edu/~vrme/v18n1/visions/Weimer http://www-usr.rider.edu/~vrme/v17n1/visions/editorialSuazanne L. BurtonThis issue of Visions of Research in Music Education presents a focus on early childhood music. Hailed as the most important time for musical growth, early childhood is the developmental period from before birth through age 7. In the first article, esteemed music education scholar, Dr. Edwin Gordon discusses the musical development of the very young child, based upon his extensive research. After establishing the basis for informal music guidance in early childhood, Gordon issues a summons for music teacher preparation and the music education profession at large to take notice of the optimal time for musical growth and make programmatic changes that place importance on fostering the musical development of young children.Mon, 1 Jan 2011 9:00:00 ESThttp://www-usr.rider.edu/~vrme/v17n1/visions/editorial http://www-usr.rider.edu/~vrme/v17n1/visions/article2Edwin E. GordonThrough casual observation of very young children, one may conclude that the most productive time for a child to learn is at the moment of birth. From then on, inclination to learn decreases at a positively accelerating rate. The first year-and-a-half year of life is most important, 18 to 36 months is less fruitful, and three to five years of age is least pertinent for learning over the first five-year span of life. Consider how much a young child learns through informal guidance before entering school to receive formal education. Never again will a person at any age be prepared to acquire that muchknowledge in such a short period of time.Mon, 1 Jan 2011 9:01:00 ESThttp://www-usr.rider.edu/~vrme/v17n1/visions/article2 http://www-usr.rider.edu/~vrme/v17n1/visions/article5Cynthia Crump TaggartFor more than forty years, Edwin Gordon has dedicated his professional life to studying how children learn music and how music educators can support children’s music learning optimally. With this in mind, it is not surprising that he has strong opinions about what should be occurring in early childhood music classrooms and is somewhat impatient with how slowly the results of his work are being implemented into practice. The purpose of this response is (a) to distill specific applications for early childhood music practitioners directly from the theories and ideas presented in his article, and (b) to begin to define a research agenda based on his ideas.Mon, 1 Jan 2011 9:02:00 ESThttp://www-usr.rider.edu/~vrme/v17n1/visions/article5 http://www-usr.rider.edu/~vrme/v17n1/visions/article6Amanda Page SmithThis study examined the experiences of children in two pre-school classes in a music curriculum that incorporated principles of the Reggio Emilia approach. Video recordings, transcriptions of child compositions, and field notes were analyzed through the lens of the Reggio principles. Findings demonstrated that light and shadow play enabled the children to make discoveries, empowered them to create their own learning experiences, and gave them agency over their learning and the learning of their classmates. Group composition provided a musical equivalent to the creation of murals in the visual arts domain of Reggio Emilia and enabled children to communicate musically in an expressive way. Reflective video documentation gave rise to the children as co-researchers. Age-based implications for the implementation of the Reggio approach were found to exist for music instruction.Mon, 1 Jan 2011 9:03:00 ESThttp://www-usr.rider.edu/~vrme/v17n1/visions/article6 http://www-usr.rider.edu/~vrme/v17n1/visions/article4Lisa Huisman KoopsIn this study, the researcher examined the perceptions of parents about early childhood music instruction, focusing on parental involvement and how parents’ perception of their children’s musical development affects their involvement. The researcher conducted five interviews with parents who had participated in an early childhood program at a community music school and coded and analyzed interview transcripts for emergent themes. Parents described their current involvement as marked by modeling, exploring varying roles between parent and child, and interacting with a cohort of parents and children. Several of the parents interviewed indicated satisfaction with their roles within the class and did not desire increased involvement in the class; others expressed a desire for more information about children’s musical development and the teaching method used. The perceptions that seemed to contribute to parents’ involvement, both current and desired, were the enjoyment that comes from musical interaction, the recognition of multiple roles of music in children’s lives, and the view of acquiring musical skill and knowledge as developmental.Mon, 1 Jan 2011 9:04:00 ESThttp://www-usr.rider.edu/~vrme/v17n1/visions/article4 http://www-usr.rider.edu/~vrme/v17n1/visions/article3Kimberly E. HollandThe purpose of this study was to investigate young children’s perception of melodic construction in hope of finding clues about their broader cognitive development in nonmusical domains. Following Jeanne Bamberger’s example of musical-perceptual tasks with Montessori bells, four children aged three to six were presented with a melodic construction task and asked to create a representation of their work. Analysis of data revealed common themes with varied results of (a) eagerness or hesitancy to participate, (b) whether bells were moved or played, (c) exploration of bells, (d) internalization of rhythm, (e) cognitive readiness for melodic construction, and (f) role of visual representation. No cross-case findings could be drawn about broader cognitive development, however specific characteristics of the children and their approach to the melodic construction task are presented. Recommendations for further study center on potential clues a melodic construction task could provide about language construction in individual children.Mon, 1 Jan 2011 9:05:00 ESThttp://www-usr.rider.edu/~vrme/v17n1/visions/article3 http://www-usr.rider.edu/~vrme/v17n1/visions/article1John W. Flohr; Diane C. Persellin; Daniel C. Miller; Harry MeeuwsenThe purpose of the study was twofold: (a) to investigate electrophysiological (EEG) responses in children while listening to two contrasting styles of music, and (b) to investigate the relationship between listening to recorded music and the cognitive abilities of four-year-old children. EEG data were collected on a baseline condition of eyes open. These data were then compared to EEG data produced when children listened to selections of music by Bach, while they listened to selections of rock music, and while they performed a standardized cognitive test of visual closure. Behavioral data were also collected on sex, age, home environment, and temperament. Results indicated children’s EEG data were not significantly different for the two styles of music, a finding which suggests that young children may be more accepting of different musical styles. However, children scoring high on the visual closure test could be predicted by Beta band electrical brain activity at site F3 (F3 is in the left hemisphere associated with reward, attention, long-term memory, planning, and drive) and by Alpha band electrical brain activity at site O2 (O2 is in right hemisphere occipital lobe associated with visual processing). Discriminant analysis indicated that electrical brain activity at those two sites correctly classified 90% of the cases of children scoring high on the visual closure test. Neither sex nor the home environment measure yielded significant differences. Children scoring high on the visual closure test were shown by a temperament measure to be more outgoing in new situations than low scoring children. Their temperament probably interacted with music and social climate of the classroom.Mon, 1 Jan 2011 9:06:00 ESThttp://www-usr.rider.edu/~vrme/v17n1/visions/article1 http://www-usr.rider.edu/~vrme/v17n1/visions/article8John W. Flohr; Diane C. Persellin; Daniel C. Miller; Harry MeeuwsenFrom Research to the Music Classroom, No. 1: Musical Characteristics of Children by Marilyn P. Zimmerman. Copyright © 1971 by Music Educators National Conference. Reprinted with permission.Mon, 1 Jan 2011 9:07:00 ESThttp://www-usr.rider.edu/~vrme/v17n1/visions/article8 http://www-usr.rider.edu/~vrme/v16n1/visions/newopeningFrank AbrahamsIt is with pleasure that we inaugurate the reprint of the entire seven volumes of The Quarterly Journal for Music Teaching and Learning. The journal began in 1990 as The Quarterly. In 1992, with volume 3, the name changed to The Quarterly Journal of Music Teaching and Learning and continued until 1997. The journal contained articles on issues that were timely when they appeared and are now important for their historical relevance. For many authors, it was their first major publication. Visions of Research in Music Education will publish facsimiles of each issue as it originally appeared. Each article will be a separate pdf file. Jason D. Vodicka has accepted my invitation to serve as guest editor for the reprint project and will compose a new editorial to introduce each volume. Chad Keilman is the production manager. I express deepest thanks to Richard Colwell for granting VRME permission to re-­publish The Quarterly in online format. He has graciously prepared an introduction to the reprint series.Mon, 1 Jun 2010 7:07:00 ESThttp://www-usr.rider.edu/~vrme/v16n1/visions/newopening http://www-usr.rider.edu/%7Evrme/v16n1/visions/vodickaeditorialJason VodickaRichard Colwell’s editorial in the premier issue of The Quarterly begins, “Birthing is an exciting and rewarding time. New ventures bring with them promise and hope.” Twenty years later, we release the reprints of that first volume with the same sense of birthing as we bring The Quarterly online, giving it renewed life. Its mission then was to ask “the critical questions facing the music profession.” Its commitment to “the breath of music learning and teaching” remains as relevant today as when these questions were first asked and answered. Many of the authors at the early stages of their careers have since become prominent and familiar voices in music teaching and learning.Mon, 1 Jun 2010 7:08:00 ESThttp://www-usr.rider.edu/~vrme/v16n1/index.html http://www-usr.rider.edu/~vrme/v16n1/visions/spring1.pdfRichard Colwellhttp://www-usr.rider.edu/~vrme/v16n1/visions/spring1.pdf http://www-usr.rider.edu/~vrme/v16n1/visions/spring2Wanda T. Mayhttp://www-usr.rider.edu/~vrme/v16n1/visions/spring2 http://www-usr.rider.edu/~vrme/v16n1/visions/spring3Jerrold Rosshttp://www-usr.rider.edu/~vrme/v16n1/visions/spring3 http://www-usr.rider.edu/~vrme/v16n1/visions/spring4Ralph Smithhttp://www-usr.rider.edu/~vrme/v16n1/visions/spring4 http://www-usr.rider.edu/~vrme/v16n1/visions/spring5Estelle R. Jorgensenhttp://www-usr.rider.edu/~vrme/v16n1/visions/spring5 http://www-usr.rider.edu/~vrme/v16n1/visions/spring6J. Terry Gateshttp://www-usr.rider.edu/~vrme/v16n1/visions/spring6 http://www-usr.rider.edu/~vrme/v16n1/visions/spring7Lyle Davidson and Larry Scripphttp://www-usr.rider.edu/~vrme/v16n1/visions/spring7 http://www-usr.rider.edu/~vrme/v16n1/visions/spring8Robert Millerhttp://www-usr.rider.edu/~vrme/v16n1/visions/spring8 http://www-usr.rider.edu/~vrme/v16n1/visions/spring9Cathy Albergohttp://www-usr.rider.edu/~vrme/v16n1/visions/spring9 http://www-usr.rider.edu/~vrme/v16n1/visions/spring10Joanne Rutkowskihttp://www-usr.rider.edu/~vrme/v16n1/visions/spring10 http://www-usr.rider.edu/~vrme/v16n1/visions/spring11Kenneth H. Phillips and Walter P. Vispoelhttp://www-usr.rider.edu/~vrme/v16n1/visions/spring11 http://www-usr.rider.edu/~vrme/v16n1/visions/spring12Roger Rideouthttp://www-usr.rider.edu/~vrme/v16n1/visions/spring12 http://www-usr.rider.edu/~vrme/v15n1/visions/Visions%20Editorial%20Issue%2015.pdfFrank AbrahamsThis issue of Visions of Research in Music Education presents views on music curriculum and music teacher preparation. Marja Heimonen and David G. Hebert explore the issue of minority rights in music education. Informed by social and legal philosophy, they take an interdisciplinary approach to consider the balance between a universal good and the rights ethnic minorities have to the study of music of their own culture. Looking specifically at the minority peoples of Maori and Pacific Islanders in New Zealand, Zainichi Koreans and Okinawans in Japan, and Native Americans In the United States. They argue for a discursive view on rights to one’s own music based on the ability to define what one’s own music might be.Mon, 1 Feb 2010 9:08:00 ESThttp://www-usr.rider.edu/~vrme/v15n1/visions/Visions%20Editorial%20Issue%2015.pdf http://www-usr.rider.edu/~vrme/v15n1/visions/Pluralism%20and%20Minority%20Rights%20in%20Music%20Education.Heimonen%20and%20Hebert.pdf.pdfMarja Heimonen and David G. HebertThis paper explores the issue of minority rights in music education, taking an interdisciplinary approach informed by both social and legal philosophy and interpretation of music research findings. An international-­comparative perspective is offered to consider the problem of balancing between a universal good, in other words, rights entitled to every human being, with the rights of ethnic minorities. The principal research question is: To what extent may children and adolescents of cultural minorities have rights to their ‘own music(s)’, and how may such rights inform contemporary educational practice? Examples to be discussed in relation to education in contemporary Europe include such minority peoples as Maori and Pacific Islanders in New Zealand, Zainichi Koreans and Okinawans in Japan, and Native Americans in the United States.Mon, 1 Feb 2010 9:09:00 ESThttp://www-usr.rider.edu/~vrme/v15n1/visions/Pluralism%20and%20Minority%20Rights%20in%20Music%20Education.Heimonen%20and%20Hebert.pdf.pdf http://www-usr.rider.edu/~vrme/v15n1/visions/Holistic%20Quality%20Learning%20in%20Musikdidaktik.Ferm%20Thorgersen.pdfCecilia Ferm ThorgersenMusikdidaktik is a central subject in music teacher education, where the students are expected to learn about teaching and related learning of music, from practical, theoretical and philosophical perspectives. As part of a larger study of educational quality, six student groups were interviewed about teaching and learning quality in the subject of musikdidaktik. They answered questions on learning, identity, and choice of content. In this article the author concentrates on student perspectives of holistic quality learning, which include those activities or processes that lead to stable knowledge and useful competence. In order to grasp the phenomenon of holistic quality learning in musikdidaktik the focus group participated in 90-­minute interviews that were recorded and transcribed. Data were analyzed by applying phenomenological methods. Three questions provided the structure for the analysis. They were: Where does quality learning in musikdidaktik occur? When does quality learning in musikdidaktik occur? How does quality learning in musikdidaktik occur? Analysis revealed that holistic quality learning occurred in different educational rooms and were defined by music-­educational authenticity, communication, reflection and meaningfulness. The results are important at any institution responsible for quality developmental work in relation to music teacher education.Mon, 1 Feb 2010 9:10:00 ESThttp://www-usr.rider.edu/~vrme/v15n1/visions/Holistic%20Quality%20Learning%20in%20Musikdidaktik.Ferm%20Thorgersen.pdf http://www-usr.rider.edu/~vrme/v15n1/visions/Literary%20Skills%20in%20Music%20Class.Feret%20and%20Smith.pdfAlice J. Feret and Judith J. SmithMusic educators have a unique opportunity to strengthen a cross-­curricular foundation in literacy, as they teach the “universal language.” Enrolled in a content area reading course, 20 preservice teachers in music education at one, large southeastern university discovered that using language skills as a lens sharpened their observations of student behavior in music classes at the elementary, middle and high school levels.Mon, 1 Feb 2010 9:11:00 ESThttp://www-usr.rider.edu/~vrme/v15n1/visions/Literary%20Skills%20in%20Music%20Class.Feret%20and%20Smith.pdf http://www-usr.rider.edu/~vrme/v15n1/visions/Impact%20of%20Reciprocal%20Teaching%20on%20Musical%20Understanding.%20Abrahams%20and%20Abrahams.pdfFrank Abrahams and Daniel AbrahamsWe used action research to investigate whether the instructional method known as reciprocal teaching could nurture high school students’ musical understanding. Reciprocal teaching was originally used to help students find meaning in literary texts (Palincsar & Brown, 1984) and comprises the classroom strategies of summarizing, question generating, clarifying, and predicting, typically involving dialogue between students and teacher. To bring meaning to musical repertoire in ensembles, D. Abrahams added connecting to Palincsar’s (1982) original list of four.Mon, 1 Feb 2010 9:12:00 ESThttp://www-usr.rider.edu/~vrme/v15n1/visions/Impact%20of%20Reciprocal%20Teaching%20on%20Musical%20Understanding.%20Abrahams%20and%20Abrahams.pdf http://www-usr.rider.edu/~vrme/v15n1/visions/Universals,%20Relativism%20and%20Music%20Education.Bowman.pdfWayne BowmanMost contemporary philosophy shares at least some of Mannheim's suspicion toward absolutes, essences, universals, and claims to foundational status.3 Philosophical orientations as divergent as phenomenology, Marxism, and pragmatism (to say nothing of a burgeoning 'postmodern' literature) see the forms and canons of cognitive inquiry as historically emergent and culturally constructed. On these views, what counts as truth, reality, goodness, or beauty depends upon perspective. There are many ways the world may be properly construed to be rather than a single way it 'is', independent of time, circumstance, and human interest. Appeals to absoluteness and universality represent efforts to privilege certain views, beliefs, tastes, or preferences over others.Mon, 1 Feb 2010 9:13:00 ESThttp://www-usr.rider.edu/~vrme/v15n1/visions/Universals,%20Relativism%20and%20Music%20Education.Bowman.pdf http://www-usr.rider.edu/~vrme/v14n1/vision/Editorial%20for%20Volume%2014.pdfFrank AbrahamsIf one were to find a common link to conjoin this collection of eclectic articles, it would be about music teachers and pre‐service music educators. The issue opens with a look at the application of John Dewey’s writing on music education and music teacher education. This is timely, as 2009 marks the 150th anniversary of his birth. The issue closes with an examination of the music pedagogy of William Channing Woodbridge who died 14 years before was born. In between, we have an article that calls on teachers to present Asian musics with authenticity, an article about pre‐service music teachers and national standards in the US and the proceedings of a symposium that explored the realities of music teaching.Mon, 1 Jun 2009 9:14:00 ESThttp://www-usr.rider.edu/~vrme/v14n1/vision/Editorial%20for%20Volume%2014.pdf http://www-usr.rider.edu/~vrme/v14n1/vision/Boon.Final.pdfIlkay Ebru Tuncer BoonThe purpose of this work is to explore the possibility of incorporating pragmatism into music education. The paper discusses John Dewey’s pragmatism and analyzes the interpretations and influences of Deweyan pragmatism in music education with the help of interview responses of scholars worldwide. Finally, it seeks specific answers as to how Deweyan pragmatism can help the transformation of music education, particularly of music teacher education. The historical information was obtained through a close analysis and reviewing of Dewey’s writings, as well as other educational scholars’ writings on Dewey’s pragmatism. After gaining a personal insight and understanding how much Dewey’s pragmatism and specific notions (such as experience and democracy) have influenced the field of education and music education, several well-known music professors and philosophical scholars in the field of music education and philosophy from the United States, Canada, and Finland were asked to respond to interview questions. As the review of literature and interview analysis showed, current music educators, writers, and thinkers have not exhausted the study of pragmatism. Dewey’s ideas offer great potential to expand the abilities and possibilities of music education for social change. They can also be used as a guide to understand the complexity of postmodern society and its institutions. A more comprehensive construction of a Deweyan music education might be proposed to further philosophical studies.Mon, 1 Jun 2009 9:15:00 ESThttp://www-usr.rider.edu/~vrme/v14n1/vision/Boon.Final.pdf http://www-usr.rider.edu/~vrme/v14n1/vision/Asian%20MusicsFinal2.pdfAndré de QuadrosDefining the Asian diaspora presents difficulties not only because of the changing nature of diaspora studies (Appadurai, 2003), but also because of the divergence between perception and the complex reality of Asia’s geographical nature. Furthermore, the lack of commonalities and the significant differences within the Asian diaspora need close examination. For example, the South Asian diaspora is vastly different to the Chinese and Japanese diasporas in the East, and to the West and North Asian diasporas. Several scholars, including Lowe (2003) do not consider Asian Americans as a distinct group and use concepts such as heterogeneity, hybridity, and multiplicity to study these communities.Mon, 1 Jun 2009 9:16:00 ESThttp://www-usr.rider.edu/~vrme/v14n1/vision/Asian%20MusicsFinal2.pdf http://www-usr.rider.edu/~vrme/v14n1/vision/Ratnanather%20Final2.%20.pdfWilliam G. Fawkes and J. Tilak RatnanatherThis review aims to show that it is possible for deaf children to learn and play music to a high academic standard specifically at the Mary Hare School for the Deaf in Newbury, England. The authors describe the foundation of the music programme that led to academic successes years later, and emphasise the need for neuroimaging research to undercover the cognitive neuroscience factors behind these successes. Based on summaries of previously inaccessible publications, the review focuses on the period from 1975 to 1988 describing the early musical activities, public performances and lessons as music became integrated into the curriculum. The origins of the programme are attributed to increased auditory attention and experimentation in the Piagetian model of child development facilitated by powerful behind-the-ear hearing aids. Since 1981 almost 310 certificates from the Associated Board of the Royal Schools of Music have been awarded to deaf pupils for obtaining at least a pass in Grade examinations, and since 1991 more than 75 pupils have obtained passes in national examinations in music. The review concludes with a discussion on the paucity of knowledge of how sensory deprivation at different stages of the auditory pathway from the cochlea to the brain affects music education.Mon, 1 Jun 2009 9:17:00 ESThttp://www-usr.rider.edu/~vrme/v14n1/vision/Ratnanather%20Final2.%20.pdf http://www-usr.rider.edu/~vrme/v14n1/vision/Riley%20Final2.pdfPatricia E. RileyThis research explores the perceptions of pre-service music educators (n=53) regarding their awareness of and ability to implement the National Standards for Music Education. A survey was used to obtain the perceptions, and included statements regarding importance, interest, responsibility, training, time, and resources to implement the standards as whole, and each content standard. Responses were indicated on a Likert scale. Participants responded to the survey before and after the introductory course in their music education curriculum. During this course, they had experiences with the standards. Results include that favorable perceptions toward implementation of the standards increased after students engaged in experiences with the standards. The most favorably perceived standards are the reading and notating standard followed by the evaluating standard. Least favorably perceived is the composing standard, followed the understanding relationships, and improvising standards.Mon, 1 Jun 2009 9:18:00 ESThttp://www-usr.rider.edu/~vrme/v14n1/vision/Riley%20Final2.pdf http://www-usr.rider.edu/~vrme/v14n1/vision/Jorgensen.1.2docx.pdfEstelle R. JorgensenThe touchstone of this conversation is a chapter in a new book published by Indiana University Press entitled, The Art of Teaching Music, in which I discuss some of the practical situations in which I have found myself. One of my purposes in reflecting on my own experience is to open a conversation with music teachers about the realities of our work and how things may need to change. And I am indebted to Randall Allsup, Janet Barrett, Willie Hill, Jr., Lissa May, and Carlotta Parr for sharing their responses to my writing and their reflections on their own experiences.Mon, 1 Jun 2009 9:19:00 ESThttp://www-usr.rider.edu/~vrme/v14n1/vision/Jorgensen.1.2docx.pdf http://www-usr.rider.edu/~vrme/v14n1/vision/Allsup.2.2.pdfRandall Everett AllsupIf I may render a suspicion, we are likely to be at our happiest when, like Thoreau, we are at furthest remove from town, in the Walden Pond of our choosing, lost in a tangled swamp of problems and possibilities. Of course, “town” in this scenario, evokes more than a rustic New England cityscape; towns can be seen as unwild places, alienating in their schedules and routines, where the business of work circumscribes the romance of discovery. The great project of Thoreau and American transcendentalists like him, was to throw off sleep, to live deliberately, to be wide-awake (see also: Kierkegaard, 1962; Greene, 1995).Mon, 1 Jun 2009 9:20:00 ESThttp://www-usr.rider.edu/~vrme/v14n1/vision/Allsup.2.2.pdf http://www-usr.rider.edu/~vrme/v14n1/vision/Barrett.3..pdfJanet R. BarrettI think often of this passage by the British theorist R. A. Hodgkin that so aptly conveys the mutuality of teaching and learning: “We learn best as teachers; we teach best as learners. The effort to communicate strengthens knowledge and to be an authority is to know how to doubt” (Hodgkin, 1976, p. 3). Among music teaching’s many satisfactions is the opportunity to expand and refine ideas related to the making and study of music, and to do so with others in the stimulating setting of the classroom. To teach, as Hodgkin suggests, is to move back and forth from the solid core of what we know well to the more uncertain territories of discovery and inquiry Many of us entered teaching because we were fortunate to be inspired by teachers who modeled this vibrant intellectual energy, and who revealed their curiosities and deeply held passion for learning during our brief encounters with them.Mon, 1 Jun 2009 9:21:00 ESThttp://www-usr.rider.edu/~vrme/v14n1/vision/Barrett.3..pdf http://www-usr.rider.edu/~vrme/v14n1/vision/Parr.4..pdfN. Carlotta ParrAs my mother tells it, I wanted to be a teacher from the time I could talk. And she claims that as a young child I spent many days convincing my younger sister to “play school” so I could be the teacher! Whether these recollections are accurate or not, I do recall that by the eighth grade I knew that I wanted to be a teacher. This dream was confirmed by the excellent teachers I was fortunate enough to have throughout my education. While the subject I wanted to teach changed over time, my commitment to teaching is at the core of who I am. The kind of teacher that I am has been influenced and inspired by both the excellent role models I have encountered, and by those ineffectual, unimaginative teachers to which I was subjected.Mon, 1 Jun 2009 9:22:00 ESThttp://www-usr.rider.edu/~vrme/v14n1/vision/Parr.4..pdf http://www-usr.rider.edu/~vrme/v14n1/vision/Hill.5.pdfWillie L. Hill, Jr.I was privileged to have the opportunity to teach in a very large “inner-city” public school for 20 years. It was during those formidable years in my career that I learned how to teach, understand and appreciate children with different cultural and ethnic backgrounds.Mon, 1 Jun 2009 9:23:00 ESThttp://www-usr.rider.edu/~vrme/v14n1/vision/Hill.5.pdf http://www-usr.rider.edu/~vrme/v14n1/vision/May%206.pdfLissa F. MayEach year as part of the application interview for the music education degree at my institution, high school seniors write a short essay in response to the question: Why have you chosen to pursue a career in music education? Phrases such as “I love music,” “it’s my passion,” and “I can’t think of anything better than making music every day of my life” fill these essays. The students also talk about “making a difference,” “sharing their passion for music with others,” and “passing on to kids what their teachers gave to them.” I would guess that many of us embarked upon our music teaching career for similar reasons. Thoughts of uncooperative students, angry parents, indifferent administrators, insufficient resources, meager compensation, too little time, unproductive meetings, and excessive paperwork were nowhere to be found in our initial idealistic concept of music teaching.Mon, 1 Jun 2009 9:24:00 ESThttp://www-usr.rider.edu/~vrme/v14n1/vision/May%206.pdf http://www-usr.rider.edu/~vrme/v14n1/vision/woodbridge.pdfLissa F. MayWilliam Channing Woodbridge’s Lecture. “On vocal music as a branch of common education revisited”Mon, 1 Jun 2009 9:25:00 ESThttp://www-usr.rider.edu/~vrme/v14n1/vision/woodbridge.pdf http://www-usr.rider.edu/~vrme/v13n1/Vision/Editorial%20-%20VISIONS%20Issue%2013%20edited.pdfFrank AbrahamsIn this issue, we explore several issues of pedagogy as they impact teachers and their students in varied settings around the world. Graziano Lorenzi chronicled changes in students’ perceptions about themselves when they produced a CD of original music they had composed in a music workshop. Working with adolescents in Porto Alegre, Brazil, he found that the process of composing and producing the CD fostered critical reflection and the growth of intrapersonal understandings. He also found that technology played a significant role in the students’ abilities to evaluate and critique their own music, thereby informing their own identities.Mon, 1 Jan 2009 9:26:00 ESThttp://www-usr.rider.edu/~vrme/v13n1/Vision/Editorial%20-%20VISIONS%20Issue%2013%20edited.pdf http://www-usr.rider.edu/~vrme/v13n1/Vision/Araujobold.fiinal.faedits.01.14.09.pdfRosane Cardoso de Araújo; Regina Antunes Teixeira dos Santos; Liane HentschkeThis study investigates the range of knowledge that guided the practices of three piano teachers in the south of Brazil who had no undergraduate teacher training and who were in different stages of their professional life. The focus of the research was on the use of the teachers’ knowledge within their profession. The method consisted of case studies of three piano teachers in different stages in their careers, with 3, 19 and 43 years of teaching practice. Data were collected by a series of semi-structured interviews and non-participant observations and were analyzed on the basis of the concepts of Tardif and Huberman. A typology of mobilized knowledge was constructed, taking into account the specificity of the piano teaching profession and the concepts about teacher knowledge, which follows Tardif. Huberman served as a guide for reflecting on the different stages of the teachers’ professional careers. The results of the study showed that the number of years of teaching experience was fundamental to developing teaching principles and broadening the scopes of their careers as musicians. Analyses of the three cases show that the contextualized experience of being a piano teacher throughout the length of a career functions as an existential dimension for improving teachers’ knowledge, in agreement with the research literature. The pragmatic dimension within the construction of professional knowledge in music was found in the cases of the two more experienced teachers..Mon, 1 Jan 2009 9:27:00 ESThttp://www-usr.rider.edu/~vrme/v13n1/Vision/Araujobold.fiinal.faedits.01.14.09.pdf http://www-usr.rider.edu/~vrme/v13n1/Vision/Bugos.%20Final%20ed%20fa.01.14.09.pdfJennifer A. Bugos and Linda HighThe purpose of this research was to evaluate learning of practice strategies as a tool for teaching individualized piano instruction (IPI) to novice older adults (ages 60-85). The research questions examined in this study included: (1) Does strategy-training assist novice older adults by improving their practice? and (2) Are there differences between perceived and actual use of practice strategies? Participants (n=8) were given a set of 19 different strategies to employ in their required 30 minutes of daily-recorded practice. They were counseled on their use of these strategies during lessons. Trained raters used the IPI Rating Forms to quantify strategy implementation for a sampling of 30 minutes of recorded practice for each of nine weeks of instruction (270 minutes). Results of the study provide evidence to suggest that older adults perceived more frequent usage of practice strategies than actual implementation.Mon, 1 Jan 2009 9:28:00 ESThttp://www-usr.rider.edu/~vrme/v13n1/Vision/Bugos.%20Final%20ed%20fa.01.14.09.pdf http://www-usr.rider.edu/~vrme/v13n1/Vision/Ho.finalfaedits.01.15.09.pdfWai-Chung HoNew developments in e-learning and increasingly sophisticated learning technologies have made a major impact on Hong Kong universities, which welcomed the implementation of Information Communication Technology (ICT) as being core to their educational missions, and to this end encouraged all graduates to be computer or ICT literate. At the same time, academics are increasingly concerned with the processes of curriculum change with respect to ICT in higher education, as well as with their delivery of multimedia lectures. This paper aims to look at students’ comfort with multimedia technology as a means of receiving and presenting knowledge in their music programs. Findings were based on a simple questionnaire survey and semi-structured interviews with 31 music students attending undergraduate and postgraduate courses at Hong Kong Baptist University. The present findings suggest that it is necessary to be aware of the potential disadvantages of multimedia technology for music learning, and to recognize that the quality of music instructors is at least as important. Questions are raised concerning how best to incorporate better teachers and effective multimedia technology into the learning environment of higher music education learning.Mon, 1 Jan 2009 9:29:00 ESThttp://www-usr.rider.edu/~vrme/v13n1/Vision/Ho.finalfaedits.01.15.09.pdf http://www-usr.rider.edu/~vrme/v13n1/Vision/Lorenzi.final.01.14.09.pdfGraciano LorenziThe purpose of this study was to examine the process of composing original music and then recording that music to produce a CD.. The research was carried out with a group of ten adolescent students in a music composition workshop offered as an extracurricular activity at a public school in the municipality of Gravataí, Brazil. The methodology adopted was action research. Data included active observations and transcripts of audio-taped interviews. Analysis of the data revealed that compositional processes resulted beyond musical structures to those of social-affective inter-relations among the group members. The recording of the compositions provided the students with auditory feedback, facilitating the establishment of new aesthetic understanding about their own compositions. Moreover, CD production became a tangible result of the music making of the group, in which collective and individual identities were fused.Mon, 1 Jan 2009 9:30:00 ESThttp://www-usr.rider.edu/~vrme/v13n1/Vision/Lorenzi.final.01.14.09.pdf http://www-usr.rider.edu/~vrme/v13n1/Vision/aut1.pdfMarissa SilvermanThis study reflects upon and explains the strategies developed in teaching music appreciation in a large urban secondary school. These reflections were developed through an action research study that took place during the 2005-2006 school year. Taken in the broadest, possible view, this study is a small example of how globalization and its offshoots – diversity and multiculturalism – are inherently paradoxical. Fundamentally, these phenomena are characterized by trans-national flows of capital, labor, communications, and culture that tend to unite and broaden many aspects of peoples’ perspectives and identities – personal, creative, and musical. However, the same forces that power uniting and broadening can also divide, and erase local and personal identities. Such threats often fuel the determination of “marginal groups” to assert their independence negatively or positively – through all forms of creativity. As a music teacher, my task is to help students resist and replace negative forces with positive personal and cultural agency. Hence, the purpose of this study: to examine and describe the factors that contributed towards the resentment and discomfort my music appreciation students experienced at the start of the school year. It became evident that such emotions were the surface symptoms of issues related to social justice, diversity, democratic teaching and learning, and multiculturalism.Mon, 1 Jan 2009 9:31:00 ESThttp://www-usr.rider.edu/~vrme/v13n1/Vision/aut1.pdf http://www-usr.rider.edu/~vrme/v13n1/Vision/Regelsi.%20ethics%20of%20teaching%20faedits%20final.01.14.09.pdfThomas A. RegelskiTeachers typically like to think of themselves as professionals. If we consider the teaching function of parenting, and the role of teaching in the advancement of humankind, teaching is without doubt one of the most important undertakings in the history of civilization. But is it a profession and, if so, what criteria and conditions guide (or should guide) its professional practice? More to the present concern, given the uniqueness of music and the noble contributions claimed for it by apologists and advocates of music education, how well do music teachers meet the criteria and conditions of a profession?Mon, 1 Jan 2009 9:32:00 ESThttp://www-usr.rider.edu/~vrme/v13n1/Vision/Regelsi.%20ethics%20of%20teaching%20faedits%20final.01.14.09.pdf http://www-usr.rider.edu/~vrme/v12n1/vision/EDITORIAL.Volume%2012%20-%20Green.pdfCarol Frierson-CampbellMost music educators are aware that there are many people—children and adults—involved in learning music outside the school setting. Whether at home, in the community, in a place of worship, or in the garage, informal music learning is alive and well around the world. Because most empirical knowledge of the music learning process was discovered in formal music learning settings or laboratory settings, the processes (and sometimes the products) of informal music learning are a mystery to many scholars.Mon, 1 Sep 2008 9:33:00 ESThttp://www-usr.rider.edu/~vrme/v12n1/vision/EDITORIAL.Volume%2012%20-%20Green.pdf http://www-usr.rider.edu/~vrme/v12n1/vision/1%20AERA%20-%20Allsup.pdfRandall Everett AllsupAs part of a panel presentation at the 2008 AERA Conference, this paper seeks to advance a critical examination of research on the informal learning practices that are associated with the way so-called popular musicians learn. A call for a “second-wave” of research studies on the teaching of popular music in schools is made. Contra instructional practices that adopt informal learning wholesale, the author argues that a sound educational framework must be in place should teachers and teacher educators wish to “operationalize” the practices of popular musicians. Arguing that there is a distinction between “informal learning” and “informalism,” and critiquing the disappearance of the teacher in Lucy Green’s new book Music, Informal Learning and the School (2008), the concept of democracy – in the form of a laboratory school – is offered as a way of locating education in the practice of teaching and learning popular music.Mon, 1 Sep 2008 9:34:00 ESThttp://www-usr.rider.edu/~vrme/v12n1/vision/1%20AERA%20-%20Allsup.pdf http://www-usr.rider.edu/~vrme/v12n1/vision/2%20AERA%20-%20Jones.pdfPatrick M. JonesThis article addresses how music programs can help public schools fulfill their social mission by offering instruments, ensembles, and genres that Americans are interested in pursuing socially. Data from a 2006 Gallup poll, and music instrument sales are used to indicate that such musics utilize rhythm section instruments. A researcher conducted survey of sample universities reveals that those instruments are not included in music teacher education programs. Therefore, the author calls for music teacher education programs to broaden secondary instrument class offerings to include rhythm section instruments; thus preparing Preservice teachers to teach them and genres that utilize them. Finally, the author provides a model of one university’s curriculum to illustrate how a university can develop a unique curriculum that offers rhythm section instruments and a variety of popular musics and jazz.Mon, 1 Sep 2008 9:35:00 ESThttp://www-usr.rider.edu/~vrme/v12n1/vision/2%20AERA%20-%20Jones.pdf http://www-usr.rider.edu/~vrme/v12n1/vision/3%20AERA%20-%20Clements.pdfAnn C. ClementsThis article explores the work of Lucy Green in terms of the application of her research to practice in music education classrooms. Three specific topics are explored including: student centered learning, teachers and formal music education, and the organic nature of music learning. The author calls for a critical examination of Greens’ work in terms of application and suggests that multiple models or modes of implementation and further experimentation may led to a more viable approach to musical learning as it is found in many musical communities.Mon, 1 Sep 2008 9:36:00 ESThttp://www-usr.rider.edu/~vrme/v12n1/vision/3%20AERA%20-%20Clements.pdf http://www-usr.rider.edu/~vrme/v12n1/vision/4%20AERA%20-%20Heuser.pdfFrank HeuserThis article describes an introduction to music education course that engages future teachers in two approaches to music learning that differ from the formalized notation based training most have experienced. The approaches included are systematic aural transmission, as codified by Edwin Gordon, and informal music learning as described by Lucy Green. Students are required to reflect critically on their learning experiences through journaling and discussion. The struggles students experience while engaging in aural music learning serve as an excellent forum for developing understandings about the nature of music learning. The class is not a template for teaching in an alternative manner upon entering the profession, but rather a forum to acquire understandings and dispositions that might allow them to consider creative approaches to teaching upon entering the profession.Mon, 1 Sep 2008 9:37:00 ESThttp://www-usr.rider.edu/~vrme/v12n1/vision/4%20AERA%20-%20Heuser.pdf http://www-usr.rider.edu/~vrme/v12n1/vision/5%20AERA%20-%20Greher.pdfGena R. GreherWhen you consider that most of the music coursework for our students is focused on the traditions of Western Art Music, the reality is that this will not be the “music of choice” for most of their students. This disconnect between training and practice can often lead new music teachers to believe they are ill prepared to teach today’s youth. Particularly those students who are on the fringes, the ones who either don’t see performance ensembles, which are the foundation of most school music programs, as being relevant to their own interests, or are just not motivated to become part of their school’s music culture. As a survival measure music teachers may introduce popular music into their classes to placate their students as mere ‘ear candy’, yet there may not be any sound pedagogy or musical integrity in their choices. It is not after all a matter of “if” popular music should be incorporated into the curriculum, but “how” and to “what purpose.” Part of our role as music educators should be to help students, both K-12 and Collegiate, navigate between the exemplars of “high culture” and the music that is central to their own lives and find spaces where they can explore the musical possibilities and connections.Mon, 1 Sep 2008 9:38:00 ESThttp://www-usr.rider.edu/~vrme/v12n1/vision/5%20AERA%20-%20Greher.pdf http://www-usr.rider.edu/~vrme/v12n1/vision/Green%20Response.pdfLucy GreenI would like to thank the editors for this opportunity to respond to the articles presented in the American Educational Research Association symposium “Beyond Lucy Green” earlier this year, published in VRME Vol. 12. I also wish to express my appreciation and thanks to those panel members who chose to make close examinations of my work. Inevitably a range of issues will arise in any forum such as this. Overall I agree wholeheartedly with the spirit of the debate and the points that were raised by all five writers. No doubt if the six of us were sitting around a table, we could go on talking about these things all day and all night.Mon, 1 Sep 2008 9:39:00 ESThttp://www-usr.rider.edu/~vrme/v12n1/vision/Green%20Response.pdf http://www-usr.rider.edu/~vrme/v11n1/vision/Editorial.pdfFrank AbrahamsI am pleased to introduce Volume 11 of Visions of Research in Music Education and to welcome a new board of editors. As an ensemble of colleagues, they represent the United States, Italy, United Kingdom, and Brazil. Collectively, they bring a wealth of expertise and visionary ideas to the journal. Patrick Schmidt leaves the editorial board and we hank him for his commitment to the ideals of Visions and for his dedicated and valued service. Carol Frierson-Campbell assumes the position of associate editor.Mon, 1 Aug 2008 9:40:00 ESThttp://www-usr.rider.edu/~vrme/v11n1/vision/Editorial.pdf http://www-usr.rider.edu/~vrme/v11n1/vision/Torres.Final.06.pdfCecilia A. R. TorresThe purpose of this article is to identify the many aspects that constitute musical identity. The article discusses issues of body cultural identity and personal identity gleaned from the literature, with an ultimate goal of understanding identity construction among female schoolteachers inside and outside of music education.Mon, 1 Aug 2008 9:41:00 ESThttp://www-usr.rider.edu/~vrme/v11n1/vision/Torres.Final.06.pdf http://www-usr.rider.edu/~vrme/v11n1/vision/Gould.Final.06.05.08.pdfElizabeth GouldSpeaking out of place in a profession where it is characterized as “extreme” and “a special interest,” feminism in musi education serves as a catalyst for interrogating the profession’s philosophies, practices, and discourses. It has proven to be necessary and influential to the extent that it cannot be ignored, responding to problems like gender segregation and stereotyping of music education positions, music instruments and musical roles, exclusionary performance practices and the music canon, all as implicated by sexuality and race. Responding to the exigencies of these and related issues and self-imposed imperatives to posit alternatives, feminism has been deployed as critique with goals that may be simultaneously too small and too large. This paper explores ways feminism in music education speaks from and in terms of nomadic out of place-ness as it initiates theory related to issues in music and education engaged with material life. I argue that Monique Wittig’s concept of “The Trojan Horse” and Luce Irigaray’s “ethics of sexual difference” in the context of Gilles Deleuze’s materialist ontology provide examples of feminist war machines that may be deployed in music education to enable difference, the importance and relevance of which are found in problems currently facing the profession.Mon, 1 Aug 2008 9:42:00 ESThttp://www-usr.rider.edu/~vrme/v11n1/vision/Gould.Final.06.05.08.pdf http://www-usr.rider.edu/~vrme/v11n1/vision/Hash.pdfPhillip M. HashEducators of the nineteenth century believed that music influenced the will, and thus the character and conduct of human beings. Music instruction during this time was, therefore, used as a tool for shaping the behavior and ideals of young Americans through songs communicating moral and patriotic messages. In the following years, during the Progressive Era (circa 1890s1940s), educators came to value music not for the power of its internal qualities, but rather for the benefits that resulted from engaging in real life musical practices. Consequently, elementary and secondary music curricula expanded to include a greater variety of courses and performing organizations, promoted for their ability to teach students to use leisure time in a productive way and work together in a democratic environment. Thi study utilizes articles from periodicals, papers presented at meetings of the National Education Association (NEA), and other historical data to show music education’s role in shaping American society around the turn of the twentieth century. These goals are then discussed in relation to values and practices found in contemporary music education.Mon, 1 Aug 2008 9:43:00 ESThttp://www-usr.rider.edu/~vrme/v11n1/vision/Hash.pdf http://www-usr.rider.edu/~vrme/v11n1/vision/D.Blair.VRME.pdfDeborah V. BlairThis study focuses on the nature of students’ musical expressions as they make meaning while listening. Based on th students’ natural and valued use of enactive strategies and visual representations of musical sounds, lessons were designed to enable their musical understanding while listening, culminating in a student-created musical mapping experience. Throughout this process, data were collected through audio- and videotape, teacher-researcher logs and journals, and artifacts. Findings a) provided insight into the nature of student interaction with music, with each other, and with the maps as evolving representations of the music they heard, and b) furthered the notion of listening as creative with musical maps as a viable tool for developing “felt pathways” of feeling and knowing experienced while creating musical maps and relived during the sharing of maps.Mon, 1 Aug 2008 9:44:00 ESThttp://www-usr.rider.edu/~vrme/v11n1/vision/D.Blair.VRME.pdf http://www-usr.rider.edu/~vrme/v11n1/vision/Lee.final.06.pdfKaren V. LeeThe author writes an autobiographical reflection after attending a hand drumming concert. The rhythmic grooves liberate her mind and body while she reflects on a major transition in her life. Writing helps her reflect on how the concert becomes a pedagogical context for the emotional and intellectual chaos. In the end, autobiography moves her to gain a deeper understanding about how the pedagogical aspect from the concert enables change.Mon, 1 Aug 2008 9:45:00 ESThttp://www-usr.rider.edu/~vrme/v11n1/vision/Lee.final.06.pdf http://www-usr.rider.edu/~vrme/v11n1/vision/Boardman%20Generative%20Theory.pdfEunice BoardmanThe Generative Theory of Musical LearningMon, 1 Aug 2008 9:46:00 ESThttp://www-usr.rider.edu/~vrme/v11n1/vision/Boardman%20Generative%20Theory.pdf http://www-usr.rider.edu/~vrme/v9n1/vision/Visions%20editorial.pdfFrank AbrahamsWith this double issue, Visions of Research in Music Education celebrates its 10th anniversary. Such an occasion is always cause to reflect on the past and to look forward to the future. Beginning as an idea by Bill Berz at Rutgers University, the journal has published an eclectic collection of research by a cast of international scholars. Visions have had several theme issues. The first was dedicated to student research and included initial publications by rising stars at New Jersey institutions of higher education. Under the capable editorship of Bill Berz and then Cecil Adderley, the readership increased beyond the boundaries of the State of New Jersey.Mon, 1 Apr 2007 9:47:00 ESThttp://www-usr.rider.edu/~vrme/v9n1/vision/Visions%20editorial.pdf http://www-usr.rider.edu/~vrme/v9n1/vision/Frierson-Campbell%20Final.pdfCarol Frierson-CampbellWhat do music teachers believe are the positive impacts of music education on students and schools? What are the expert skills and knowledge needed to create those impacts? What must students learn in music classes to attain these impacts? Few studies investigate the impact of music education from the point of view of the music teacher. This paper seeks to present preliminary information from a pilot study of the Critical Impacts of Music Questionnaire. Results indicate agreement with many statements of impact from the research literature, but also suggest interesting differences between general, choral, and instrumental music teachers regarding the impacts of school music studyMon, 1 Apr 2007 9:48:00 ESThttp://www-usr.rider.edu/~vrme/v9n1/vision/Frierson-Campbell%20Final.pdf http://www-usr.rider.edu/~vrme/v9n1/vision/Bernard%20Final.pdfH. Christian Bernhard IIThe principal purpose of the study was to compare perceived burnout levels (emotional exhaustion, depersonalization, and lack of personal accomplishment) of college students by year in school (freshman, sophomore, junior, or senior), and academic major (music or non-music). The secondary purpose was to examine relationships among perceived burnout, academic, and personal variables (average number of hours per week of academic credit, classes, homework, exercise, sleep, work, and relaxation). Subjects were 320 undergraduate students from a liberal arts university in the northeast United States. While no significant differences in burnout were reported based on year in school, music majors reported higher levels of emotional exhaustion and depersonalization than non-music majors. Additionally, for combined subjects, moderate to weak relationships were observed among emotional exhaustion, depersonalization, personal accomplishment, hours of classes, homework, sleep, and relaxation.Mon, 1 Apr 2007 9:49:00 ESThttp://www-usr.rider.edu/~vrme/v9n1/vision/Bernard%20Final.pdf http://www-usr.rider.edu/~vrme/v9n1/vision/Mishra%20Final.pdfDr. Jennifer MishraThe purpose of this research was to determine whether there was a correlation between musicians’ perceptual learning modalities and preferred memorization styles. College instrumentalists (n = 82) completed the Musical Memorization Inventory (MMI) designed to measure preferred memorization styles (aural, visual, kinesthetic) and the Learning Styles Test (LST) and Vark Questionnaire designed to measure preferred learning modalities (aural, visual, kinesthetic). Generally, weak correlations were found between preferred learning modalities and memorization styles with only visual learners tending to prefer visual memorization strategies (r = .34). Visua learners tended to use visual memorization strategies more frequently; however few musicians used visual strategies in isolation (2.53%) rather combining visual strategies with kinesthetic (22.78%) and kinesthetic and aural strategies (16.46%). Based on the results of this study, strategies used for memorizing music are, to a large extent, independent of learning modality preferences.Mon, 1 Apr 2007 9:50:00 ESThttp://www-usr.rider.edu/~vrme/v9n1/vision/Mishra%20Final.pdf http://www-usr.rider.edu/~vrme/v9n1/vision/Maugars%20Final.pdfDr Cédricia MaugarsThis article summarises the main results of French research focused on teacher assessment in music in secondary schools, conducted between 1999-2004. The enquiry suggests reasons why short courses do not change established ideas about assessment in music. Increased time for reflection and self-criticism during training courses would facilitate the development of greater understanding and modification of practice. Knowing what the participants expect from the course may help to predict the extent of the transfer of information.Mon, 1 Apr 2007 9:51:00 ESThttp://www-usr.rider.edu/~vrme/v9n1/vision/Maugars%20Final.pdf http://www-usr.rider.edu/~vrme/v9n1/vision/Knowlton%20Final.pdfDave S. KnowltonThis article points to a contradiction between the need for the acquisition of aural theory skills to primarily be internal and a key tenet of learning theory that requires learners to avoid cognitive overload by externally manipulating ideas in order to learn them substantively. The article points to generative learning strategies as one means of alleviating this contradiction. The article describes the application of generative learning theory within a graduate-level aural theory and ear-training course. Implications for both research and pedagogical practice are offered in the last section of the article.Mon, 1 Apr 2007 9:52:00 ESThttp://www-usr.rider.edu/~vrme/v9n1/vision/Knowlton%20Final.pdf http://www-usr.rider.edu/~vrme/v9n1/vision/Benedict%20Final.pdfCathy BenedictThis paper explores the ways in which narratives of the "real world" and narratives of resistance collide in teacher preparation programs. The author suggests that in this collision acts of resistance serve to perpetuate and reproduce the very systems these acts seek to interrogate and challenge. How then does this disconnect, between very different ways of seeing and engaging with the educative process, manifest not only for ourselves, but for our students? This paper seeks to address how teachers of teachers grapple with, and even embrace, the contradictions of powerlessness and empowerment that come from the mindful engagement embedded in this path.Mon, 1 Apr 2007 9:53:00 ESThttp://www-usr.rider.edu/~vrme/v9n1/vision/Benedict%20Final.pdf http://www-usr.rider.edu/~vrme/v9n1/vision/AbramoFinal.5.29.07.pdfJoseph AbramoThis article is a critical examination of ostensibly multicultural music for concert bands. Using Bourdieu’s concept of symbolic violence, I argue that “multicultural” band music, while celebrating diversity and inclusion, actually do the opposite—they are instead, created and used as tools that reproduce stereotypes and racial tropes. This system— where the symbolically violent act of racial tropes are misrecognized as such and celebrated as lessons in diversity—helps reify and perpetuate racial inequalities in society.Mon, 1 Apr 2007 9:54:00 ESThttp://www-usr.rider.edu/~vrme/v9n1/vision/AbramoFinal.5.29.07.pdf http://www-usr.rider.edu/~vrme/v9n1/vision/Lamb_final.pdfJane Gaskell & John WillinskyTone deaf/ Symphonies Singing: Sketches for a musicaleMon, 1 Apr 2007 9:55:00 ESThttp://www-usr.rider.edu/~vrme/v9n1/vision/Lamb_final.pdf http://www-usr.rider.edu/~vrme/v8n1/vision/Volume_8_Editorial2.pdfFrank AbrahamsIn the United States, the academic year begins in September. Although the students may change and new courses are added while others are taught again, the notion that good teaching is grounded in research remains. This issue of Visions of Research in Music Education offers three different studies that inform teachers about their practice. While seemingly disconnected, they articles have the same over-arching theme: How will instruction best improve what students are able to do?Mon, 1 Sep 2006 9:56:00 ESThttp://www-usr.rider.edu/~vrme/v8n1/vision/Volume_8_Editorial2.pdf http://www-usr.rider.edu/~vrme/v8n1/vision/instrumentselectionbazan_corrected.pdfDale E. BazanThe present study was an investigation of the instrument selection processes used by directors of beginning bands in Midwestern state. What general procedures and timelines band directors used, whether gender bias was perceived to exist, and whether prior research was applicable to Midwest band programs were the major research questions. Directors of beginning bands were identified (N = 332) and sixty (n = 60) were randomly selected to complete a questionnaire. Of the random sample, 38 questionnaires were returned representing a 63% return rate. It was found that playing tests and analysis of students’ physical characteristics were the most frequently used tests and procedures informing the matching of students to instruments. The participants rarely used tests such as Gordon’s ITPT or MAP during the instrument selection process. A majority of directors stated that the instrument selection process was not addressed at all (21%) or briefly mentioned (58%) during undergraduate training rather than dealt with in some detail (21%). Further, directors developed their selection processes through experience and not by training received during college. A majority of directors (53%)agreed or strongly agreed that gender stereotyping exists in Midwest band programs and seventy-nine percent (79%) did take steps to address this issue.Mon, 1 Sep 2006 9:57:00 ESThttp://www-usr.rider.edu/~vrme/v8n1/vision/instrumentselectionbazan_corrected.pdf http://www-usr.rider.edu/~vrme/v8n1/vision/VRME_Submission.Kruse.pdfNathan B. KruseThe purpose of this study was to examine the effects of rating scale instruction on self-evaluation accuracy among student musicians. Sixth grade band students (N = 36) from a Midwestern state performed and recorded an original etude and then criticallyevaluated their own rhythmic accuracy using a researcher-constructed rating scale. Control and treatment groups were then created using an expert panel’s evaluation of the recorded etudes. One week later, the treatment group received instruction in how to use the rating scale and then rated their original recorded performances again. The control group received no training but also rated their etudes a second time. Inter-judge reliability, control and treatment group correlations, means, standard deviations, and standard errors of measurement were calculated using Pearson product-moment correlations. Results indicated that rating scale instruction was more effective than no rating scale instruction in helping students improve self-rating accuracy. While the control group tended to rate themselves the same during the second listening, the treatment group tended to rate themselves more critically. Additionally, the treatment group’s tendency to rate closer to the experts’ ratings suggests that rating scale instruction may not only benefit students’ self-evaluation accuracy, but may also be a practice strategy toward improving students’ independent musicianship.Mon, 1 Sep 2006 9:58:00 ESThttp://www-usr.rider.edu/~vrme/v8n1/vision/VRME_Submission.Kruse.pdf http://www-usr.rider.edu/~vrme/v8n1/vision/Litman_Article.pdfPeter LitmanA short pilot study was designed to examine whether choral conducting in a rehearsal context, and the gestures (those gestures determined by the teacher–conductor as being effective) used in teaching an undergraduate conducting class are related. This idea that these contexts are related is widely acknowledged and supported within both choral conducting literature, and more general educational literature (Apfelstadt, 1997; Decker & Kirk, 1992; Durrant, 2003; Green, 1981; Roe, 1983; Thomas, 1979; Wis, 2002) but as yet, has not been subject to systematic research. To this end, a pilot observation took place in October 2005 at the Musikhochschule, in Stuttgart, South West Germany. The researcher used digital video to capture the hand gestures that the choral conductor used in a rehearsal, and secondly, in teaching an undergraduate conducting class. The research focused on determining and validating the observed gestures by seeking agreement from a panel of judges on (a) literally what the observed gestures were and (b) an interpretation of what the gestures were trying to convey. The evidence base embraced field notes and observation; video data; structured interviews with the conductor; and independent rating of the observation data. The research 2 foci were (i) to establish an appropriate research methodology and (ii) to determine whether there was any interrelationship and correlation between the conductor’s ‘gestures of rehearsal’ and the gestures that the students displayed in the conducting classes, namely, the transference of the conductor-teacher’s rehearsal gestures.Mon, 1 Sep 2006 9:59:00 ESThttp://www-usr.rider.edu/~vrme/v8n1/vision/Litman_Article.pdf http://www-usr.rider.edu/~vrme/v8n1/vision/EleventhHour.pdfKaren V. LeeA doctoral student autobiographically reflects on the challenges of writing the last chapter of her dissertation. She become motivated to finish after playing the piano in an impromptu musical performance with high school students. On a deeper level, writing becomes a powerful way for her to reflect on the aesthetic and intellectual underpinnings of her inner life as a writer, musician and teacher educator. In the end, autobiography creates a pedagogical context that enables her to move forward with her research.Mon, 1 Sep 2006 10:00:00 ESThttp://www-usr.rider.edu/~vrme/v8n1/vision/EleventhHour.pdf http://www-usr.rider.edu/~vrme/v8n1/vision/Bresler_Article___VRME.pdfLiora BreslerEthnography, Phenomenology And Action Research In Music EducationMon, 1 Sep 2006 10:01:00 ESThttp://www-usr.rider.edu/~vrme/v8n1/vision/Bresler_Article___VRME.pdf http://www-usr.rider.edu/~vrme/v7n1/visions/VRME%20Editorial%20S06-2.pdfPatrick SchmidtIt is a pleasure to introduce the new issue of Visions of Research in Music Education. In presenting the articles, I am reminded of the importance of reflective dialogue and an understanding that beyond the inexorable movement from problem to solution, mindful individuals are welcoming of variance and possibility. This issue brings together four articles that share a concern for the interchange between practice, creativity and the pedagogical boundaries in teaching and learning.Mon, 1 Jan 2006 4:01:00 ESThttp://www-usr.rider.edu/~vrme/v7n1/visions/VRME%20Editorial%20S06-2.pdf http://www-usr.rider.edu/~vrme/v7n1/visions/Adderley%20Music%20Teacher%20Preparation.pdfCecil Adderley; Christina Schneider; Norma KirklandThe purpose of this study was to determine whether elementary music teachers in United States of America (U.S.) believe that they were prepared in their undergraduate studies for implementing the National Standards for Music Education and to find out what courses music education faculty at higher education institutions in the U.S. believe enable or should enable implementation of th standards.Mon, 1 Jan 2006 4:02:00 ESThttp://www-usr.rider.edu/~vrme/v7n1/visions/Adderley%20Music%20Teacher%20Preparation.pdf http://www-usr.rider.edu/~vrme/v7n1/visions/Johnson%20Listening%20and%20Thinking.pdfDaniel C. JohnsonThe two purposes of this pilot study were: to classify fifth-grade students’ verbal responses as either Musical Term or Affective/Associative, and to determine if there was a significant difference between subjects’ verbal responses in written and spoken forms. Fifth-grade subjects (n = 40) completed the “Listening and Thinking” measure, consisting of six open-ended questions based on two pairs of instrumental musical examples. Half the subjects responded in written form while the other half responded in oral form. In a Two-way analysis of variance (ANOVA), a disordinal interaction was found (p = 0.01) such that there were more spoken responses referring to musical terms, and more written responses referring to affective/associative responses. The subjects provided significantly (p = 0.00 1) more musical term than affective/associative responses. There were, however, no significant differences found in the subjects’ responses by musical example, by order of musical examples, or by form of data. For affective and associative responses, written data may prove to be more useful than spoken data, and written responses to music listening appear to be as effective as spoken data. These results have implications for future investigations of cognitive and affective responses to music listening and evaluations of music listening instruction.Mon, 1 Jan 2006 4:03:00 ESThttp://www-usr.rider.edu/~vrme/v7n1/visions/Johnson%20Listening%20and%20Thinking.pdf http://www-usr.rider.edu/%7Evrme/v7n1/visions/Jones%20Returning%20Music%20Education%20to%20the%20Mainstream.pdfPatrick M. JonesSchool music programs should be fostering both lifewide and lifelong musicing by enabling students to be involved in performing and enjoying a wide range of musical offerings within their communities throughout their lives. They should focus on connecting students with the musical lives of their communities, teaching them to perform, compose and arrange a variety of musical styles available throughout their community, as well as chamber music they can perform at home and with friends. This would move school music from the margins to the mainstream of the musical lives of their communities.Mon, 1 Jan 2006 4:04:00 ESThttp://www-usr.rider.edu/~vrme/v7n1/visions/Jones%20Returning%20Music%20Education%20to20the20Mainstream.pdf http://www-usr.rider.edu/~vrme/v7n1/visions/Abrahams%20CPME%20Best%20Practices.pdfFrank AbrahamsThis paper describes a best teaching practice called Critical Pedagogy for Music Education as it influences the preparation of future music educators. In a college laboratory school, preservice undergraduate music education majors collaborate with their professor to create music lessons they will teach to sixth-grade students in general music classes that meet once a week for one semester.Mon, 1 Jan 2006 4:05:00 ESThttp://www-usr.rider.edu/~vrme/v7n1/visions/Abrahams%20CPME%20Best%20Practices.pdf http://www-usr.rider.edu/~vrme/v6n1/visions/Abrahams%20Critical%20Pedagogy%20for%20Music%20Education.pdfFrank AbrahamsAbout a year ago, I proposed to then editor, Cecil Adderley a special focus issue for Visions of Research in Music Education devoted to Critical Pedagogy for Music Education. He graciously allowed me to invite colleagues to contribute to the issue and to serve as guest editor. Since then, Cecil has moved from New Jersey to Massachusetts where he chairs music education at the Berklee School of Music in Boston. While remaining on the editorial board he has stepped down as Editor in Chief. We thank Cecil for his hard work and dedication to the mission of Visions and for facilitating the publication of four issues. In December, the board of the New Jersey Music Educators Association, appointed me to the position. I was pleased to accept. My colleague, Patrick Schmidt, will serve as Assistant Editor in Chief and the publication of the journal has moved from Rutgers to Rider University. Our colleague Eric Haltmeier will manage the site as technical assistant.Mon, 1 Jan 2005 4:06:00 ESThttp://www-usr.rider.edu/~vrme/v6n1/visions/Abrahams%20Critical%20Pedagogy%20for%20Music%20Education.pdf http://www-usr.rider.edu/~vrme/v6n1/visions/Schmidt%20Music%20Education%20as%20Transformative%20Practice.pdfPatrick SchmidtThe educational perspectives presented by Paulo Freire have been thoroughly analyzed and linked to the general education of children in urban America. Additional studies have focused on Freires pedagogy in higher education. Nevertheless, the number of studies that have examined music education and the pedagogy of music teaching and learning as a kind of pedagogy of emancipation are far more restricted, have become available only recently and are still not widely dispersed or read. In this article, Freirian concepts serve to develop frameworks that define the philosophy of a Critical Pedagogy for Music Education. This new conception borrows from Freires texts, and delineates practices believing that real learning to take place only if students and teachers alike are changed in and by the process of education.Mon, 1 Jan 2005 4:07:00 ESThttp://www-usr.rider.edu/~vrme/v6n1/visions/Schmidt%20Music%20Education%20as%20Transformative%20Practice.pdf http://www-usr.rider.edu/~vrme/v6n1/visions/Regelski%20Critical%20Theory%20as%20a%20Foundation.pdfThomas A. RegelskiCritical theory is the product of a group of German social theorists, first associated with the Institute for Social Research begun in Frankfurt Germany in 1923, and who later moved to and were influential in the US. While they were often critical of each other, their early common agenda was the critique of the unresolved conflict within the Enlightenment of rationalism and empiricism. The former was misunderstood as involving an impersonal faculty of reason that supposedly arrived at universal truth, while the positivism of the later led to wide acceptance of (and even reverence for) the mistaken idea of value free knowledge. The mis-directions taken by both Enlightenment rationalism and empiricism led away from its ideal of human progress and contributed instead to the wars and other socioeconomic and political problems of the 20th century. Unlike postmodernism’s rejection of reason, the second-generation critical theory of Jurgen Habermas maintains that a new understanding of reason as a situated praxis can begin to address the problems of the postmodern world. This study summarizes ten central attributes of critical theory and its agenda for empowering people through rational discourse, and ten implications of that agenda for positive and needed change in music education.Mon, 1 Jan 2005 4:08:00 ESThttp://www-usr.rider.edu/~vrme/v6n1/visions/Regelski%20Critical%20Theory%20as%20a%20Foundation.pdf http://www-usr.rider.edu/~vrme/v6n1/visions/O%27Toole%20I%20Sing%20In%20A%20Choir.pdfPatricia O’TooleIn this article, I argue that the conventions of choral pedagogy are designed to create docile, complacent singers who are subject to a discourse that is more interested in the production of music than in the laborers. Consequently, I present my choral experience from a critical feminist perspective in an attempt to expose the web of power relations that one enters during choral rehearsals. I use critical feminist strategies, and the theories of power described by Michel Foucault, to question meanings and expose the constitution of the power.Mon, 1 Jan 2005 4:09:00 ESThttp://www-usr.rider.edu/~vrme/v6n1/visions/O%27Toole%20I%20Sing%20In%20A%20Choir.pdf http://www-usr.rider.edu/%7Evrme/v6n1/visions/Colwell%20Taking%20the%20Temperature%20of%20Critical%20Pedagogy.pdfRichard ColwellThe fundamentals and background for critical pedagogy are given as a "primer" for those unfamiliar with this approach to education and to associate a few names with important concepts in critical pedagogy. If music educators were to employ the essence of critical pedagogy that includes skepticism and reflective practice, they would likely change the philosophy of music education, its structure and goals, and teacher education and professional development. As skeptics, however, we must first reflect on critical pedagogy--does it foster valid thinking for education in our conception of a viable democracy?Mon, 1 Jan 2005 4:10:00 ESThttp://www-usr.rider.edu/~vrme/v6n1/visions/Colwell%20Taking%20the%20Temperature%20of20Critical20Pedagogy.pdf http://www-usr.rider.edu/~vrme/v6n1/visions/Abrahams%20The%20Application%20of%20Critical%20Pedagogy.pdfFrank AbrahamsThis paper proposes a Critical Pedagogy for Music Education (CPME) and shows how the tenets of CPME enhance music teaching and music learning. Placed in a context whereby the purpose of music education is to empower children to be musicians and in the process transform both the students and their teacher, the paper is in four sections. The first part situates CPME in an historical context linking it to the writings and teachings of Paulo Freire and particularly his concepts of conscientization, connecting word to world and transformation that yields liberation. The next section demonstrates how critical theory, experiential learning and praxis work together to inform curricula in music education. Then, the author explains an eight-step teaching model whereby Critical Pedagogy for Music Education informs the delivery of music instruction. The paper concludes with concrete examples of Critical Pedagogy for Music Education in action inside the music classroom.Mon, 1 Jan 2005 4:11:00 ESThttp://www-usr.rider.edu/~vrme/v6n1/visions/Abrahams%20The%20Application%20of%20Critical%20Pedagogy.pdf http://www-usr.rider.edu/~vrme/v5n1/visions/Adderley%20A%20New%20VisionCecil AdderleyThe editorial board is proud to present Visions of Research in Music Education (VRME) - Volume 5. Authors Christina Schneider, Robert Johnson, Sameano Porchea and Kristyn Kuhlman would like to share their latest findings with all of you.Mon, 1 Jun 2004 4:12:00 ESThttp://www-usr.rider.edu/~vrme/v5n1/visions/Adderley%20A%20New%20Vision http://www-usr.rider.edu/~vrme/v5n1/visions/Schneider,%20Johnson,%20&%20Porchea%20Factors%20that%20Affect%20the%20Measurement%20of%20Rhythm%20AchievementChristina Schneider; Robert Johnson; Sameano PorcheaThe purpose of this study was to examine factors that affect the reliability and validity of an 8-beat rhythm improvisation performance task that was used during a pilot test of a large-scale music assessment. In addition to analyzing the holistic improvisation scores, two domains of rhythm achievement associated with improvisation performance task were investigated: student ability to begin the improvised "response" on the correct downbeat and student ability to maintain a steady beat during the 8-beat improvisation. Although reliability results were strong and positive for the holistic improvisation scores and entrance analysis, it was found that even with a 5-judge panel, sufficient reliability in measuring student ability to maintain a steady beat could not be established.Mon, 1 Jun 2004 4:13:00 ESThttp://www-usr.rider.edu/~vrme/v5n1/visions/Schneider,%20Johnson,%20&%20Porchea%20Factors%20that%20Affect%20the%20Measurement%20of%20Rhythm%20Achievement http://www-usr.rider.edu/~vrme/v5n1/visions/Kuhlman%20The%20Impact%20of%20Gender%20on%20StudentsKristyn KuhlmanWhen investigations of instrument preferences include actual music instrument timbres and labels, research reveals that gender stereotyping of instruments influences a respondent's choice. The primary purpose of this study was to examine timbre preferences in relation to the student's gender using synthesized sounds rather than natural instrument timbres. A secondary purpose was to examine students' subsequent choices of instruments in relation to their timbre preference and gender. Gordon's Instrument Timbre Preference Test (1984) was administered to 632 third-grade students. Boys (n = 312) most frequently preferred the oboe, English horn, and bassoon timbre (35.6%), followed by tuba (27.2%) and flute (24.8%): least preferred timbres were trumpet and trombone/baritone. Girls (n = 320) most frequently preferred the flute timbre (39.6%), followed by double reeds (24.8%) and saxophone (24.8%): least preferred were low brass timbres.Mon, 1 Jun 2004 4:14:00 ESThttp://www-usr.rider.edu/~vrme/v5n1/visions/Kuhlman%20The%20Impact%20of%20Gender%20on%20Students http://www-usr.rider.edu/~vrme/v4n1/visions/Walker%20Influences%20of%20Gender%20and%20SexMark J. WalkerGender stereotypes continue to persist at all levels regarding male and female participation in music. Indeed, stereotypes are evident at the elementary and middle school levels when children choose a musical instrument for study in beginning band or orchestra. Research has shown sex-stereotyping of instruments to exist, often unconsciously, in both males and females. Usually, trombones, drums, tubas are viewed as being overtly masculine instruments while the flute, clarinet, and oboe are viewed as being overtly feminine instruments. These masculine and feminine characteristics that are placed on these instruments are often transferred to the individual who plays them. These stereotypes are created from a variety of sources, including popular media, parents, teachers, and other children. However, stereotypes can effectively be reduced by the manner of presentation of instruments to the students for the first time. For example, at a meeting of students and parents who are interested in beginning band, a female may demonstrate the trombone or tuba while a male may demonstrate the clarinet or oboe. This act alone does a great deal to break down sex-stereotypes of instruments and those who play them.Mon, 1 Jun 2004 4:15:00 ESThttp://www-usr.rider.edu/~vrme/v4n1/visions/Walker%20Influences%20of%20Gender%20and%20Sex http://www-usr.rider.edu/~vrme/v4n1/visions/Wolf%20A%20Hierarchy%20of%20Rhythm%20Performance%20PatternsDebbie Lynn WolfThe purpose of this research was to improve understanding of the musical abilities of kindergarten children and to establish a hierarchy of rhythm patterns performed by these subjects.Mon, 1 Jun 2004 4:16:00 ESThttp://www-usr.rider.edu/~vrme/v4n1/visions/Wolf%20A%20Hierarchy%20of%20Rhythm%20Performance%20Patterns http://www-usr.rider.edu/~vrme/v4n1/visions/Guerrini%20The%20Relationship%20of%20Vocal%20AccuracySusan C. GuerriniThe purpose of the study was to gain insight into how children in the fourth and fifth grade acquire singing ability. The question to be pursued in the course of this study is as follows: What differences are found in children's singing accuracy relative to tonal music aptitude and gender?Mon, 1 Jun 2004 4:17:00 ESThttp://www-usr.rider.edu/~vrme/v4n1/visions/Guerrini%20The%20Relationship%20of%20Vocal%20Accuracy http://www-usr.rider.edu/%7Evrme/v4n1/visions/Bower%20Musical%20Knowledge%20and%20Choral%20Curriculum%20DevelopmentDavid BowerThis paper examines the nature of musical knowledge as it impacts choral curriculum development. The author suggests that musical knowledge is broader than the mere recitation of facts and therefore argues for a praxial conception of musical knowledge. Based on David Elliott's philosophy of music education, the author suggests that the choral curriculum emphasize process over product and explores ways that constructivism may inform the delivery of choral music instruction.Mon, 1 Jun 2004 4:18:00 ESThttp://www-usr.rider.edu/~vrme/v4n1/visions/Bower20Musical20Knowledge20and20Choral20Curriculum20Development http://www-usr.rider.edu/~vrme/v4n1/visions/Abrahams%20The%20Application%20of%20Critical%20TheoryFrank AbrahamsThis article looks at critical theory as a post-modern philosophical foundation for a sixth grade general music curriculum. The author reviews the literature on critical theory, discussing the origins of the theory in Frankfurt, Germany in the early 1920s and traces the applications critical theory finds in American schools of the current era. The author suggests that critical theory is appropriate for music education as it empowers musicianship and enables music teachers to connect the music children experience in school with the music they hear outside. The author describes how critical theory may inform and transform the development of a sixth grade general music curriculum by connecting the music of contemporary popular culture with the goals and objectives of general music in the middle school. Specifically, the critical theory framework provided opportunities for the music teacher to address individual aptitudes and potentials, individual learning styles and a variety of teaching styles. The study confirmed research which showed that students were capable of learning on their own and that they retained knowledge when their learning was grounded in personal experience.Mon, 1 Jun 2004 4:19:00 ESThttp://www-usr.rider.edu/~vrme/v4n1/visions/Abrahams%20The%20Application%20of%20Critical%20Theory http://www-usr.rider.edu/~vrme/v3n1/visions/adderley-a%20new%20vision.pdfCecil AdderleyThe Editorial Board of Visions of Research in Music Education is excited to present VRME - Volume 3. We believe that the authors submitted these articles so that they may share their research with others in the music education community. It is my hope that after each of you reads Volume 3 that you will reflect on what we have accomplished, and what work must be completed by all of us.Mon, 1 Feb 2003 4:20:00 ESThttp://www-usr.rider.edu/~vrme/v3n1/visions/adderley-a%20new%20vision.pdf http://www-usr.rider.edu/~vrme/v3n1/visions/gumm-the%20effects%20of%20choral%20music%20teacher%20experience.pdfAlan GummThe study investigated the effects of choral music teacher experience and background on music teaching style. Relationships between background variables and the effect of music teaching style and background on music festival participation and ratings were also investigated. Secondary choral music teachers (N=473) from a random national sample completed a background survey and the self-rated Music Teaching Style Test. Results showed moderate effects of teacher experience and background on music teaching style and moderate effects of teacher background and music teaching style on choral music festival participation and ratings. Trends across experience levels indicated self-reflective, broadening, interdependent, and deepening stages of development. Components of teacher background related to (a) time and advancement, (b) specialization and gender, and (c) geography and culture were identified. Discussion includes implications for teacher education and inservice training, behavioral and cognitive research, and for a variety of philosophical and curricular issues in music education.Mon, 1 Feb 2003 4:21:00 ESThttp://www-usr.rider.edu/~vrme/v3n1/visions/gumm-the%20effects%20of%20choral%20music%20teacher%20experience.pdf http://www-usr.rider.edu/~vrme/v3n1/visions/ioffredo-interdisciplinary%20arts%20education.pdfRenee S. IoffredoThe purpose of this research was to study a second grade class during an interdisciplinary lesson that combined music and poetry. The research examined the nature of interdisciplinary studies to determine the degree of integration that occurred. Specifically, the study examined the objectives of two teachers, each of a different subject area, who worked together placing a strong emphasis on the process by which these objectives were met. Another purpose was to illustrate the effectiveness this type of teaching has on music education.Mon, 1 Feb 2003 4:22:00 ESThttp://www-usr.rider.edu/~vrme/v3n1/visions/ioffredo-interdisciplinary%20arts%20education.pdf http://www-usr.rider.edu/~vrme/v3n1/visions/teo-relationship%20of%20selected%20musical%20characteristics.pdfTimothy TeoA review of the literature found that most published studies in musical preference tended to focus on liking for specific or broad categories of musical styles. Various researchers have proposed that musical characteristics are significant in contributing to one's musical preference (Fung, 1996; LeBlanc, 1982; Prince, 1972).Mon, 1 Feb 2003 4:23:00 ESThttp://www-usr.rider.edu/~vrme/v3n1/visions/teo-relationship%20of%20selected%20musical%20characteristics.pdf http://www-usr.rider.edu/~vrme/v2n1/visions/adderley-a%20new%20vision.pdfCecil L. AdderleyThe Editorial Board of Visions of Research in Music Education is excited to present this VRME - Special Edition, an issue dedicated to peer-reviewed student research. We believe that the articles submitted by these authors demonstrate their ability to present research to others and introduce themselves to the greater music education community. It is my hope that after each of you read this special issue that you will reflect on what we as music educators have accomplished, and the goals we must strive for to move the field forward in an ever changing society.Mon, 1 Aug 2002 4:24:00 ESThttp://www-usr.rider.edu/~vrme/v2n1/visions/adderley-a%20new%20vision.pdf http://www-usr.rider.edu/~vrme/v2n1/visions/burton-an%20exploration%20of%20preschool%20children.pdfSuzanne BurtonAn Exploration of Preschool Children's Spontaneous Songs and Chants explores the spontaneous, or improvised, songs and chants of preschool children. This study focused on: a) the environmental conditions that exist when young children spontaneously sing or chant, b) how young children manipulate musical elements when spontaneously singing or chanting, and c) their ability to verbalize a purpose for spontaneously singing and chanting.Mon, 1 Aug 2002 4:25:00 ESThttp://www-usr.rider.edu/~vrme/v2n1/visions/burton-an%20exploration%20of%20preschool%20children.pdf http://www-usr.rider.edu/~vrme/v2n1/visions/kwan-high%20school%20choral%20experience.pdfEva KwanThis study examined the perception of the high school choral experience as a function of gender, grade level, and musical experience. The perception of meaning of choral experience was defined by five factors of musical-artistic, achievement, integrative, communicative, and psychological as defined by Hylton (1980). Participants included 84 choral students from two public high schools in the State of Indiana. Among the participants, 29 students came from a small high school with approximately 400 students, and 55 students came from a high school with approximately 1000 students. A modified version of Hylton's (1980) Choral Meaning Survey was used. The 84 participants were asked to indicate their agreement or disagreement to each item on a 5 point Likert-type scale. The result show that all the factors of the Choral Meaning Survey received high means. The students responded most positively to items related to achievement dimensions. A multivariate analysis of variance (MANOVA) procedure was employed. The main effects of gender, grade level, musical experience and their interaction effects were non significant.Mon, 1 Aug 2002 4:26:00 ESThttp://www-usr.rider.edu/~vrme/v2n1/visions/kwan-high%20school%20choral%20experience.pdf http://www-usr.rider.edu/~vrme/v2n1/visions/tutt-high%20school%20performing%20ensemble.pdfKevin TuttThe purpose of this research project was to discover the specific criteria used by high school performing ensemble members to evaluate compositions they are currently rehearsing or performing. Based on previous research, it was hypothesized that members of the target population have specific evaluative criteria that they apply to the compositions they are currently rehearsing and performing.Mon, 1 Aug 2002 4:27:00 ESThttp://www-usr.rider.edu/~vrme/v2n1/visions/tutt-high%20school%20performing%20ensemble.pdf http://www-usr.rider.edu/~vrme/v2n1/visions/holochwost-equality%20in%20music%20education.pdfSteven J. HolochwostThis paper offers a review of the literature concerning how music is taught to school-aged children in America, in terms of frequency and content of instruction. It then outlines how music should be taught to children to optimize both the musical and the extra-musical benefits of music education, according to current research. A number of music education programs that successfully incorporate some elements of these research findings are then discussed. Finally, a model that incorporates the best elements of these programs is presented, along with guidelines for implementation. Throughout, the discrepancy between how music is taught and how it should be taught is presented as a matter of inequality. A lack of teaching standards in music leads to highly variable music programs by state and indeed by districts within a single state. This variability inherently generates inequality, for some programs adhere closely, either by design or coincidence, to the guidelines of how music should be taught, while others fail to meet these guidelines in any meaningful fashion.Mon, 1 Aug 2002 4:28:00 ESThttp://www-usr.rider.edu/~vrme/v2n1/visions/holochwost-equality%20in%20music%20education.pdf http://www-usr.rider.edu/~vrme/v2n1/visions/freeman-spirituality%20in%20music%20education.pdfTamara R. FreemanSpiritual Music Education promotes deep, meaningful connections between teachers, students, and their music making. A spiritual approach focuses on every aspect of the student's human dimension-physical, emotional and cognitive-respecting and supporting each dimension equally. Consequently, students engage in music with increased body strength, clearer understanding, boundless creativity and heightened enjoyment. Most importantly, a spiritual music education instills a positive musical outlook for life. Six areas of spiritual music education are explored which are relevant to all vocal and instrumental disciplines, pre-school through adulthood: The definition of "spirit" according to 20th century music philosophers, children revealing their deepest sense of spirituality, clarifying the difference between spirituality and sacredness to adhere to the laws separating church and state, multiculturalism in music education, applying spiritual philosophies of general education to music education, and a "SPIRIT" mnemonic that reminds teachers and students that spirituality in today's music class creates a meaningful musical outlook that resonates for a lifetime.Mon, 1 Aug 2002 4:29:00 ESThttp://www-usr.rider.edu/~vrme/v2n1/visions/freeman-spirituality%20in%20music%20education.pdf http://www-usr.rider.edu/~vrme/v2n1/visions/brozak-the%20perception%20of%20musical%20tension.pdfGeorge A. BrozakThe purpose of this study was to determine whether non-major instrumental student musicians at the university level perceive tension in music differently than student musicians majoring in music. Students (N=40) comprised four groups. Group A and Group B consisted of undergraduate students (N=20) who were non-music majors and members of an auditioned university concert band. Group C and D consisted of undergraduate students (N=20) who were music majors. While listening to the selected composition, students registered their individual perception of tension by means of the Digital Affective Response Technology (DART) software. During playback of the selected stimuli, subjects utilize a Likert scale of discrete data points within DART to quantify perceived affective responsiveness from 1 (lowest level) to 10 (highest level). Individual means were then collected from each group (A, B, C, D) and graphed cross-categorically according to level of performance history (majors/non-majors who have performed (A & C) and majors/non-majors who have not performed (B & D)). An unpaired t-test of combined Groups A and C (t [20] = -1.073, p = .2975) and an unpaired t-test of combined Groups B and D (t [20] = 1.639, p = .1186) indicated no significant difference of perceived tension between the subjects of these groups.Mon, 1 Aug 2002 4:30:00 ESThttp://www-usr.rider.edu/~vrme/v2n1/visions/brozak-the%20perception%20of%20musical%20tension.pdf http://users.rider.edu/~vrme/v1n1/visions/berz-a new vision.pdfW. L. BerzThe New Jersey Music Educators Association (NJMEA) is pleased to sponsor a new publication, Visions of Research in Music Education (VRME). The goal of this journal is to report peer-reviewed research of a philosophical, historical, or scientific nature, which contributes to an understanding of music teaching and learning at any level.Fri, 1 Jan 2001 11:21:00 ESThttp://users.rider.edu/~vrme/v1n1/visions/berz-a new vision.pdf http://users.rider.edu/~vrme/v1n1/visions/davis-analysis of compositional techniques.pdfA. P. DavisSelecting repertoire is critical to the musical achievement of students who participate in choral ensembles of developing voices. If the director selects literature that is not voiced appropriately for the ensemble, or that fails to match the student's skill level, then the ensemble will have difficulty in achieving success. It seems essential for the director to choose music that includes compositional elements based on the developmental needs of the singers.Fri, 1 Jan 2001 11:25:00 ESThttp://users.rider.edu/~vrme/v1n1/visions/davis-analysis of compositional techniques.pdf http://www-usr.rider.edu/~vrme/v1n1/visions/kelly, berz, kershner-the development of hark.pdfA. E. Kelly, W. L. Berz, & B. KershnerEven though psychological studies in music have a long history, little attention has been paid to the study of the perception of complete compositions. Rather, there has been considerable research to study the perception of music with small isolated stimuli-single tones or small melodies (e.g., Cuddy, 1981; Deutsch, 1975; Deutsch, 1980). Perhaps because of influences from the field of psychoacoustics, many studies have favored the use of brief musical stimuli for the easy manipulation of sound variables (Aiello, 1994).Fri, 1 Jan 2001 11:28:00 ESThttp://www-usr.rider.edu/~vrme/v1n1/visions/kelly, berz, kershner-the development of hark.pdf