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The New Handbook Of Research On Music Teaching ...
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Marie McCarthy is a general music specialist and has taught courses on music in the elementary and secondary school, learning theories for the music teacher, music cultures in the classroom, research methods in music education, and music teacher education. She was on the music faculty of the University of Maryland from 1990 to 2006. A former public-school teacher in Ireland, she has received numerous awards, including a Fulbright Scholarship and an Outstanding Dissertation Award from the Council for Research in Music Education.
Her research studies to date focused on the sociocultural and sociohistorical foundations of music education, in particular, the study of music transmission, the relationship between music education processes in formal settings and those in the culture at large, and the impact of music education on the development of identity in individual and collective contexts. Current research interests include the application of sociological perspectives to music transmission contexts and exploration of the spiritual dimensions of arts education.
There are many published examples of research in music education, using a variety of approaches including surveys, experiments, and historical studies. In the United States, research in this field has been carried out for many years under the auspices of the National Association for Music Education (NAfME, formerly MENC). There are a number of books about music education research, and several journals are devoted to reports of research in this field.
Experimental research is used to determine what will be or to establish a cause-and-effect relationship between variables. An example of experimental research is a 2000 study by Prickett and Bridges. The purpose of the study was to determine if the basic song repertoire of vocal/choral music education majors is significantly better than instrumental music education majors. The study revealed no significant difference between the two groups, and that neither group had developed a strong repertoire of standard songs outside of the college music classroom. The impact of the study was the recommendation that professors preparing music education students for their future careers consider adding activities to music education courses that build a strong song repertoire.
Philosophical research is used to examine the underlying principles in any field. An example of philosophical research is a 1999 article by Bennett Reimer published in The Music Educators Journal: \"Facing the Risks of the Mozart Effect.\" This article is a response to the practice of music educators who advocated music education because of its relationship to spatial task performance. A 1993 research report from the Center for the Neurobiology of Learning and Memory, University of California, Irving by Rauscher, Shaw, and Ky is an example of the research literature that supported what became known as \"the Mozart Effect.\" Reimer rejects spatial task performance as justification for music education because, according to Reimer's aesthetic philosophy, music education should be justified by its merit as an art, not for extra-musical reasons.
In 1837 the Connecticut General Assembly voted to collect educational data. Questionnaires were sent to all Connecticut schools in 1838. Eight questions were about music instruction. This was probably the first attempt in the U.S. to collect data on music instruction on a wide-scale basis and perhaps the earliest example of research in music education.
Price and Chang (2000) provide an overview of the many diverse music education research journals including annotation and publication details for each source. While the Journal of Research in Music Education continues to be the dominant journal in the field, other journals include the Bulletin of the Council for Research in Music Education, The Missouri Journal of Research in Music Education, The Bulletin of Research, Contributions to Music Education, The Bulletin of Historical Research in Music Education, and Update: The Applications of Research in Music Education. Research on the impact of music education research journals includes investigations of initial citation speeds (Hancock, 2015), accumulated citations (Hamann & Lucas, 1998), and highly-cited authors and sources (Kratus, 1993; Hancock & Price, 2020).
One of the dominant events in the field of music education research was the 1992 publication of the Handbook of Research on Music Teaching and Learning. Edited by Richard Colwell, the Handbook contains fifty-five chapters written by more than seventy scholars. Colwell edited a second volume in 2002, The New Handbook of Research on Music Teaching and Learning.
To see the shift of emphasis that has taken place in music education research in recent years, one need only compare the contents of the 1992 volume and the 2002 volume. The inclusion of sections on \"Conceptual Framework\" and \"Evaluation\" in the 1992 volume is evidence of emphasis on standards and a set body of knowledge. The absence of similar sections in the 2002 volume is evidence of a shift toward a pragmatic philosophical and a constructivist teaching theory. The inclusion of a section on \"related arts\" in the 2002 volume recalls the research of the late 1960s and 1970s.
You can find handbooks, guides, and bibliographies on a variety of topics relating to music education through the library. We've highlighted several resources below, but you can find additional materials by searching for your topic AND \"research guide\", \"bibliography\", or \"handbook\" in the library catalog.
The Penn State School of Music has a tradition of research excellence across a wide range of disciplines including music theory, musicology, music education, composition/technology, and performance. Our faculty are highly regarded scholars and performers who share their research and creative expertise in professional journals, conferences, and performance venues throughout the world. The School of Music provides many opportunities for students to collaborate with the faculty as well as to receive guidance for independent research.
Trinity Laban supports a wide range of research based activity, including choreography, composition, sound-art, music/dance performance, dance theatre, scenography, music/dance science, as well as encouraging collaborative work, for example between music and dance, film or technology. Some researchers pursue interdisciplinary work, combining practice with theoretical perspectives, for example looking at the cultural context of the creation and performance of work, or education and pedagogically based work. Practitioners/researchers from Trinity Laban are developing innovative, collaborative projects which aim to push the boundaries of the art forms and promote the development of new artistic media.
The options in science and pedagogy are available for those specialising in empirical approaches to topics in music and/or dance research and those who wish to concentrate on educational and pedagogical aspects.
Music librarians work in large research libraries such as the Library of Congress or the New York Public Library; in the music section or branch library in universities, colleges, and conservatories; in public libraries; in radio and television station libraries; with music publishers and dealers; with musical societies and foundations; and with bands and orchestras.
Librarians can take an active role in music scholarship by compiling bibliographies, pursuing research, or writing reviews of new publications. They often teach music bibliography and other classroom subjects within their areas of specialization. As members of professional organizations, they may serve on local, national, or international committees devoted to issues such as electronic information storage and retrieval, cataloging standards, education for librarianship, preservation, and library management. Within the library it might be their responsibility to organize training programs for staff, researchers, or interns.
Training for music librarianship should include as broad an education as possible in both music and the liberal arts. Training in music must be the equivalent of at least substantial undergraduate work. Undergraduates need a wide background in the humanities, for music librarians need to be familiar with the relationship of music to other disciplines. Music and the literature about it are published in many countries and languages; basic cataloging and bibliographic research require a working knowledge of German and at least one Romance language. A master's degree in library or information science is required by most employers. Because music librarians need a thorough knowledge of music history and repertory, a second master's degree in music is required or highly desired for some positions. Libraries specializing in folk music or musics of non-Western cultures require training in ethnomusicology, archives management, and other languages. In libraries where music is combined with other subjects, such as dance or fine arts, background in those subjects may also be expected.
Explore the MLA site! The Career Resources page contains lists and bibliographies covering a range of topics useful to music librarians at every stage of their career. You can also view current job openings, and view research reports, publications in print, and committee and chapter working papers. Our website also has links to additional pages concerning copyright and the annual meeting, to committees and chapters pages, and other Internet resources of interest to music librarians.
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