For Anna Halprin, the RSVP cycles are a touchstone for realizing her mission to have everyone dance, regardless of dance training, age, or ability.
The inclusion of as many people as possible in the world of dance had always been an essential aspect for Halprin, who saw engagement with difference as a way of enriching her own personal landscape as well, through across-the-board work without cultural, historical, or geographical boundaries.
To make this dynamic inclusive, she sought a methodology for creating collective works based on a common language that would make it possible to transcend the ideas and preconceptions of gender, social, and cultural categories including age, artistic technique, race, and educational background. The RSVP cycles are the instrument and the outcome of this quest.
This according to “Anna e Lawrence Halprin: Il ciclo RSVP” by Laura Colomban (Danza e ricerca IX [dicembre 2017] 173–87).
Today is Anna Halprin’s 100th birthday! Above and below, the choreographer in 2010.
Filed under Dance, Pedagogy
In 2019 Intellect launched the International journal of music in early childhood (ISSN 2516-1989; EISSN 2516-1997), an interdisciplinary forum directed at the empirical study of music in early childhood, or pre-birth to age 8.
The journal welcomes research-based contributions from fields such as music education, music therapy, community music, psychology, ethnomusicology, anthropology, sociology, history, philosophy, childhood studies, and social work that are concerned with diverse aspects relating to music in the lives of young children.
IJMEC publishes original research reports, best practice papers, case studies of specific programs, critical literature reviews, and book/media reviews. Areas covered will include young children’s development in and through music, pedagogical theories and tools for practitioners and researchers, early childhood music education policy, and music therapy for infants and young children, exploring music in settings such as daycares, preschools, and other educational spaces, as well as within families, peer groups, and the community. The journal is published in partnership with the Early Childhood Music & Movement Association.
Below, an example of the Suzuki method, the subject of an article in the journal’s inaugural issue.
In 2017 Intellect launched Journal of popular music education (ISSN 2397-6721; EISSN 2397-673X).
One of the main aims of this journal, especially initially, is iteratively to define the parameters of the field and disciplines of its readership and contributors (especially with regard to other journals in popular music, and music education), this being an emerging field of scholarship and practice.
The other principal aim is to disseminate excellent critique and other forms of scholarship (e.g., phenomenological) in and related to the field. The journal aims to have an inclusive, global reach. Education and popular music are terms that the editors are glad to see stretched and problematized through rigorous examination from multiple international perspectives.
Below, 我和你 (You and me), a song discussed in the inaugural issue.
Konakkoḷ is an important part of the Karnatak music curriculum in South India. The unique aspect of this pedagogical tool is that it is also a performance medium on its own. Classical concerts in India have featured a konakkoḷ soloist performing a vocal percussion solo in the same way that a jazz concert may feature a drum solo.
Konakkoḷ is appealing in its beauty and allows students to express their musical rhythms in performance tempo (even when it is very fast). This relates directly to how music is felt internally by a performer and is precisely why it is of great use in Western music education.
This according to “South Indian konnakkol in Western musicianship teaching” by Tony Tek Kay Makarome (Malaysian music journal V/1  pp. 37–52). Above, Trichy R. Thayumanavar, a renowned konakkoḷ performer; below, a demonstration.
HipHop Academy Hamburg’s rappers, dancers, and beatboxers use hip hop as a platform of integration, shaping feelings of belonging and perceptions of dual identities.
The Academy’s 2013 production DISTORTION examined migrant descendants’ places in Germany and provoked audiences to contemplate the new faces of the nation. This symbiosis of hip-hop and contemporary dance performed macro- and micro-political integration, illuminating how the boundaries of German national identity are disrupted by the presence of interculturality.
This according to “Ich fühle mich Deutsche: Migrant descendants’ performance of integration through the Hamburg HipHop Academy” by Emily Joy Rothchild, an essay included in Transglobal sounds: Music, youth and migration (New York: Bloomsbury, 2016, pp. 155–76).
Above and below, excerpts from DISTORTION.
In 2014 Waxmann launched the peer-reviewed series Perspektiven musikpädagogischer Forschung with Bedeutungszuweisungen in der musikalischen Früherziehung: Integration der kindlichen Perspektive in musikalische Bildungsprozesse by Anne Weber-Krüger.
The series aims to support the scientific examination of music education in all its substantive and methodological breadth with writings by young scientists and researchers as well as experienced scientists. The editorial team hopes that this series excites discussion in both the professional and interdisciplinary worlds.
The music department at the Deichmanske Bibliotek (Oslo Public Library) has recently developed a new package for music teachers in the Norwegian public school system. The service is based on Boomwhackers®, a set of colored plastic tubes that play various notes of the scale when struck.
Children quickly understand the simple notation system based on color, and under the guidance of a teacher begin quickly to play and even compose music. The package includes a set of Boomwhackers®, a detailed guide for teachers based on requirements outlined in the Norwegian national teaching plan of 2006, and a set of large-print sheet music of simple, well-known tunes.
The department also holds courses for teachers, in cooperation with the library’s department for school services, which is part of the Unge Deichman (Young Deichman) department.
This according to “Boomwhackers: A public library service for music teachers in the public school system in Oslo, Norway” by Ann Kunish (Fontes artis musicae LVII/3 [July–September 2010] pp. 291–95). Below, the Unge Deichman department demonstrates.
Launched in 2010 by the Ένωση Εκπαιδευτικών Μουσικής Αγωγής Πρωτοβάθμιας Εκπαίδευσης (Enōsī Ekpaideutiōn Mousikīs Agōgīs Protovathmias Ekpaideusīs/Greek Association of Primary Music Education), Hellenic journal of music, education, and culture (ISSN 1792-2518) is an international, open-access, peer-reviewed journal that aims to reflect a wide variety of perspectives from disciplines within the fields of music education and musicology. Issues include articles, case studies, and book reviews; articles in Greek or English are accepted.
The journal is devoted to the dissemination of ideas relating to theoretical developments, and welcomes interdisciplinary contributions. The inaugural issue’s table of contents is here.
The 200th anniversary of Chopin’s birth in 2010 inspired the launch of a new Russian-language quaterly dedicated to piano, PianоФорум (PianoForum). Published by Международная Муызкально-Техническая Компания (International Music-Technical Company) and edited by the musicologist, pianist, and pedagogue Vsevolod Zaderackij, the journal covers diverse aspects of contemporary pianism, including instrument building, piano repertoire and interpretation, piano competitions and festivals, and piano pedagogy from the beginning level to professional training. A description of the contents of issue no. 3 (2010) in Russian is here.
Launched in 2010 and edited by C. Matthew Balensuela, Journal of music history pedagogy (EISSN 2155-109X) is a biannual, peer-reviewed, open-access, online publication of the Pedagogy Study Group of the American Musicological Society. The journal presents original articles and reviews related to teaching music history at all levels (undergraduate, graduate, or general studies) and in all disciplines (Western, non-Western, concert, or popular musics). Its inaugural issue includes articles about debates and discourses in jazz history textbooks, classroom discussions among music majors, and making music history relevant to the lives of undergraduates.