Growing Musicians

Growing Musicians: Teaching Music in Middle School and Beyond focuses on teaching adolescents within the context of a music classroom. It considers the impact of music education on adolescents as they transition from child to adult as well as encourages music educators to mindfully examine their own teaching practice.

Professional musicians tell how they developed as artists, how they approach performance, and how they handle the business side of the business—offering solace and heartfelt inspiration along the way. How to Grow as a Musician is packed with candid advice on everything from overcoming failure to the art of writing a song to doing that all—important "ego check." It also covers such vital practical areas as the role of contracts, self—promotion, getting and keeping gigs, and managing money. A special self—evaluation lets readers assess whether they have what they need to succeed in the music business.

This well-organized, readable text provides the tools to develop rich, meaningful activities that integrate art into the total educational experience for young children. It specifically focuses on developmentally appropriate teaching practices best suited for use with children ages 1 1/2 through 8. Multiple intelligences theory, the Reggio Emilia experience, artistic development, the creative process, thematic teaching, and the project approach form the framework for designing safe, open-ended art experiences that develop the child's ability to look at, talk about, and create art. This text is designed for both those preparing to enter the early childhood fields as well as those who wish to incorporate art more fully into their early childhood programs.

In this collection of interviews, twenty-four instrumentalists and singers talk about the early influences that started them on the road to jazz and where that road has taken them.

'Growing Musicians' focuses on teaching adolescents within the context of a music classroom, regardless of content area (orchestra, band, choir, or general music). It provides a look at the importance of music courses in the lives of adolescents as they navigate the path between being a child and an adult. As every music student is completely unique, there is no one-size-fits-all prescriptive way of working with this age group.

This report examines the characteristics of the artist population in 1990 and compares them to the 1980 and 1970 census results. Artist occupations selected for study include: actors and directors; announcers; architects; authors; dancers; designers; musicians and composers; painters, sculptors, craft-artists, and artist printmakers; photographers; teachers of art, drama and music in higher education; and artists, performers, and related workers not classified elsewhere. The study examines: (1) "Growth in the Artist Work Force"; (2) "Geographic Trends"; (3) "Demographic Trends"; (4) "Trends Among Women and Minority Artists"; (5) "Age Trends"; (6) "Education Trends"; (7) "Full Time Work Last Year"; (8) "Earnings Trends"; and (9) "Occupation Profiles." Findings indicate that very significant changes have occurred over the target time period. Artists have become more geographically diverse over the two decades. Growth among artist occupations has substantially outdistanced that for the labor force as a whole and for all professional occupations, of which artists account for about one-tenth. Incomes for artists, however, lag significantly behind those for other professionals of equal education and training. The report includes extensive tables and graphs of statistical information. (MM)

This book sets out a contemporary perspective on music education, highlighting complex intersections between informal, non-formal and formal practices and contexts. At a time when the boundaries between music learning and participation are increasingly blurred, this volume is distinctive in challenging a ‘siloed’ approach to understanding the diverse international music education landscape. Instead, the book proposes a multi-layered continuum of practices that can be applied across a range of formal, informal or non-formal concepts to support the development of musical possible selves. It challenges existing conceptions of learning in music education in part by drawing on research in adult learning, but also by considering the contexts in which learning takes place, and the extent to which this learning can be classified as formal, informal or non-formal.