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Journal of Music History Pedagogy
Number of Followers: 5  

  This is an Open Access Journal Open Access journal
ISSN (Print) 2155-109X
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  • Uncovering a Diverse Early Music

    • Authors: Alice V. Clark
      Pages: 1â - 1â
      Abstract: Many musicologists have worked to expand the undergraduate survey beyond its traditional boundaries by incorporating more voices from women and people of color, but this task is easier to do toward the end of the historical survey than at the beginning. In the middle ages and early modern period, access to the technologies of written music was limited, and most musical institutions were strongly suited for those with societal power—mostly European men. A wealth of visual, literary, and material evidence documents the activities of Africans and women in early modern Europe, but women musicians left a meagre trace, and musicians of non-European origin even less. This article summarizes recent efforts to diversify the first half of a one-year survey for music majors, covering antiquity through the baroque.  In addition to expanding the visibility of women—as composers, performers, patrons, and scholars—I show the presence of musicians of non-European origin living in Europe, as well as encounters between Europeans and Latin Americans and Asians.  This effort to highlight the diversity that exists, sometimes below the radar, within the Western art tradition does not “decolonize” that tradition, but it may facilitate that process by making visible its colonialist past. 
      PubDate: 2021-06-10
      Issue No: Vol. 11, No. 1 (2021)
       
  • Object Lessons: Teaching Musicology through Museum Collections

    • Authors: Elizabeth A. Clendinning, Andrew W. Gurstelle
      Pages: 22â&# - 22â&#
      Abstract: Musical instruments and related performance objects are central to human artistic and cultural expressions. As such, they have long been subjects of research in music as well as an important component of many museum collections, where patrons can appreciate them both as aesthetic objects and as material embodiments of their performance contexts. However, material objects have a reduced role in undergraduate music education. Teaching undergraduate students to curate instruments and other performance paraphernalia presents unique opportunities to crosscut traditional disciplinary approaches to teaching musicology. In a narrow sense, examining instruments can help students better understand their technical and functional properties as physical, noise-making entities. Students can also better understand the historical and sociological aspects of instruments by considering their materials, construction methods, and aesthetic embellishments. However, the pedagogical benefits of having students curate a museum exhibit are even more extensive. In the course of this work, students may synthesize non-textual primary source information, text-based documents, and audiovisual information; write interpretive texts for a general audience; discuss the politics of historical and cultural display; and work in teams toward a measurable goal. Moreover, students who complete such projects express greater appreciation for the musical objects, the culture or group of people who created the objects, the challenges of primary source and object-based research, and a sense of pride in being able to conduct meaningful research that contributes to a public project. Using our own students’ work as a primary case study, we examine how and why studying musical instrument collections serves as a pedagogically satisfying interdisciplinary project within the context of collegiate music education. We provide readers with insights into how to work with collections in their own classroom settings. Based on our work in developing a student-curated exhibit, we discuss all aspects of collaboration, including communicating and partnering with museums and other types of collections; articulating student learning objectives that are grounded in musical, historical, and anthropological theory; developing exhibit themes; facilitating collections-based research; instructing students in interpretive writing for a general public; and organizing community outreach programs. We also discuss strategies for finding (or assembling) appropriate collections of objects for use within a variety of different institutional settings. Finally, we share student reflections on how their approaches to music, history, culture, and the value of public culture-work have changed because of their curatorial work.
      PubDate: 2021-06-10
      Issue No: Vol. 11, No. 1 (2021)
       
  • Pandemic Lessons

    • Authors: Erin Bauer, Alexandra Monchick, Esther Morgan-Ellis, Mary Natvig, Kristen Strandberg, Reba Wissner
      Pages: 46â&# - 46â&#
      Abstract: During the rapid shift to distance learning during the 2020 COVID-19 pandemic, many instructors re-evaluated old pedagogical tools and stratgies and adopted new ones. Some of these innovations proved to be so useful that instructors intend to keep these practices as they return to their face-to-face classrooms. This roundtable discusses such pedagogical adaptations, focusing particularly on new approaches to course organization and content delivery, class discussion and student participation, assessment, a pedagogy of care, and technological teaching tools.
      PubDate: 2021-06-10
      Issue No: Vol. 11, No. 1 (2021)
       
  • Review of Resonances: Engaging Music in Its Cultural Context

    • Authors: K. Dawn Grapes
      Pages: 57â&# - 57â&#
      Abstract: This open-access textbook designed primarily for music appreciation courses is authored by Esther Morgan-Ellis and her University of North Georgia colleagues. The book takes a topical rather than chronological approach and presents a far more inclusive history than other texts.
      PubDate: 2021-06-10
      Issue No: Vol. 11, No. 1 (2021)
       
  • Review of Norton Guide to Teaching Music History

    • Authors: Laura Moore Pruett
      Pages: 61â&# - 61â&#
      Abstract: The Norton Guide to Teaching Music History, edited by Matthew Balensuela, is an excellent resource for music history instructors at a variety of institution types and with varying degrees of experience. The collection of essays covers topics that address course content, assignments, methods, and approaches. The book includes timely materials on making music history courses more accessible, diverse, equitable, and inclusive.
      PubDate: 2021-06-10
      Issue No: Vol. 11, No. 1 (2021)
       
 
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