Music in American Society the MENC Tanglewood Symposium Project

Choate, Robert A.

doi:10.2307/3391019

Cited by 10 publications

(9 citation statements)

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“…3 The Tanglewood Symposium of 1967 produced one of the first formal acknowledgments of this transition point and indicated that a decline in music participation at the high school level was a consistent problem in the music education profession. 4 More recently, researchers revealed that music programs at the secondary level are only able to retain between 10 and 20 percent of the student population. This number seems to be closely related to the socioeconomic status (SES), gender, and ethnicity of students.…”

Section: Research On Enrollmentmentioning

confidence: 99%

Reframing Recruitment as Marketing: Building Connections with Prospective High School Music Students, Families, and Administrators

Marra¹

2022

Music Educators Journal

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The transition from middle school to high school can be a particularly challenging time for music program retention. However, when music teachers view this process through the lens of marketing, it may be possible to develop a more holistic and comprehensive approach toward student enrollment. Marketing strategies related to perception, targeting, salience, and the “rule of seven” are all adaptable to music program membership efforts. These tools can help music teachers more effectively tailor messages and attract prospective students.

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Section: Research On Enrollmentmentioning

confidence: 99%

Reframing Recruitment as Marketing: Building Connections with Prospective High School Music Students, Families, and Administrators

Marra¹

2022

Music Educators Journal

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“…The conclusion of this Symposium is extremely important for intercultural music education, as it states that the music of all periods, styles, forms, and cultures belongs in the curriculum and that the music repertoire should be expanded to popular teenage and avant-garde music, American folk music, and music of other cultures (Choate, 1967). The 1990s saw a declinein the quality of education owing to numerous economic restrictions in society, which also affected education.…”

Section: Intercultural Music Educationmentioning

confidence: 99%

The relation between intercultural Sensitivity and world music preferences Among grammar school and vocational School students

Petrušić

Šešelj

2021

REI

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The paper explores the influence of the type of secondary education chosen by the participants on the level of intercultural sensitivity and world music preferences, as well as the connection between intercultural sensitivity and world music preferences. The research employed a general data questionnaire, the Intercultural Sensitivity Scale and an assessment scale to examine music fragment preferences in a sample of 124 participants. The results have significant implications for music and pedagogical theory and practice, in terms of increasing intercultural sensitivity and the tolerance of students towards members of other cultures and their music.

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“…Tying these themes together, I suggest that it is musically, socially, and educationally unfortunate that some university teacher education programs in North America (and, perhaps, elsewhere) remain musically and educationally narrow and detached from the musical and social realities of many students' lives, as scholars have argued for decades (e.g., Asmus, 2001;Campbell, 2005;Volk, 1998;Choate, 1968;Campbell, 2008;Elliott, 1989Elliott, , 1995Elliott & Silverman, 2014Hebert & Campbell, 2000;Humphreys, 2004;Isbell, 2007;Nettl, 1995;Palmer, 1994;Reimer, 2003;Schwadron, 1967;Wang & Humphreys, 2009). Indeed, a central theme in our field's discourse concerns the pressing need to diversify music teacher education curricula to acknowledge, respect, and nurture university music students' awareness of non-Western musics that are made and valued (for a wide range of reasons) by students of different ages in disparate school and community populations.…”

Section: Introductionmentioning

confidence: 99%

I drum, I sing, I dance: An ethnographic study of a West African drum and dance ensemble

Silverman

2017

Research Studies in Music Education

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The purpose of this ethnographic study was to investigate the Montclair State University’s West African drum and dance ensemble. Analyses of the data revealed three themes related to individual participants and the “lived reality” of the group as a whole, and to the social-cultural teaching–learning processes involved: spirituality, community-as-oneness, and communal joy. My motivation for undertaking this inquiry arose from the fact that, beginning in the 1960s, music education scholars in the United States have been concerned about the widespread marginalization of non-Western musics in American music teacher education programs. This situation is still a major concern because American undergraduate and graduate music teacher preparation remains overwhelmingly dominated by Western classical styles. This situation runs contrary to the massive social, cultural, situational, and musical diversity of American students’ lives. As one small effort to advance musical diversity in my own university music school context, I developed the proposal for and initiated the Montclair State University’s West African drum and dance ensemble.

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Music in American Society the MENC Tanglewood Symposium Project

Cited by 10 publications

References 0 publications

Reframing Recruitment as Marketing: Building Connections with Prospective High School Music Students, Families, and Administrators

Reframing Recruitment as Marketing: Building Connections with Prospective High School Music Students, Families, and Administrators

The relation between intercultural Sensitivity and world music preferences Among grammar school and vocational School students

I drum, I sing, I dance: An ethnographic study of a West African drum and dance ensemble

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