<p>James A. Keene s treatment of this interesting and unique history represents a deep and penetrating look at a subject that until recent years has been largely neglected by teachers and scholars. A large population of music teachers have taught and acted with little insight about those special teachers who have accepted the formidable job of introducing music to the children of the United States from the earliest colonial times to the present day. The history of music education cannot have an independent existence, however, and is inextricably linked both to the history of education in this country as well as to the history of music as an art, both popular and high. Paralleling the history of education, music education is also the history of reform. Our founding fathers considered their efforts to be rooted in an idealism whether it be expressed in terms of religious or political liberty, and from such beginnings Americans have tended to regard themselves as reformers from that day to the present. It is less important to approve or disapprove of each reform than it is to observe the consistent efforts of Americans to cast aside the old way and adopt that which appears to be new and different. This national trait prevailed throughout the history of music education in America, resulting in our music educators changing methods and philosophies sometimes thoughtfully, and sometimes capriciously. Parts of this history deal forthrightly with various historical and philosophical tendencies, while relating them to the prevailing thoughts and movements in music education. It was necessary for society to accept the idea of a general expansion of the school curriculum before the arts could gain a foothold as part of the school curriculum. And with each degree of acceptance, from the introduction of vocal music into the curriculum to the rise of instrumental music and a cappella choirs, negative as well as positive reactions germinated requiring continuing defenses of the art even though the practices were ordinarily extremely popular with the children, many of whom discovered their talent for the first time while others could and did develop an appreciation brought about by exposure and practice of the art form.</p>

A History of Music Education in the United States

Arts & Photography

James A. Keene

Music

Glenbridge Publishing, Ltd.

There are many giants of music education, maybe hundreds. It is perhaps impossible to know the many in every generation who teach music successfully some who teach young children, others who teach the especially talented at prestigious institutions conservatories, and schools of music. Others distinguish themselves with organizational work, setting the tone and process for others to follow all important in their own way. We meet Lowell Mason, Luther Whiting Mason, Frances Elliott Clark, W. Otto Miessner, Edward Bailey Birge, Peter Dykema, James Lockhart Mursell, Mabelle Glenn, Thaddeus P. Giddings, Will Earhart, and Joseph E. Maddy. This volume describes the lives and work of only a few. There are many others who deserve to have their stories told Lowell Mason was the first, not an original thinker, but a great organizer, a gifted natural teacher, the George Washington of the music education profession. Each music educator made his or her contribution in a unique way. What they had in common was undeniable energy and a steadfast purpose. The path was never easy, but they persevered. We must not forget that they were all products of their time and place. Until the 1960s all popular art forms were denigrated by almost all music educators. Perhaps more surprising, however, was the almost universal disinclination to embrace American homegrown art unless it imitated the best of European art music. Whether it be T. P Gidding who believed that the ability to read music was the sine qua non of music education, or Peter Dykema who believed that community singing would elevate the common musical taste, to James Mursell, whose intellectual brilliance appeared to make it most difficult for him to relate successfully on a personal level to the great commonality of the music education profession, all made their mark and were recognized by their contemporaries as being outstanding. The music teachers of today and the music students who will be the music teachers of tomorrow need to know the profession s previous giants. We stand on the shoulders of these men and women and thousands like them.

Giants of Music Education

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Books by James A. Keene

See the best price to sell, buy, or rent books by James A. Keene. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

A History of Music Education in the United States

Giants of Music Education