Important People

Front 1

Harold Abeles

Back 1

Professor Emeritus - Columbia University:

Made significant contributions to gender bias and gender influence in instrument selection.

“Responses to Music” in Handbook of Music Psychology edited by Donald A. Hodges. Lawrence, Kan.: National Association of Music Therapy, 1980.
“The Sex-Stereotyping of Musical Instruments” in Music Education Research: An Anthology from the Journal of Research in Music Education. Reston, VA: Music Educators National Conference, 1998.

Front 2

Abramson, Robert

Back 2

DALCROZE

Robert M. Abramson, Founder and Artistic Director Co-founder and past president, The Dalcroze Society of America; Director, The Juilliard Dalcroze Institute. Faculty, The Juilliard School of Music, The Manhattan School of Music. License, The Dalcroze School of Music (New York), Diplôme, The Dalcroze Institute, Geneva, Switzerland. Author, composer, conductor, pianist, teacher; workshops for dancers, musicians and teachers worldwide. Director, Dalcroze School of Music 1995-2000.

Front 3

Alperson, Philip

Back 3

PHILOSOPHY/AESTHETICS

Temple University: Contributions to arts philosophy.
"Creativity in Art,” in The Oxford Handbook of Aesthetics, Jerrold Levinson, ed. (Oxford, 2003).

"Improvisation” and “Performance,” in The Encyclopedia of Aesthetics, Michael Kelly, ed. (Oxford, 1998).

Front 4

Ausubel, David

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COGNITIVE PSYCHOLOGY

Non-music author on "cultural deprivation" and cognitive development.



Psychology in Teacher Preparation. (With John Herbert.) Toronto: The Ontario Institute for Studies in Education, 1969.

Front 5

Bandura, Albert

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COGNITIVE PSYCHOLOGY

Writings and research on the self-regulation constructs of children. (Children who witnessed models holding themselves to high standards of performance/reward were more likely to reenact similar patterns.)

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Banks, James

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MULTICULTURAL EDUCATION

University of Washington: Seattle

Professor Banks is the editor, with Cherry A. McGee Banks, of the Handbook of Research on Multicultural Education, published by Jossey-Bass. This landmark publication is the first research handbook on multicultural education to be published. In 1997, it received the Book Award from the National Association of Multicultural Education.

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Bekesy, Georg von

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ACOUSTIC PHYSIOLOGY

Hungarian Nobel-Prize recipient for his research on the cochlea in mammals. Research since the award has concluded that his findings were in error.

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Billings, William

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American composer and teacher (1746-1800)

A tanner by trade, Billings made the most significant contributions to Colonial composition during the latter part of the 18th c. A singing-school master, Billings wrote "The New England-Psalm Singer," and "The Singing Master's Assistant." see American Music p. 86-100 for history

Front 9

Birge, Edward

Back 9

EDUCATION

American music educator (1868-1950). Onetime president of MSNC (MENC), and author of several music textbooks. Supervisor of Indianapolis' Public Schools Music Program

Front 10

Bloom, Benjamin

Back 10

EDUCATION/PSYCHOLOGY

An educational theorist and teacher (Chicago) who developed a three domain classification for intellectual development (Affective, Psychomotor, Cognitive)

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Patricia Campbell

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EDUCATION

University of Washington

Patricia Shehan Campbell teaches undergraduate and graduate courses in music education, including music for children, world music pedagogy, sociology of music, and research methods. She was named Donald E. Petersen Professor of Music in 2000, and continues to hold this appointment offered to accomplished faculty at the University of Washington.

Her interests include music in early and middle childhood, world musics in education, and the use of movement as a pedagogical tool. She has delivered lectures and conducted clinics across the U.S. and in Europe, Asia, Latin America, Australia, New Zealand, and South Africa. Campbell is published widely on issues of cross-cultural music learning, children’s musical development, music methods for children, and pedagogical approaches to the study of world music in K-12 schools and university courses.

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Johann Comenius

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EDUCATION (1592-1670)

Comenius found fault with many of the educational practices of his day. In particular, he disapproved of the scholastic tradition of studying grammar and memorizing texts. He lamented the haphazard and severe teaching methods in european schools, which tended to diminish student interest in learning. Finally, comenius felt that all children–whether male or female, rich or poor, gifted or mentally challenged–were entitled to a full education, and he regretted that only a privileged few received formal schooling. For comenius, all of these educational shortcomings were especially urgent, as they hindered mankind's progress to the new millennium. As a result, he attempted to remedy these problems by authoring a number of textbooks and educational treatises.Perhaps Comenius's most familiar work is the Great Didactic, which he originally wrote in 1632. As Comenius held the conviction that pansophy was necessary for the spiritual salvation of humankind, he reasoned that a good man (a rational being who understood God through nature), and ultimately a good society, could only be created if all people acquired encyclopedic knowledge. In order to guarantee that this would occur, Comenius delineated a universal teaching method or standard set of pedagogical postulates that would facilitate an effective communication of knowledge between the teacher and student. Delineating four levels of schools lasting six years each, Comenius was one of the first educators to recommend a coherent and standard system of instruction. Indeed, Comenius suggested that the universality of nature dictated that all people shared common stages of intellectual development. As a result, he reasoned, teachers needed to identify their students' stages of development and match the level of instruction accordingly. Lessons should proceed from easy to complex at a slow and deliberate pace. Furthermore, Comenius argued that the acquisition of new material began through the senses–an idea that reflected the rise of empiricism in the seventeenth century.

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Julia Crane

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EDUCATION (1855-

Early American woman educator, established the first school to train music educators as a part of the Normal school system. (see PDF article)

Front 14

John Curwen

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EDUCATION (1816-1880)

Developed the tonic-solfa hand signals style of education. Curwen brought out his Grammar of Vocal Music in 1843, and in 1853 started the Tonic Sol-Fa Association. The Standard Course of Lessons on the Tonic Sol-fa Method of Teaching to Sing was published in 1858. In 1879 the Tonic Sol-Fa College was opened. Curwen also began publishing, and brought out a periodical called the Tonic Sol-fa Reporter and Magazine of Vocal Music for the People, and in his later life was occupied in directing the spreading organization of his system. With his son, John Spencer Curwen (1847–1916) who later became principal of the Tonic Sol-Fa College, Curwen incorporated the J. Curwen & Sons publishing firm in 1863. This firm continued as the Curwen Press into the 1970s, when it was closed. The Sol-fa system was widely adopted for use in education, as an easily teachable method in the reading of music at sight, but its more ambitious aims for providing a superior method of musical notation have not been generally adopted. In 1872, Curwen changed his former course of using the Sol-fa system as an aid to sight reading, when that edition of his Standard Course of Lessons excluded the staff and relied solely on Curwen's Tonic Sol-fa system.

… let the easy come before the difficult.
… introduce the real and concrete before the ideal or abstract.
… teach the elemental before the compound and do one thing at a
time.
… introduce, both for explanation and practice, the common
before the uncommon.
… teach the thing before the sign, and when the thing is
apprehended, attach to it a distinct sign.
… let each step, as far as possible, rise out of that which goes
before, and lead up to that which comes after.
… call in the understanding to assist the skill at every stage.

Front 15

John Dewey

Back 15

EDUCATION (1859-1952)

Educational reformer before the Cold War focused attention on the sciences, followed a pragmatic approach to education "Learning by Doing," which manifests today in part by the Outcome-based education.

"Art as Experience"

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Elliot Eisner

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EDUCATION (living)

Arts educator:
Emphasized finding meaning in research (mixed method)
Member of AERAn(president 1992-1993)
epistimology vs. phronesis
(true and certain) vs.(wise practical judgement)


The arts teach students
# how to make good judgments about qualitative relationships.
# that problems can have more than one solution
# (celebrate) multiple perspectives.
# that in complex forms of problem solving purposes are seldom fixed, but change with circumstance and opportunity
# (make vivid) the fact that neither words in their literal form nor number exhaust what we can know.
# that small differences can have large effects.
# to think through and within a material.
# how to learn how to say what cannot be said.
# to have experience that can be had from no other source

"The arts' position in the school curriculum symbolizes to the young what adults believe is important. "

The Arts and the Creation of Mind. Chapter 4, What the Arts Teach and How It Shows. (pp. 70-92). 2002. Yale University Press

If educators do not allow sufficient space in the day for students to explore the world in their own way using the capacities that suite them best they miss out on a whole form of experiencing that will be necessary for them to attain a high quality of life when they graduate. Students need to be able to make value judgments and to discern what is important for them with regard to quality of life.

Some sources go as far as to say that Democracy itself is at risk if students are not taught how to be discerning and how to live well with other cultures. To function in democracy voters need to know how to become informed about issues without being caught up in hyperbole or to just follow the crowd. Experiencing the world from a variety of positions can help the student form this ability.

A well balanced education that addresses the spiritual, emotional, psychological and physical needs of the students whilst at the same time training them for their chosen 'life's career' is of benefit to all. The ideal would be that the arts are interwoven with all aspects of the curriculum. This would ensure that Multiple Intelligences are spoken to and engaged with in a variety of subtle as well as explicit ways.

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David Elliot

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EDUCATION/PHILOSOPHY

Author: Music Matters

Proponent of Praxial music education, argues with Reimer frequently.

Most significant difference of opinion stems from Elliot's position that music education must be practiced (or musiced), hence Praxial. Reimer and his contemporaries attach more importance to the process of aesthetic education

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Roy Ernst

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EDUCATION

Founder of the New Horizons International Music Association

Front 19

Paul Farnsworth

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AUTHOR

"The Social Psychology of Music"

Front 20

Fredrick Fennell

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CONDUCTOR

Band conductor of Eastman Wind Ensemble (invented the forces) - promoted wind ensemble music through concerts and writings

Front 21

Charles Fowler

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EDUCATOR (1931-1995)

Educator and author - founded the Charles Fowler Colloquium. Paper: Every Child Needs the Arts"

Front 22

Friedreich Froebel

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INventor of kindergarten

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Robert Gagne

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EDUCATION (1916-2002)

Founder of Gagne's Assumptions, an educational model # Gain attention
# Inform learner of objectives
# Stimulate recall of prior learning
# Present stimulus material
# Provide learner guidance
# Elicit performance
# Provide feedback
# Assess performance
# Enhance retention transfer

Front 24

Howard Gardner

Back 24

EDUCATION

Author of "Multiple Intelligence" theory, in "Frames of Mind," and "Multiple Intelligence, New Horizons." States that there are several domains of intelligence, including musical. Among the more recent are: spiritual, naturalistic, and intrapersonal.

Front 25

Thayer E. Gaston

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MUSIC THERAPY

E. Thayer Gaston was a psychologist active in the 1940s-1960s who helped develop music therapy in the United States. He worked at the University of Kansas, as Professor of Music Education and Director of Music Therapy.

E. Thayer Gaston was named to the Music Educators Hall of Fame in 1986[1].

[edit] Views

1. Music is a means of nonverbal communication deriving potency from its wordless meaning.
2. Music is the most adaptable of the arts being utilized with individuals, groups, and in various locations.
3. Through participation or listening, music may lessen feelings of lonesomeness.
4. Music elicits moods derived from emotions and has the capability of communicating one’s good feeling for another.
5. Music can dissolve fears of closeness because its nonverbal nature allows an intimacy that is nonthreatening.
6. Music, in most cases, is sound without associated threat.
7. The shared musical experience can be a form of structured reality upon which the therapist and the patient can form a relationship with some confidence.
8. Musical experiences possess an intimacy because listeners and performers derive their own responses from each musical experience.
9. Preparation and performance of music can bring about a feeling of accomplishment and gratification.[2]

Front 26

Geneva Gay

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MULTICULTURAL EDUCATION

University of Washington: Seattle

Geneva Gay is Professor of Education at the University of Washington-Seattle where she teaches multicultural education and general curriculum theory. Dr. Gay's writings include numerous articles and book chapters, including A Synthesis of Scholarship in Multicultural Education; the co-editorship of Expressively Black: The Cultural Basis of Ethnic Identity (Praeger, 1987); author of At the Essence of Learning: Multicultural Education (Kappa Delta Pi, 1994), and Culturally Responsive Teaching: Theory, Practice, & Research (Teachers College Press, 2000); and editor of Becoming Multicultural Educators: Personal Journey Toward Professional Agency (Jossey-Bass, 2003). Culturally Responsive Teaching received the 2001 Outstanding Writing Award from the American Association of Colleges for Teacher Education (AACTE).

Front 27

Mabel Glenn

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EDUCATOR

First female president of MENC (then MSNC) 1928-1930. Children/choral.

"We must see in public school music a means of feeding man's need for beauty, not a stunt for arousing transient enthusiasm."

On music symbolism, she decries teachers who "go from the symbol to the experience, instead of going from the experience to the symbol, and spend time in explanations which mean nothing."

Contributed to Tanglewood I

Also promoted the child's OWN "bodily perceptions of music."

Front 28

Sarah Glover

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EDUCATOR (1785-1867)

Invented the Norwich method, which would eventually be adopted by John Curwen into his moveable do system.
The Tonic Sol-fa method of teaching vocal music was codified by an English Congregational minister, the Reverend John Curwen (1816-1880) who drew upon a number of earlier European and English music teaching systems including an indigenous English music teaching method known as Norwich Sol-fa (Rainbow, 1967, pp.150-151). The Norwich method had been devised by Sarah Glover (1785-1867) of Norwich in the English county of Norfolk who, until recently, had remained largely unrecognised for her significant contribution to the development of the moveable do music reading system (Bennett, 1984, p.64).

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John Goodlad

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EDUCATION

ohn I. Goodlad is an educational researcher and theorist who has published influential models for renewing schools and teacher education. Goodlad's most recent book, In Praise of Education (1997), defines education as a fundamental right in democratic societies, essential to developing individual and collective democratic intelligence. Goodlad has designed and promoted several educational reform programs, and has conducted major studies of educational change. Books he has authored or co-authored include The Moral Dimensions of Teaching, Places Where Teachers Are Taught, Teachers for Our Nation's Schools, and Educational Renewal: Better Teachers, Better Schools.

Front 30

Edwin Gordon

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Freak

Front 31

Guido of Arezzo

Back 31

solmization (the hand/gamut)

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J.P. Guilford (cube)

Back 32

EDUCATION (1897-1988)

Ex-WWII Vet, who, when discharged brought military logistic thought to intelligence. Coined the "Structures of Intellect" theory - a framework that posits there are 180 combinations of intelligences. Also developed "convergent" vs. "divergent" intelligence.

Front 33

Dorothea Gunther

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EDUCATION/DANCER

Founded the Gunther school (with Carl Orff's Schulwerke) to teach children music, dance, and gymnastics.

In 1924 Orff and gymnast Dorothea Guenther founded a Munich school for children whose legacy would continue long after their deaths. The Guenther Schule's aim was to teach music to children by a set of aesthetic-awareness principles Orff and Guenther had formulated, based on the idea that nearly all human beings are "musical" by nature. Orff wrote the treatise Schulwerk, which explained these theories and gave teachers a curriculum of songs and activities employing German folk songs and poetry. Even in the late twentieth century, thousands of teachers around the world are certified in the program, and translated versions of Schulwerk incorporate the folklore and literature of each culture. Orff also developed easy- to-learn percussion instruments to use in the program.

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Stanley G. Hall

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PSYCHOLOGIST/EDUCATOR

Founder of the "child study" movement, an offshoot of the constructionist nature of scientific inquiry during the middle of the 20th century. His supposition, that nearly any aspect of behavior can be measured and quantified, allowed educators and psychologists entry into the "hard sciences." His works, particularly with boys in the "Aggressive Christian" education paradigms that would spur religious/educational organizations such as the YMCA and Boy Scouts, would usher in a new era of Educational Reform, based on scientific evidence.

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Hermann von Helmholz

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PSYCHOLOGIST (1821-1894)

Cognitive psychologist who wrote extensively on the physics of perception, and how elements of existence encouraged or inhibited aesthetic reaction. Wrote on the eye, light, and sound waves, among other things. Most notably, was the inventor of the European pitch class system C' C'', etc. for use in his book "On the Sensation of Tone As a Physiological Basis for the Theory of Music (1863)" Was not interested in music, but those who followed were.

Front 36

E.D. Hirsch

Back 36

EDUCATOR (b. 1928)
"Cultural literacy"

Background knowledge plays a more significant role in comprehension than the mechanics of reading.
Author, poet, and scholar. Critique of American educational systems that encourage "critical thinking," rather than content; labeling such content as "rote learning." Authored a series of curricular books for elementary schools. Highly controversial.

Wrote: Cultural Literacy: What Every American Needs To Know (1987)

The Knowledge Deficit (2006)

Front 37

Charles Hoffer

Back 37

EDUCATOR (living)
SOCIOLOGY IN HRME
University of Florida: Gainesville

Meh. Dr. Hoffer is author of more than thirty books, including Teaching Music in The Secondary Schools (five editions), Introduction to Music
Education (three editions), Foundations of Music Education (two editions), and Adventures in Music Listening (three levels). He has also written a music appreciation textbook, Music Listening Today, that makes extensive use of CD-ROM material as an aid to developing listening skill among college students who are not music majors. Its second edition will be published in 2002. He has also had many articles published in the "Music Educators Journal," "The Council for Research in Music Education Bulletin," and the "Florida Music Director," which he edited for five years. He has also had a chapter published in "Handbook of Research on Music Teaching and Learning."

This chapter compares musical preferences to sociological acculturation preferences. For any culture, socio-economic or geographic, its denizens are, by definition - ethnocentric. They place value on what is the most familiar, and compare all other cultures to their own. By virtue of their ethnocentricism, artistic expression also will be pursued within the structure of their culture. Indians express the good, the beautiful and the true through Indian music, not Inuit. While very few music educators would belittle the music of another geographic culture, it has become de rigeur to discriminate against the music of socio-economic bracket and age. Even in Tanglewood I, statements decrying the music of the Beatles were made, not because they were somehow aesthetically inferior, or berefit of edcuational value, but because it was the music of a class deemed to be less sophisticated: rock-n-roll, R&B, etc., and by virtue of it being the mode of musical expression of said class, it is less worthy. Hoffer provides a somewhat compelling argument against the use of "mass music," suggesting that "high music" allows a composer greater freedom, since music for the masses is, by necessity, designed to be formulaic. A less compelling argument against "mass music" follows from the belief that any artistic value found in "mass music" is imparted upon teenagers from an external source, such as a record label. But it is not clearly explained why the music of a corporate entity is considered "up high," yet music of a cultural paragon (the symphony), does not do precisely the same thing.

Front 38

Mary Hoffman

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EDUCATOR

Prominent Illinois educator - "The child is more important than the subject." Has an Indiana award named for her.

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Madeline Hunter

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EDUCATOR

Author of the Hunter Lesson Plan, among other concepts.

Seven Steps of Direct Instruction:
1. objectives
2. standards
3. anticipatory set
4. teaching
* input
* modeling
* check for understanding
5. guided practice/monitoring
6. closure
7. independent practice

Also wrote Elements of Effective Instruction

Teaching to an objective
Behavioral Objective format:
Students will demonstrate their [knowledge, understanding, skill, etc.] of/to [concept, skill, etc.] by [activity performed to meet the lesson objective] according to [standard].
Example: Each student will demonstrate achievement of the skill of addition of whole numbers by adding columns of figures with paper and pencil accurately nine out of ten times individually in class.
Four step instructional process

1. Watch how I do it [modeling]
2. You help me do it (or we do it together) [together]
3. I'll watch you do it or praise, prompt and leave [guided practice]
4. You do it alone [independent practice].

Motivation "TRICKS"

..more...

Front 40

Emile Jaques-Dalcroze

Back 40

He composed more than 1,000 songs for Eurhythmic classes as well as solfège (ear training and sight singing) exercises.

Features

* premise - the human body is the source of all musical ideas and human movement affects musical perception
* Eurhythmics (means "good rhythm") allows us to gain physical awareness and experience of music so training must take place through all the senses (including the kinesthetic / body movement) , not just focussed on the mind
* The Dalcroze approach encourages cross-fertilization between art forms
* Three-part structure - Rhythmics, Solfège, and Improvisation
* Importance of developing musical sensitivity to the expressive elements of music - "feel first, express afterwards"
* Experience before intellectual, theory must follow practice
* Four steps
o reacting, feeling and understanding
o imagining, reproducing and improvising
o identifying, describing or writing down
o composing or creating
* long and rigorous teacher training. Teachers must make decisions about exercises as they go along ensuring that students are making conscious links between listening and moving.

Front 41

William James

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PSYCHOLOGIST

Writer on pragmatism. Also wrote several treatises on aesthetics and emotions.

[W]e must immediately insist that aesthetic emotion, pure and simple, the pleasure given us by certain lines and masses, and combinations of colors and sounds, is an absolutely sensational experience, an optical or auricular feeling that is primary, and not due to the repercussion backwards of other sensations elsewhere consecutively aroused. To this simple primary and immediate pleasure in certain pure sensations and harmonious combinations of them, there may, it is true, be added secondary pleasures; and in the practical enjoyment of works of art by the masses of mankind these secondary pleasures play a great part. The more classic one's taste is, however, the less relatively important are the secondary pleasures felt to be, in comparison with those of the primary sensation as it comes in. Classicism and romanticism have their battles over this point. Complex suggestiveness, the awakening of vistas of memory and association, and the stirring of our flesh with picturesque mystery and gloom, make a work of art romantic. The classic taste brands these effects as coarse and tawdry, and prefers the naked beauty of the optical and auditory sensations, unadorned with frippery or foliage. To the romantic mind, on the contrary, the immediate beauty of these sensations seems dry and thin. I am of course not discussing which view is right, but only showing that the discrimination between the primary feeling of beauty, as a pure incoming sensible quality, and the secondary emotions which are grafted thereupon, is one that must be made.

James'Bear - "we run from the bear not because we are afraid; we are afraid because we run." Emotions are the result of the physical (pragmatic) arenas.

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Judith Jellison

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EDUCATOR (living)
University of Texas: Austin

RESEARCH AVENUES:
Early Childhood
Music Therapy
Handicapped Children
Pacing (with Duke/Pritchett)

MENC Senior Researcher Award
Judith Jellison is the Mary D. Bold Regents Professor of Music in the School of Music at the University of Texas at Austin where she is a member of the Academy of Distinguished Teachers and holds the title of University Distinguished Teaching Professor. In the School of Music she serves as Head of the Division of Music and Human Learning and teaches undergraduate and graduate courses in children’s literature and performance, observation and evaluation, and music in special education and therapy. She has a sustained record of scholarly publications in premier research journals and books and regularly presents her work at national and international clinics and conferences. She has served on the editorial boards of major journals in music therapy and music education and is the recipient of the Senior Researcher Award from MENC: The National Association for Music Education and the Publications Award from the American Music Therapy Association. Her experiences as a K-12 choral and instrumental music teacher in schools with widely diverse populations and as a music therapist in hospital settings has greatly influenced her philosophy. Throughout her career she has advocated for quality music experiences for all children.

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Karl Jung

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PSYCHOLOGY

Founder of analytic psychology. Emphasis on understanding the psyche through spirituality, art, and philosophy. Contemporary of Freud. Most notable contributions were of psychological archetypes, which later found their way into the Meyers-Briggs personality test.

Front 44

Gunild Keetman

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EDUCATOR (1900-1990)

One of the founders of the Orff-Schulwerk; a female whose compositional and essay contributions included the five volume "Music for Children," an instructional method that contained hundreds of her pieces. Largely forgotten - see ORFF ECHO 2005

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Zoltan Kodaly

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EDUCATOR
http://www.public.asu.edu/~jwang2/portfolio/methods/kodaly/kodaly.html

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Jacob Kwalwasser

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EDUCATOR/ASSESSMENT

Along with Dykema and Ruch, Kwalwasser was a pioneer in the field of music achievement assessment instrumenrom 1927 to 1955, he was a pioneer in research in the field of music testing, helping to develop the widely used Kwalwasser-Dykema Music Tests and the Kwalwasser-Ruch Music Achievement Test. Also a choral conductor and lecturer.

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Suzanne Langer

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PHILOSOPHER

Author of the seminal 1942 book "Philosophy in a New Key," Langer offered a systematic explanation for artistic experience. Her suppositions were founded on the notion that humans are "symbolic" creatures; and that artistic creations are "iconic" representations of emotions. Most notably, she attempted to draw connections between art and natural processes, such as biological or circadian rhythms. In the case of music, her writings suggest that they are meant to iconize feelings over time. Bennett Riemer would later misinterpret many of Langer's writings in his "Philosophy of Music Edcuation".

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Paul Lehman

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EDUCATOR

One of ISME's "national treasures" Editor of JRME. Contributed a chapter to Housewright "How Can the Skills Called for in the National Standards Best Be Taught?"

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Charles Leonhard

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EDUCATOR

Significant contributions to ISME

Front 50

Clifford Madsen

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EDUCATOR

University of Florida

Prominent author: Teaching/Discipline, Housewright; Applications of Research in Music Behavior

Front 51

Michael Mark

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EDUCATOR

Towson University

History: "A History of American Music Educaton"

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Abraham Maslow

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PSYCHOLOGIST

Maslow's Hierarchy of Needs

Self-actualization (containing creativity) is at the top. Recent research has not clearly collaborated the ranking of needs as Maslow has done. ^ Wahba, A; Bridgewell, L (1976). "Maslow reconsidered: A review of research on the need hierarchy theory". Organizational Behavior and Human Performance (15): 212–240.

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Lowell Mason

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EDUCATOR (1792/1872)

AMerican music educator primarily responsible for establishing music as a curricular subject in Bostonian schools. Also trained many teachers with his books (which he claimed were Pestalozzian). Itinerant?

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Leonard B. Meyer

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EDUCATOR/MUSICOLOGIST

Pioneering musicologist who wrote a seminal text "Emotion and Meaning in Music" connecting physiological reaction to music stimulus. Specifically, in this text (adapted from his dissertation) studied the effect deceptive cadences had upon audience expectation; music's aesthetic merit was therefore based on the degree to which these expectations were fulfilled or met.

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Maria Montessori

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EDUCATOR

Italian born educator, who moved to America to establish the Montessori Schools of America. Fundamental cornerstone concepts:

The area should be beautiful.
Children learn best through hands-on activities; these are sequenced to maximize concepts.
Critical skills through practical manipulation.
Develops the child's desire to be independent.

Front 56

James Mursell

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PSYCHOLOGIST/EDUCATOR

American psychologist interested in music education. Co-Authored The Psychology of School Music TEaching with Maybel Glenn (then a progressive music educator in Kansas City)

Front 57

Bruno Nettl

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ETHNOMUSICOLOGY

Editor and Founder of Musicology. Author of "Primitive CUlture" a treatise on the anthropological origins of msuic in human culture.

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Carl Orff

Back 58

Founder of Orff-Schulwerk, along with others

Front 59

Johann Pestalozzi

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EDUCATOR

Italian educator - taught at a school for orphans; one of the first to suggest that children should be taught from the most simple to the complex. Further, he suggested that children are beings in their own right, against the "children are little animals" or "subhuman creatures" philosophy of the day.

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Jean Piaget

Back 60

PSYCHOLOGIST

Swiss malacologist (mollusks) who developed the multi-stage theory of development. Children learn in 4 stages, according to their developmental age.

Sensorimotor
Pre-Operational
Concrete operational
Formal operational

Opposes bruner's concepts

Front 61

Frances Rauscher

Back 61

PSYCHOLOGIST

One of the founding crators of the "Mozart Effect."PRimarily, she suggests that listening to Mozart increases spatial awareness/reasoning for a short period of time. Also contributed significantly to music and childhood, and cognitive devleopment.

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Bennett Reimer

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EDUCATOR/PHILOSOPHY

Author of "A Philosophy of Music Education," and opponent of David Elliot. Critics say his book is founded on incorrect interpretations of Langer.

Also made several notable contrubitions to Housewright, Handbook of Research in Music Educaiton

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Carl Rogers

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PSYCHOLOGIST

One of the founders of 'humanism' in psychology, stating that human beings percieve the world through their senses, which in turn becomes their reality.

In an educational context, this led to "student-centered" learning environments. Rogers' work "Freedom to Learn (1969)" earned him a Nobel Prize nomination.

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Carl Seashore

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PSYCHOLOGIST

Cognitive psychologist who developed what is considered to be the first standardized music achievement assessment tool. His draconian philosophy suggested that if students with talent could be discovered, teaching resources could be devoted commesurately.

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Wendy Sims

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EDUCATOR

University of Missouri - Columbia

Early childhood educator: current editor of JRME.

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B.F. Skinner

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PSYCHOLOGIST

One founder of behaviorist psychology (operant). Tests with pigeons and rats led him to believe that positive reinforcement theory could be used in education. HIs book "Technology of Teaching" offered 5 hints for new teachers.
1. Have small steps
2. Work from most simple to most complex tasks
3. Repeat the directions as many times as possible
4. Give immediate feedback
5. Give positive reinforcement


Skinner influenced education as well as psychology. He was quoted as saying, "Teachers must learn how to teach... they need only to be taught more effective ways of teaching." Skinner asserted that positive reinforcement is more effective at changing and establishing behaviour than punishment, with obvious implications for the then widespread practice of rote learning and punitive discipline in education. Skinner also suggests that the main thing people learn from being punished is how to avoid getting punished the next time.

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Shinichi Suzuki

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EDUCATOR

Japanese music educator, and founder of "Talent Education." Based on the "mother tongue" approach, he felt that all children learn music in the same fashion as their first language. Music education was a way to develop "a beautiful heart." SEE WIKIPEDIA

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Keith Swanwick

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EDUCATOR

English educator, whose books eshewed the "normalized" quantitative educational structures.

Books:
Music, Mind And Education 1988
Musical Knowledge 1994
Teaching Music Musically 1999

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John Tufts

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EDUCATIOR

Author of the first American music texbook: "Introduction to the Singing of Hymntunes" Considered the 'grandfather' of American musci edcation, if Lowell Mason was the father.
Book was written as a reaction to the horrible 'lining out' practices.