The journal primarily publishes full-length and brief reports of original research, but also publishes methodological, review, and theoretical articles at all levels and across genres such as education, theory/composition, musicology, performance and music production, and music technology and music industry.
Peer-reviewed, it welcomes contributions from educators, researchers, and practitioners who are working with technologies in primary, secondary, and tertiary music education settings as well as unique learning populations. The research it publishes follows academically sanctioned methodology: experimental, case study, ethnographic, or historical.
Below, an instructional video by Robert Willey, who contributed to the inaugural issue with an article on teaching electronic music technology.
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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.
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.
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.
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.
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).
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.
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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.
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.
For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →
In 1947 Ella Fitzgerald, already an acclaimed singer of jazz standards, toured with Dizzy Gillespie, immersing herself in the new style known as bebop. Like Dizzy, Ella responded to bebop’s complex harmonies with an infallible ear, and easily translated its … Continue reading →
Gertrude “Ma” Rainey’s Prove it on me blues affirms her independence from orthodox norms by boldly celebrating her lesbianism. Rainey’s sexual involvement with women was no secret with both colleagues and audiences. The advertisement for the song (above, click to … Continue reading →
The American traditional song Go tell Aunt Rhody originated as a gavotte composed by Jean-Jacques Rousseau for his opera Le devin du village (1752). An English version of the opera was produced in London in 1766; subsequently the melody attracted … Continue reading →