External links
- Contemporary Music Project Archives - Special Collections in Performing Arts at the University of Maryland
In 1957, the Ford Foundation began to explore the relationship between arts and American society. Resulting from a suggestion by Norman Dello Joio, the Young Composers Project (YCP) was founded in 1959. Funded by the Ford Foundation and administered by the National Music Council, the project placed young composers (age 35 and under) in public school systems as composers-in-residence.
From 1959 to 1962, 31 composers participated in the project. They discovered that many music educators were not prepared to deal with contemporary music. In 1962 the YCP was elevated from a pilot program to one of the ten major projects of the Ford Foundation. The Music Educators National Conference (MENC) submitted a proposal to the Ford Foundation that the project be expanded to include seminars and workshops on contemporary music in the schools, and that pilot programs be established in public schools. In 1963 the Ford Foundation awarded MENC a grant of $1,380,000 to organize the Contemporary Music Project for Creativity in Music Education. YCP continued under the title Composers in Public Schools. By 1968, 46 more composers had been matched with public school systems.
One of the first activities of the Contemporary Music Project was the establishment of 16 workshops and seminars held at various colleges throughout the country to help teachers better understand contemporary music. Six pilot projects were established in schools, including the Baltimore, San Diego, and Farmingdale, New York systems.
In 1965 the Seminar on Comprehensive Musicianship was held at Northwestern University. Its purpose was to develop and implement means of improving the education of music teachers. In 1967 a symposium was held at Arlie House in Warrenton, Virginia to discuss means of evaluating Comprehensive Musicianship. The resultant document, Procedures for Evaluation of Music in Contemporary Education, offers guidelines for the evaluation of techniques and attitudes acquired through comprehensive musicianship studies.
In 1968 the Ford Foundation gave MENC a grant of $1,340,000 to administer the Contemporary Music Project for an additional five years. MENC contributed $50,000 per year. From 1968 to 1973 the Contemporary Music Project consisted of three programs: Professionals-in-Residence to Communities, the Teaching of Comprehensive Musicianship, and Complementary Activities.
Mark, M. (1986). Contemporary Music Education. New York: Schirmer Books.
Music education is a field of practice in which educators are trained for careers as elementary or secondary music teachers, school or music conservatory ensemble directors. Music education is also a research area in which scholars do original research on ways of teaching and learning music. Music education scholars publish their findings in peer-reviewed journals, and teach undergraduate and graduate education students at university education or music schools, who are training to become music teachers.
The China Institute in America is a nonprofit educational and cultural institution in New York City that was founded in 1926.
The National Anthem Project was a public awareness campaign launched in 2005 as a major initiative of MENC: The National Association for Music Education. At the time of its launch, the National Anthem Project website declared "MENC is sponsoring The National Anthem Project to revive America's patriotism by educating Americans about the importance of The Star-Spangled Banner-both the flag and the song." Sponsored by MENC with major support from the Jeep brand, and other sponsors such as NAMM, Bank of America, and the Gibson Foundation, this campaign, which later used the slogan "to restore America's voice through music education" was MENC's most ambitious project to date. A former First Lady, Laura Bush served as honorary chairperson, with country music's The Oak Ridge Boys as the official musical ambassadors. The stated purpose of the project was originally "to revive America's patriotism," but this was later modified to suggest that its purpose was merely to encourage more singing of the national anthem, or to bring more public attention to the role of music in American schools.
The Texas Music Educators Association (TMEA) is an organization of over 12,000 Texas school music educators. Its stated goals are to provide professional growth opportunities, to encourage interaction among music education professionals, to foster public support for music in schools, to offer quality musical experiences for students, to cultivate universal appreciation and lifetime involvement in music, and to develop and maintain productive working relationships with other professional organizations.
Mu Phi Epsilon (ΜΦΕ) is a co-ed international professional music fraternity. It has over 75,000 members in 227 collegiate chapters and 113 alumni chapters in the US and abroad.
Khazar University, is a private university located in Baku, Azerbaijan.
School of Jazz and Contemporary Music at The New School is the second conservatory of The New School university. It is located on West 13th Street in New York City's Greenwich Village neighborhood. It was known as The New School for Jazz and Contemporary Music before it was rebranded as School of Jazz and Contemporary Music and becoming part of College of Performing Arts at The New School in 2016.
Bennett Reimer was an American music educator. He held the John W. Beattie Endowed Chair in Music at Northwestern University from 1978 until retirement in 1997, where he was Chair of the Music Education Department, Director of the Ph.D. program in Music Education, and founder and Director of the Center for the Study of Education and the Musical Experience, a research group of Ph.D. students and faculty. A native of New York City where he was born in 1932, he was on the faculties of Case Western Reserve University, Cleveland, Ohio (1965–1978) where he held the Kulas Endowed Chair in Music and was Chair of the Music Education Department; the University of Illinois at Urbana-Champaign (1960–1965); Madison College, Harrisonburg, Virginia (1958–1960); and the Richmond Professional Institute of the College of William and Mary, (1955–1957). He held the bachelor's degree in Music Education from the State University of New York at Fredonia, and master's and doctorate degrees in Music Education from the University of Illinois, where he worked with Charles Leonhard and Harry Broudy. He began his career in music as a clarinetist and then oboist. Reimer then became a specialist in the philosophy of music education, curriculum development, theory of research, and comprehensive arts education programs.
In 1965 the Seminar on Comprehensive Musicianship was held at Northwestern University. Its purpose was to develop and implement means of improving the education of music teachers. In 1967 a symposium was held at Airlie House in Warrenton, Virginia to discuss means of evaluating comprehensive musicianship. The resultant document, Procedures for Evaluation of Music in Contemporary Education, offers guidelines for the evaluation of techniques and attitudes acquired through comprehensive musicianship studies.
The Yale Seminar took place at Yale University, June 17–28, 1963 to consider the problems facing music education and to propose possible solutions. The National Science Foundation had sponsored science curriculum development in the late 1950s. President John F. Kennedy appointed the Panel on Educational Research and Development, which recommended that the K-12 music curriculum of previous decades be examined to discover why school music programs had not produced a musically literate and active public. The U.S. Office of Education Cooperative Research Program awarded a grant to Yale University, and Claude V. Palisca was appointed director of the Yale Seminar. Two areas of concern were identified: music materials and music performance.
The Tanglewood Symposium was a conference that took place from July 23 to August 2, 1967, in Tanglewood, Massachusetts. It was sponsored by the Music Educators National Conference (MENC) in cooperation with the Berkshire Music Center, the Theodore Presser Foundation, and the School of Fine and Applied Arts of Boston University. The purpose was to discuss and define the role of music education in contemporary American society and to make recommendations to improve the effectiveness of music instruction. Participants included sociologists, scientists, labor leaders, educators, representatives of corporations, musicians, and people involved with other aspects of music.
The Goals and Objectives Project was established in 1969 to implement the recommendations of the Tanglewood symposium. Paul R. Lehman led the project. A steering committee was appointed along with eight subcommittees, each of which was charged with the investigation of, and recommendations for, specific aspects of music education.
Paul R. Lehman is an American Music Educator.
Charles Leonhard was an American music educator and academic. He was one of the first to argue for a focus upon aesthetic education within music education. For most of his career, he was a professor at the University of Illinois at Urbana-Champaign.
The National Association for Music Education (NAfME) is an organization of American music educators dedicated to advancing and preserving music education as part of the core curriculum of schools in the United States. Founded in 1907 as the Music Supervisors National Conference (MSNC), the organization was known from 1934 to 1998 as the Music Educators National Conference. From 1998 to 2011 it was known as "MENC: The National Association for Music Education." On September 1, 2011, the organization changed its acronym from MENC to NAfME. On March 8, 2012, the organization's name legally became National Association for Music Education, using the acronym "NAfME". It has more than 130,000 members, and NAfME's headquarters are located in Reston, Virginia.
Dennis Hayslett is an American music educator, conductor, and performer, with a particular focus upon the Concert Band and Jazz idioms.
The DC Arts and Humanities Education Collaborative is a non-profit organization dedicated to providing equitable access to arts education for all DC public and public charter schools for the growth of the whole child. The DC Collaborative believes that the arts—inclusive of music, visual arts, theater, dance and literary arts—are central to the education of every student. As a community-based partnership organization, almost 100 members strong, DCAHEC works with its partners to produce such exemplary programs as Arts for Every Student (AFES), Professional Development, and the recently launched Arts Education Initiative (AEI).
William Ennis Thomson was an American music educator at the collegiate level, music theorist, composer, former Music School Dean and professor at the Thornton School of Music, University of Southern California from 1980 to 1992. His overarching interest in research centered around the cognitive and perceptual foundation of music, insight for which is found in his 2006 article, "Pitch Frames as Melodic Archetypes", Empirical Musicology Review, 1.2, 1–18.
Julie Lyonn Lieberman is a pioneer teacher of music improvisation and ergonomic performance. She is an American improvising violinist, vocalist, composer, author, educator, and recording artist specializing in fiddle and international violin styles. She is among the first to teach improvisation and world music at the Juilliard School; she also created the first eclectic styles teacher training program in the world as Artistic Director for the summer program, Strings Without Boundaries. Ms. Lieberman is an author, composer, producer, and performing artist.
Dr. Charles R. Hoffer was an American music educator.
