Running head: MUSIC ADVOCACY
Music Advocacy for the Twenty-First Century
Elyse Audett
Thesis Paper
EMDTMS
December 29, 2009
Abstract
School music programs are being threatened today as budget cuts loom. Music teachers do not know how to advocate their programs, and, therefore, are losing their jobs. Students face a future of education without music. Teachers must learn the facts about music and its effect on brain, mind, and body. Music helps develop the brain and educate about feelings. It also can increase the heartbeat and encourage other body reactions. Music is an intelligence that is a vital part of education. Technology can be used as a tool to communicate with parents and the community. By using Web 2.0 tools as well as a website and videos, teachers can create a community that understands the value of music, and when budget cuts come up, music will not be on the cutting board this time.
Table of Contents
Introduction……………………………………………………………………………………………………………………………………4
Thesis Statement…………………………………………………………………………………………………………………………5
Educational Significance……………………………………………………………………………………………………6
Definition of Terms…………………………………………………………………………………………………………………8
Literature Review………………………………………………………………………………………………………………………8
Current/Past Solutions………………………………………………………………………………………………………24
Proposed Solution to Thesis Problem……………………………………………………………………25
Integration of Proposed Solution to Current/Past Solutions………27
Conclusion………………………………………………………………………………………………………………………………………28
Suggestions for Further Research……………………………………………………………………………28
References………………………………………………………………………………………………………………………………………30
Introduction
Today’s music programs are being threatened due to the large budget cuts that American schools are facing. Music teachers are facing loss of jobs, and the students are facing the prospect of having no music program within their school. The situation is dire, especially considering the following facts about music. Jensen (2008) informs the reader that music has many effects on the mind and body which include relieving fatigue, stimulating creativity, and thinking, increasing muscular and molecular energy, and much more. Music is a powerful tool in education and something that students of today need, and yet its presence is being threatened. Due to these facts, music teachers must learn how to properly advocate the music programs and must discover ways to reach the community they teach in.
Kindergarten through twelfth-grade music teachers learn in their college bachelor programs that music advocacy is vital to any music program. The challenge lies in how to go about creating effective music advocacy for the school and community. Many music teachers are already busy with teaching, concerts, and programs, and do not have time to go about advocating their program. Their concerts do a wonderful job of advocating music education, but beyond that many music teachers do not know how to advocate their program and make it personal to their community. The result of this is that music programs are still the first item to come up when budget cuts are needed. Music teachers need to find a way to reach beyond their own students to the entire community. Keyser (2006) informs the reader of this: “your relationship with a new family begins before their child officially starts attending your program” (p. 134). The challenge for the music teacher is to find a way to reach that family, the families of the current students, and the community.
In this twenty-first century time period, technology is also of concern. The students need to be learning technology, as this is the basis of how this country works. Pletka (2007) states, “despite the 98% of schools that are physically connected to the Internet, the renowned educational technology researcher Larry Cuban found that, nationwide, only 20% of teachers use information and communication technologies as part of their instruction” (p. 19). Parents are looking for the school that can engage their children and also prepare them for future jobs. If a music teacher can discover a way to incorporate advocacy of music, technology, and student engagement, the music teacher will have no problem advocating their program to the community and administration of the area they teach in.
Thesis Statement
Kindergarten through twelfth-grade (K-12) music teachers do not know how to advocate their music program to the fullest potential. Through the use of a website, videos, and a social network, music teachers can make music advocacy personal to the community they teach in, involve the community in support of the music program, and show that music is vital to all students.
The necessity of music in all schools is something that music teachers are aware of and know. Web 2.0 tools are a part of every students’ life as well as their parents. These powerful tools can reach out to the community and touch the lives of families that the music teacher has no contact with. Student involvement in these tools can promote student engagement and help the students love their learning. These Web 2.0 tools can aid the music teacher in every way. Through these tools, teachers can communicate to the community what is going on in the music program, what the students are learning, and also communicate the importance of music. So many are unaware of the effect that music has on the mind, brain, and body. Through the use of these simple Web 2.0 tools, teachers can communicate to their community the importance of music education.
Educational Significance
Effective music advocacy has significance to every teacher, kindergarten through twelfth grade. Advocating music goes beyond reaching the administration. Yes, it is vital that the school administration see the value of music. True music advocacy reaches the parents, community, and student. First, the music teacher must reach the student. When the student buys into the program, and understands the value of learning music, then music advocacy can reach and affect the parents, community, and administration.
When all of these different people understand the value of the music program, then teaching can be truly effective. Students are excited about learning. The music teacher must find the way to help students decide to engage in learning. Making them part of the music advocacy process will help them decide to engage. Pletka (2007) states, “instructional technology is a powerful way to engage students and increase participation in collaborative learning in a variety of social contexts important for student learning” (p. 70). Also, Solomon & Schrum (2007) inform teachers of this:
Young people in the developed parts of the globe are very aware of the new tools at their disposal and many of them spend hours online using these tools. Because these new technologies and new capabilities engage and motivate students, we can use them to educate. (p. 9)
Twenty-first century students love the new technology tools out there, and by inviting the student to be part of the music advocacy process through these technologies, music teachers will effectively engage their students. This has special significance for all music teachers here in the United States, where music programs are being threatened, and even globally.
Definition of Terms
There are a few terms that the reader must be familiar with when learning about this issue. They are as follows:
K-12 is defined as Kindergarten through twelfth-grade students.
Music advocacy is defined as proving to an audience that music is necessary in all schools.
Social network is defined as a group of people drawn together for a common cause through a website in which they can interact and share things with each other.
Web 2.0 is defined as technologies used to communicate information that allow for collaboration and interaction.
Literature Review
Music’s Effect on Mind and Body
In order for the music teacher to begin the process of advocating the music program, they must understand the power of music. Jourdain (1997) takes a look at how music is processed. Jourdain leads the reader on a journey from the beginning of music when it is just a sound to the ecstasy the body experiences when it is hearing something pleasurable. Music begins as a sound as is processed through the ear. After a complex process of moving through the ear, it reaches the brain. The brain organizes all these different sounds and information being thrown out into something that makes sense. The brain can process individual notes with multiple sounds. After sound is processed, the next step to move on to is tone. The brain breaks down all the different sounds into individual tones. This job belongs to the cerebral cortex. The neurons of the brain react to the tones. There are different reactions among different neurons. These neurons make sense of melody, harmony, and rhythm. It is not until the age of three or four that a child can make sense of music. Up until now, it has just been various sounds moving up and down. Now they can recognize melodies and such. Jourdain informs the audience that music requires tones that remain on one pitch and have a certain duration. If it is random tones, the brain cannot make sense of it. Jourdain contues on to break down how the brain processes each individual musical element. For every element there is much complexity happening in the brain. The most complex being in music performance which involves memory, muscle movement, emotions, and many more choreographed muscle movements (Jourdain). It is of value for the music teacher to understand that the brain goes through such an incredibly complex process when hearing music. It is vital that all understand that when one is just sitting and listening to music, that the brain is highly engaged. All of this brain activity means that music greatly aids in memory. According to Jensen (2008):
Music elicits emotional responses, encourages receptive or aggressive states, and stimulates the limbic system. The limbic system and the subcortical region of the brain are involved in engaging musical and emotional responses, as well as mediating long-term memory. This means that when information is imbued with music, there’s a greater likelihood that the brain will encode it in long-term memory. (p. 75)
Also, Jensen gives a list of music’s effects on the mind and body. These include:
Increases muscular energy, increases molecular energy, influences heartbeat, alters metabolism, reduces pain and stress, speeds healing and recovery in surgery patients, relieves fatigue, aides in the release of emotions, stimulates creativity, sensitivity, and thinking. (p. 75)
Jensen also states what Jourdain (1997) gave so much information on earlier. He states that the brain acts differently depending on which musical activity is involved. Jensen informs teachers that the entire brain is engaged when a person listens to the music, and that music in the school curriculum “may be a valuable tool for the integration of thinking across both hemispheres of the brain” (p. 76).
Storr (1992) claims that music is “the most significant experience in life for a great many people” (p. 168). The human brain is always working to create patterns from abstractions. Storr gives the example of three dots. The human brain automatically sees a triangle. It automatically makes a pattern out of something abstract. Storr informs the reader that humans can gain satisfactions from solving problems and seeing connections. He states:
If we consider ‘absolute’ music objectively, we can describe it as abstract patterns of tones which have no obvious relationship either with what goes on in the external world or, at first sight, with mental processes. Mathematics and music have often been represented as similar, because both are concerned with linking together abstractions, with making patterns of ideas (p. 177).
Storr shares how music has been used with patients. Music has helped people heal, and it has a profound effect on emotion. Storr states that how the brain develops is “partly determined by the external stimuli to which it is exposed” (p. 48). Therefore, music can have an effect on the development of the brain. According to Storr, “Music is a powerful instrument of education which can be used for good or ill, and we should ensure that everyone in our society is given the opportunity of participating in a wide range of different kinds of music” (p. 48).
Understanding these different facts about music and the brain and body can aid the music educator in seeing the value of their program. Often, music educators themselves, do not see the value. According to Campbell (1997), students who sing or play an instrument can score up to fifty-one points higher on the SAT than the national average of other students. Facts such as this can aid the music teacher in advocating the music program. Campbell also tells the story of a student that all the teachers had problems with. He was extremely hyperactive, but when he became involved in music, he transformed into a different student. Campbell states “Alas, because of a lack of understanding on the public’s part of the importance of music for neurological development, funding for music and art educators is vanishing” (p. 176). Campbell shows ways that music does help in neurological development. First of all, rhythm can be used a tool to help develop memory and intellect. Short-term memories are often stored as sounds, and when put with a rhythm can be memorized as one single unit instead of several units. Also playing an instrument or participating in some music program “has been shown to have broadly positive effects on learning, motivation, and behavior” (Campbell, p. 177). According to Campbell:
In a study of approximately 7,500 students at a medium size university between 1983 and 1988, music and music education majors had the highest reading scores of any students on campus, including those in English, biology, chemistry, and mathematics (p. 177).
Also, Campbell tells about the corpus callosum, which is the bridge between the left and right sides of the brain. This part of the brain allows both sides of the brain to respond simultaneously to an event. Studies have shown that the corpus callosum of musicians is more developed than in other people.
All of these studies and many more have been done on music and the brain, and yet the general public does not know about it. The administration still wants to cut music from the educational curriculum. Music teachers must be armed with the knowledge of music and its effect on mind, body, and brain when defending their music program. Music engages the students, helps them stay in school, and develops their brain in ways that no other area can touch.
Multiple Intelligences and Engaging Students
Most educators have heard of the multiple intelligences, such as linguistic, mathematical, spatial, etcetera. Gardner (1999) states, “education in our time should provide the basis for enhanced understanding of our several worlds—the physical world, the biological world, the world of human beings, the world of human artifacts, and the world of self” (p. 158). Music is a vital part of the education. Gardner made music an intelligence and states:
Musical intelligence entails skill in the performance, composition, and appreciation of musical patterns. In my view, musical intelligence is almost parallel structurally to linguistic intelligence, and it makes neither scientific nor logical sense to call one (usually linguistic) and intelligence and the other (usually musical) a talent. (p. 42)
According to Gardner, students have different intelligences. They can have just one or more often aspects of more than one. Music is one of those intelligences, and it is vital that students who need music have that resource available to them.
Reimer (2003) takes music as an intelligence a step further than Gardner. Reimer explores the idea that often many are gifted in music differently. Some can compose music, others are performers, some can improvise, others listen critically, and many are more gifted in music theory. Most of the time, a musician is not gifted in every area. Music as an intelligence is complicated, and students will be more gifted in some areas than others. A music teacher must show the community every aspect of music. Often music is narrowed down to only performance, and it is only performance that is used in advocating. The music teacher must show the community that he/she is reaching multiple musical intelligences.
Reimer (2003) also explores why music is often considered as less in the field of education. Music is often connected with emotion, as it has the power to create emotions. Reimer states, “emotion and intellect have historically been conceived to be different and even incompatible, accounting in large degree for the lesser status of music (and the arts) in education” (p. 72). More recently this is being realized to be a myth. Reimer also states, “it is rapidly becoming evident that human cognition, or intelligence, exists and is demonstrated in diverse forms, is directly tied to the function of the body, and is pervaded throughout with feeling. (p. 75). Reimer goes on to show that feelings are vital in learning. Many educators have seen themselves that when students “feel good” about learning they are more engaged, and more apt to remember. Music can help students be more in tune with their feelings, and can greatly aid the educator. Music is one of the only areas that has a profound impact on feeling and emotion. Reimer makes a quote from Leonard Bernstein about music and feelings:
The most wonderful thing of all is that there’s no limit to the different kinds of feelings music can make you have. Sometimes we can name the things we feel, like joy or sadness or love or hate or peacefulness. But there are other feelings so deep and special that we have no words for them, and that is where music is especially marvelous. It names the feelings for us, only in notes instead of words. (p. 85)
Reimer shows the music teacher that music educates feeling. It is vital that the music teacher be aware of all that music does for the student before he/she can advocate their program.
Edwards (1990) says, “children delight in experimenting and responding to rhythm and music by dancing, moving, and singing” (p. 28). Music naturally engages the student. Children already love it. Teachers need to use this fact to engage the students. Music educators have a powerful role in the school, as what they teach naturally draws students in. Students want to know more about what they have to teach. Edwards also states, “music and movement experiences provide young children with a developmentally appropriate medium for expressing ideas, feelings, and sensory impressions” (p. 30). Edwards speaks about how children are so excited to learn about music and to experience rhythm. Music teachers already have these natural advocates in their classrooms who understand the value of music.
Advocating Music
Hammann and Gillespie (2004) offer ideas on how to advocate music to the community. Their ideas include involving five pillars. These five pillars are as follows: inform and educate those in power about the values of orchestra programs, be a good string teacher, identify and emulate model orchestra programs, gather data and use if effectively, and lastly organize support. A teacher can inform and educate those in power by performing frequently for them and inviting them into the classroom. Being a good teacher involves understanding pedagogy, and planning effectively, and being able to demonstrate excellent musicianship. Identifying and modeling other programs involves getting involved in other programs and seeing what works well. Gathering data involves using all the research out there and letting the community know about those numbers. Lastly, organizing support involves parents supporting the music program, as administrators do listen to parent voices.
Hammann and Gillespie (2004) state:
School orchestra programs must be a vital, active part of the local community. Voters and administrators who are not exposed to the school orchestra are more likely not to fund it. Orchestra concerts and activities must be before the public frequently, just as the marching band and show choir. If not, those in power—voters, school boards, the public—will not understand the value of orchestra programs. (p. 21)
Hammann and Gillespie are speaking about orchestra programs, but this is true for all music programs. The public must see the benefit of music. They must be able to observe how it is serving in their community, and what it is doing for the students.
Phillips (2009) states that music advocacy begins in the front of the class. Phillips believes that music educators must work hard to improve what they do, and not let budgets and other such things stop them. Phillips lists the following things that are absolutely necessary when it comes to music advocacy:
Communicate clearly and regularly with parents and students about program expectations and the benefits of music in their lives, establish positive communication with administration and other staff about the music program, establish regular contact with the local media to promote events at the school and recognize accomplishments, form a relationship with local music merchants and the music industry at large, create a framework for transition from elementary to secondary music programs, provide opportunities for student leadership within the music department, maintain collegiality among music education peers within the district or surrounding jurisdictions, attend regional and provincial music educators’ association conferences and workshops, enroll in provincial and/or national music educators’ associations(s), develop a plan for ongoing professional learning. (¶ 5)
Phillips places special emphasis on creating a positive learning environment for the students as well as communicating with parents and students as early as possible. Communication is vital in music advocacy, as well as relationships with the students and parents.
Elpus (2007) informs the audience that music advocacy is something that has always been necessary within education. He states:
Although advocating for our place in the public schools is a necessity, many working music educators feel ill prepared for the task and, as such, are often unable to create a compelling, cogent advocacy argument when the music programs under their charge are faced with cutbacks or elimination because of budgetary constraints. Those of us working in the public schools are facing an advocacy crisis because we do not possess collectively, as a profession—the tools necessary to advocate effectively on our behalf. (¶ 2)
Elpus (2007) recommends that all teachers get involved in organizations such as MENC (The National Association for Music Education). Being involved in this way will keep music teachers up to date on findings within the music field.
Kummer (2005) offers the music teacher three rules to remember in music advocacy. They are number one, do a good job, number two, do a good job, and number three, tell somebody about it. By doing a good job as a teacher and having an excellent music program, the music teacher is showing the community and students that music is valuable. It is vital to tell them about it, so that they know. Kummer says:
How to communicate the value, benefits and success of the music program need not be a mystery. We may be offended that, unlike the math or science teacher whose subject matter is considered "core", we are too often required to explain and justify our very existence in the curriculum. We should also recognize that our visibility in the school and community provides us ample opportunity to extol the virtues of music as a vital component in the complete education of every child. Our colleagues in less visible subject areas may well be envious of our position of esteem in the eyes of parents and the general public. (¶ 5)
Taylor (2008) reminds the music advocate that they must know how to construct their argument, and that the advocate must show the value of the extrinsic and intrinsic benefits of music. Very often music advocates favor one side. They can give the scientific facts about the benefits of music (extrinsic). But everyone needs to hear the intrinsic value of music as well. Music is a beautiful art that evokes powerful emotions within musicians and non-musicians. The extrinsic value of music such as music and the brain need to be out there for the public, as well as the beauty of music.
Rocks (2006) reinforces the idea that community is vital in music advocacy. That community includes the businesses around the school. Rocks encourages the music teachers to involve local businesses in their music program. Students can perform at some of their events and so forth. In order for a music program to be successful, it needs to be visible. All music teachers want the program to succeed, and in order to do that, they and their students must be out and involved in the community.
Reaching the Community
Reaching the community involves reaching students, parents, and administration. Music concerts and such are a very important part of reaching these people. The music advocate must understand how to go about reaching all these different people beyond mere performances. Keyser (2006) speaks about making parents your partners. She states, “when families and teachers truly team up, it can provide benefits for everyone: children, parents, teachers, and the program” (p. 4). Keyser also offers some family-centered care principles. These principles include “recognizing and respecting one another’s knowledge and expertise, sharing information through two-way communication, sharing power and decision making, acknowledging and respecting diversity, and creating networks of support” (p. 12). Also, Keyser expresses the importance of communication, and positive communication. The teacher must be very wise when communicating with parents. As communication is a vital part of music advocacy, it is of absolute importance that the music teacher partner with the parents of the community, and together create a strong music program.
In this twenty-first century of technology and Web 2.0 tools, communication is made much simpler. Music teachers should take these tools, and use them in their advocacy. Pletka (2007) makes this statement about the Net generation:
Even though the Net Generation perceives the digital and the physical as intrinsically linked, the aforementioned speaker’s conclusion, which suggested that the Net Generation would rather text message with a friend than talk with them face-to-face, is based not on research but on the perceptions from older generations about a new rising one. It is not that Net Geners would rather instant message than spend time interacting with a friend face-to-face but rather that they have limitless possibilities with whom they can chose to communicate. (p. 26)
As teachers there are limitless possibilities for communication, and the more these are used, the more student buy-in and student engagement there will be. Parents are aware of the involvement their children have in these technologies, and many of the parents are using these technology tools just as much as the students. Parents will support a program that is helping their children prepare for the future. Music has educational value, and parents will support that, and couple that with students interacting with technology, and parents will advocate the music program to others.
According to Solomon and Schrum (2007):
The shift to Web 2.0 tools can have a profound effect on schools and learning, causing a transformation in thinking. This will happen because the tools promote creativity, collaboration, and communication, and they dovetail with learning methods in which these skills play a part. For example, when students collaborate on a project and present what they’ve learned, they’ve honed their thinking and organizational skills. New tools enable that possibility. (p. 21)
Students of today think differently than they used to, due to all these various technologies. Teachers must adjust to this change, and music advocacy must change with this.
Solomon and Schrum (2007) offer more insight on these Web 2.0 tools. Leaders and teachers can use these tools to help their school in the way that businesses use them. They can do this by posting newsletters and other school information through wikis and blogs. The other advantage of Web 2.0 tools is that they are often free, or very inexpensive. Music teachers can take advantage of these tools to advocate their music program. When they use these tools, they will earn the respect of administration, parents, and students and at the same time effectively communicate the music advocacy information.
Current/Past Solutions to Thesis Problem in Practice
Positives of Current Solutions
Many teachers today are still using performances as the main way of advocating their program. This is the best way to advocate the program. Every administrator wants their school shown in a positive light and these performances do that. Every parent loves to see their child up on stage performing, and the children enjoy the thrill of it. Performances are a vital way of assessing how successful a music program is. Parents and faculty can observe the relationship there is between students and the teacher at these performances. The performances excite students and parents about music. They observe the strong relationships, and the joy of making music together.
Failures of Current Solutions
When everything is going smoothly the performances are a great tool for advocacy; however, when budget cut times come around, these performances alone are not enough. Rocks (2006) states:
There is further evidence of the erosion of support for music and music education. Have you been to a concert recently? Have you noticed the number of empty seats? Have you noticed the age of the audience members? A majority of them seem to be well over 50 years old. Where are the young people? Why aren’t they attending concerts? (¶ 4)
Music programs are diminishing, and the young people of today are not necessarily aware of the value of music. The performances alone are not reaching out to the community. Teachers must look for a way to communicate to the entire community and not just the parents of the students.
Proposed Solutions to Thesis Problem
Performances need to continue to be a way to advocate the music program. Given the fact that performances are a part of every music program, the music teacher must go one step further in making the music program shine. Through the use of Web 2.0 tools, a music teacher can reach a large audience, and advocate their music program.
The first step in using technology as a part of this solution is to build a website. This website needs to have a calendar of all events for the school year. Often parents are frustrated about not knowing concert dates and other events. The parents of students have so much happening and they need an easy place to go to see those event dates. This website should also contain all the extrinsic and intrinsic value of music information. There should be a place where the facts of music and the brain are given. There should also be a place for quotes on the value of music.
Another valuable piece to include in this website, is pictures of students and such. The website must be personal to the viewer, and to include pictures, and clips of performances would guarantee views from the community. Also, the music students can put together a video on why they love their music program. The music teacher is then involving the student in music advocacy, as well as creating a learning experience for them.
A second step in advocating the music program would be a social network site. Ning would be a wonderful resource. Through this, students can blog, they can post videos, they can access schoolwork. A link to this site should be included on the main website. The parents can then see what is going well in the classroom as well.
This solution puts the music program in the limelight, so to speak. The entire community can see what is happening in the music program at all times, and beyond performances. This solution shows that the music teacher is tech-savvy as well as music-savvy. This will appeal to parents, administration, and students.
Integration of Proposed Solutions with Current/Past Solutions
As stated earlier, performing will always be a component of the music program. In order to use this performance further, a music teacher should make sure it is filmed. The music teacher should then make sure clips from it are on the website. Not everyone can attend a performance, but everyone can access a website. The community will be able to observe more about the program through these technologies and Web 2.0 tools.
Within performance are many aspects of music advocacy. Very often, teachers make statements within the concert on the value of music. The parents then receive information all at once. They observe the performance; they receive information on music advocacy, etcetera. Most of these statements a teacher makes in the realm of the performance will not be remembered. Within a website, are the tools for including all of this information. A website allows the parents a place to go back and review information if they desire. The website can be an area to show what performances are like. It can contain videos and text about music advocacy facts that the parents will see and remember. The website is a platform and one place to give parents all the information that the teacher needs to convey. Keyser (2006) speaks of the importance of daily communication with parents. She states, “The information you give parents will be determined by your program’s policy and practices, what the parent is interested in knowing, and the time you and the parent have available” (p. 43). A website allows for easy daily communication. It can always be updated, and the parents can find the information that is pertinent to them. The website is a platform for communication, music advocacy, and updates, and is a tool that music teachers should take advantage of.
Conclusions
Music is a vital part of the students’ education, and music teachers must first understand that. They must then reach their community and express this information to them. Through the use of technology, the music teacher will create a community of support. Respect for the teacher will be earned, and music advocacy will be something that the entire community is a part of, and will not be limited to only the music teacher.
Suggestions for Further Research
Further research could be made into the area of music and the brain. This is a huge part of music advocacy, and something the music teacher must have an understanding of. New findings are being discovered everyday on the value of music, and a teacher could do further research into this. Also, another area for further research would be music technology. Students have much to learn about music technology, and advocacy in the classroom could be furthered in this area.
References
Campbell, D. (1997). The Mozart effect: Tapping the power of
music to heal the body, strengthen the mind, and unlock the creative spirit. New York: Avon Books.
Edpus, K. (2007). Improving music education advocacy. Arts
Education Policy Review, 108(3), 13-18. Retrieved December 29, 2009, from http://web.ebscohost.com/ehost/detail?vid=1&hid=11&sid=52a63fa8-78bf-44da-9a98-58223ff3365c%40sessionmgr11&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=aph&AN=25127287
Edwards, L. (1990). Affective development and the creative
arts: A process approach to early childhood education. Columbus, OH: Merrill Publishing Company.
Gardner, H. (1999). Intelligence reframed: Multiple
intelligences for the 21st century. New York: Basic Books.
Hamann, D. L., & Gillespie, R. (2004). Strategies for
teaching strings: Building a successful string and orchestra program. New York: Oxford University Press.
Jensen, E. (2008). Brain-based learning: The new paradigm of
teaching. Thousand Oaks, CA: Corwin Press.
Jourdain, R. (1997). Music, the brain, and ecstasy: How music
captures our imagination. New York: William Morrow and Company, Inc.
Keyser, J. (2006). From parents to partners: Building a
family-centered early childhood program. Saint Paul, MN: Redleaf Press.
Kummer, R. (2005). The three simple rules for advocacy.
Illinois Music Educator, 65(3), 10-11. Retrieved December 29, 2009, from http://web.ebscohost.com/ehost/detail?vid=1&hid=11&sid=69e62a97-3598-48d5-a8a2-8d3bbb1e7593%40sessionmgr11&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=aph&AN=17082950
Philips, J. (2009). Music advocacy – A personal perspective.
Canadian Music Educator: Musicien éducateur au Canada, 50(3), 34-36. Retrieved December 29, 2009, from
http://web.ebscohost.com/ehost/detail?vid=1&hid=108&sid=73855867-1fa9-4519-9875-
e391b6d59706%40sessionmgr102&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=ehh&AN=38898242
Pletka, B. (2007). Educating the net generation: How to engage
students in the 21st century. Santa Monica, CA: Santa Monica Press LLC.
Reimer, B. (2003). A philosophy of music education: Advancing
the vision. (3rd ed.). Upper Saddle River, NJ: Pearson Education, Inc.
Rocks, D. (2006). Music advocacy. American Music Teacher
55(5), 81. Retrieved December 29, 2009, from http://web.ebscohost.com/ehost/detail?vid=1&hid=11&sid=2d00b4b4-1eb8-4c46-8b1b-19dde7e5d5eb%40sessionmgr12&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=ehh&AN=20483974
Solomon, G. & Schrum, L. (2007). Web 2.0: New tools, new
schools. Washington, DC: International Society for Technology in Education.
Storr, A. (1992). Music and the mind. New York: The Free
Press.
Taylor, C. (2008). Both sides, now: Balancing the extrinsic and intrinsic benefits of music in music advocacy. Canadian Music Educator: Musicien éducateur au Canada, 49(3), 36-38. Retrieved December 29, 2009, from http://web.ebscohost.com/ehost/detail?vid=1&hid=9&sid=7883db1b-5f0c-49f2-9f13-7b6fd14f0544%40sessionmgr4&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=ehh&AN=31950765
No comments:
Post a Comment