Fertile Ground In Middle Level General Music

Fertile Ground in Middle Level General Music guides music educators to inspire their middle level students (grades 5–8) to engage more deeply in the general music classroom, where students are given the opportunity to "try on" a range of roles: musician, composer, listener, and critic. The book outlines the Fertile Ground Framework, a teacher's aide for curricular decision-making that unites the middle level concept with the National Core Arts Standards while emphasizing the developmental needs and cultural identities of students. This resource-rich book provides teachers with an array of adaptable classroom support tools, including: Lesson sequences Activity ideas Teacher resources and worksheets "Do-Now" exercises Featuring the real-world perspectives of thirteen music educators, Fertile Ground in Middle Level General Music is both practical and theoretical, presenting methods for creating rich, inspiring learning environments in middle level general music classrooms of all shapes and sizes, and highlighting the unacknowledged strengths that already exist therein. Focused on the aim of motivating students to pursue lifelong music learning, this book helps instructors find joy and excitement in teaching a wide array of musical topics to diverse groups of middle level music students.

Middle School General Music is a guidebook for music teachers trying to navigate the sometimes turbulent waters of teaching middle school general music. Written by an in-service teacher, this publication contains strategies and lessons that have been tested and refined in the 'real world' of a public school music classroom. Organized according to the nine National Standards for Music Education, each chapter presents tips and lessons for helping middle school students meet high standards in their understanding of music. Ideas include a Music Critics Unit, composition projects, rhythm games, and tips for encouraging students to sing with enthusiasm. Also contained in the book is a rationale for the inclusion of general music courses in the middle school program, and tips for working with young adolescents. A list of suggested resources is included. For middle school general music teachers looking to create a program that is viable, participatory, and motivating to adolescents, this publication is a useful tool.

This book echoes and enhances the generative, dialogic, knowledge-building process that took place at the AMLE 2021 conference, reflecting the way in which middle-level researchers work collaboratively and draw ideas and inspiration for their studies from prior research and accounts of practice, as well as their own experiences in the field. Each of the five sections features a recent study presented at the roundtable session at the 2021 AMLE conference, accompanied by two companion pieces offering different perspectives on the work. In the latter, the authors enrich and extend the original research by incorporating feedback from the conference session discussions, revisiting their findings and conclusions, considering alternative approaches to further research, and proposing new or clarified implications for practice. Addressing themes across theoretical frameworks and diversity of research design, and with topics ranging from music education to teacher agency and the productive struggle, the volume crucially presents and discusses recent innovations in the field with a view to prompting future research questions and deeper inquiry. As such, it will benefit researchers, doctoral students, and academics in the fields of middle level education, educational research, and specifically research methods in education. Those interested in teaching and learning, and adolescent development more broadly will also benefit from this volume.

Model Cornerstone Assessments (MCAs), that were developed for the National Core Arts Standards in Music, are curriculum-embedded measures designed for music students to apply relevant knowledge and skills while demonstrating learning in the standards that define the artistic processes. They are meant to engage students in tasks authentic to a school’s curriculum and honor the intent of the Music Performance Standards. They are created as models to allow for usefulness in a variety of curricular contexts and demographics. The intent of each MCA is to provide research-based assessment tasks that is specifically focused on the expected learning for the performance standards with rubrics that has been tested for scoring consistency. Following substantial development and piloting in schools across the United States, this book provides a thorough background of the MCAs and the confidence measures administered to guide implementation by teachers, administrators, and the educational community.

"Published in partnership with NAFME: National Association for Music Education."

Greek Rebetiko from a Psychocultural Perspective: Same Songs Changing Minds examines the ways in which audiences in present-day Greece and Turkey perceive and use the Greek popular song genre rebetiko to cultivate specific cultural habits and identities. In the past, rebetiko has been associated chiefly with the lower strata of Greek society. But Daniel Koglin approaches the subject from a different perspective, exploring the mythological and ritual aspects of rebetiko, which intellectual elites on both sides of the Aegean Sea have adapted to their own world views in our age of globalized consumption. Combining qualitative and quantitative methods from ethnomusicology, ritual studies, conceptual history and music psychology, Koglin casts light on the role played by national perceptions in the processes of music production and consumption. His analysis reveals that rebetiko persistently oscillates between conceptual categories: it is a music both ours and theirs, marginal and mainstream, joyful and grievous, sacred and profane. The study culminates in the thesis that this semantic multistability is not only a key concept to understanding the ongoing popularity of rebetiko in Greece, and its recent renaissance in Turkey, but also a fundamental aspect of the human experience on the south-eastern borders of Europe.

This volume explores the fraught relationship between Futurism and the Sacred. Like many fin-de-siècle intellectuals, the Futurists were fascinated by various forms of esotericism such as theosophy and spiritualism and saw art as a privileged means to access states of being beyond the surface of the mundane world. At the same time, they viewed with suspicion organized religions as social institutions hindering modernization and ironically used their symbols. In Italy, the theorization of "Futurist Sacred Art" in the 1930s began a new period of dialogue between Futurism and the Catholic Church. The essays in the volume span the history of Futurism from 1909 to 1944 and consider its different configurations across different disciplines and geographical locations, from Polish and Spanish literature to Italian art and American music.