Finding appropriate and unique repertoire for the developing singer is a daunting task and ongoing challenge in the teaching profession. There are limited resources to help guide teachers in selecting varied, yet suitable repertoire that falls outside of the standard Western European musical canon. The early years, ages 17–21, are crucial to establishing a healthy and well-rounded vocal approach to singing, while also introducing the student to a wide variety of music. African-American art song is a great option for developing singers. Repertoire should allow a student to grow musically, vocally, and artistically according to the singer’s specific stage of learning and interests. Selecting repertoire through established criteria that considers the student’s personal and cultural interests (in addition to pedagogical needs) allows for a good foundation to support a healthy vocal development. Consideration of numerous elements, such as historical, musical, physical, emotional, and vocal characteristics offers a framework for a comprehensive approach in the selection process. In Literature for Teaching: A Guide for Choosing Solo Vocal Repertoire from a Developmental Perspective, Christopher Arneson provides a wonderful base for further study, and application into repertoire selection. Through the utilization of Arneson’s suggestions, I have created a rubric that quantifies key criteria important to the evaluation of repertoire. Through this rubric, a clear evaluation and assigned difficulty level is provided for each song in the collection. This compilation of songs is only the beginning to a proposed anthology entitled: African-American Art Song for the Developing Singer. Each song offers a historical and pedagogical summary that includes the following: composer and poet biographies, text and translations, basic form, original key and other keys available, performance notes, range, tessitura, suggested voice type, tempo suggestions, difficulty level, and other available editions. This unique anthology of African-American art song offers teachers with a resource that evaluates appropriate repertoire for developing singers, between the ages of 17–21, that is clearly accessible.

Claude Debussy's Prelude a l’apres-midi d’un faune [Prelude to the Afternoon of a Faun] opens with an unaccompanied flute solo that famously tests breath control, tone production, and capacity for musical expression. All aspiring flutists must master this solo, because it is frequently requested on orchestral and collegiate auditions. To aid flutists in their preparation, many notable pedagogues and performers have provided written and verbal commentary with suggestions for crafting a successful performance; however, it is unclear whether or not actual performances reflect these teachings. In other words, do the pedagogues practice what they preach? This study uses audio analysis to objectively analyze quantifiable aspects of ninety years of recordings of Prelude a l’apres-midi d’un faune and compares the results to current pedagogy. This study’s findings fall into four categories: (1) breath placement, (2) tempo and rubato, (3) vibrato, and (4) general expression. Because of the influence and historical significance of American flutist William Kincaid, a giant of twentieth-century performance and pedagogy, special consideration is given to specific recordings and teaching of Kincaid. The analysis that follows demonstrates disparity between performance practice and pedagogy and will allow flute students and teachers to make better-informed decisions interpreting Prelude a l’apres-midi d’un faune.

Often neglected in voice study is the understanding that a singer’s instrument lives in his/her body and therefore cannot be packed away like other musical objects. Yoga and mindfulness compliment the belief of a whole body instrument. Data gathered on college campuses report that stress and anxiety are on the rise, thus reinforcing the need for MBSR and yoga as beneficial and proven tools for stress relief. The current state of research in the realm of mental health in colleges merits the study of a cohesive layout of these exercises and their expected outcomes in singing as well as stress management. Therefore, this document will present yoga sequences that align with the core aspects of singing including breath support, fluid vocal production and artistic expression. Exercises founded on principles of mindfulness are provided to bring awareness of mental qualities within a singer. Mental qualities gained from meditation practice include improved self-esteem, lowered anxiety, and increased focus. Yoga sequences will focus on certain areas of the body commonly addressed in voice studies. Collections of yoga asana, or postures, are featured to allow singers to recognize tightness and inefficiencies in their bodies, thus improving vocal function. This guide will combine yoga traditions along with mindfulness research to introduce ancient philosophies to singers and their teachers, resulting in meaningful and productive voice lessons.

Since 2007, many U.S. music education programs have been negatively affected by budget reductions at the local, state, and national levels. Although researchers have studied the effect of budget reductions on music education, they have not widely examined the perspectives of teachers who have experienced these reductions. The purpose of this study was to explore elementary music teachers' personal and professional experiences with budget reductions, and the perceptions of how their programs, students, schools, and communities have been affected by the budget reductions. The philosophies of Kodaly and Richards served as a conceptual framework for this qualitative case study. The primary research questions asked participants about their experiences with and perceptions of the effect of budget reductions on music programs at their schools and on their students. Interviews were conducted with 9 elementary music teachers. Data were analyzed using pattern coding to identify key themes. The 6 key themes identified were love for music and teaching music; pride in music programs and curricula; belief in the benefits of music education for all students, especially for low income students; senses of loss; adaptation and coping with loss; and sense of the future. Based on the findings, a professional development program was developed to assist music teachers to learn strategies to support music programs and become effective music education advocates. This project study may foster positive social change by encouraging teachers to collaboratively advocate for music education in communities and devise strategies that will allow for the sharing of scarce resources.

Im Zentrum des Textes steht ein systemisches Modell, das verschiedene Schichten und Komponenten des Musikunterrichts in Beziehung zueinander stellt und als Beobachtungs- und Analyserahmen anbietet. Es zeigt die möglichen Perspektiven auf Praxis und die Ansatzpunkte für Theorie. Die Bestandteile des Modells werden erläutert und mit Beispielen aus den drei vorgegebenen Unterrichtsstunden veranschaulicht. Es soll verdeutlicht werden, dass didaktische Theorie das Bewusstsein für die Einflussfelder und ihre Wechselbeziehung schärfen und als Werkzeug zur Reflexion und Entwicklung von Unterricht zur Verfügung stellen kann. / The author suggests observing and analysing music lessons with regard to certain crucial fields and aspects. They are presented as part of a systemic model offering different perspectives on practice and initial points for a theoretical discourse. The components of the model are exemplified and applied to the three music lessons. Didactic theory is regarded to support the awareness of these aspects and their reciprocal influence on teaching and learning music and to offer tools for the reflection and development of practice.

Die komprimierte Darstellung der Fishbowl bietet Einblicke in die aktuelle Diskussion fachspezifischer Fragen. Vier Experten (Ursula Brandstätter, Anne Niessen, Christine Stöger und Christopher Wallbaum) diskutieren nach ihren vier Einzelvorträgen miteinander über Grundfragen der Musikdidaktik. An der Diskussion können sich auch Einzelne aus dem Publikum beteiligen. Moderiert wird die Diskussion von Christian Rolle. Im Zentrum stehen das Verhältnis von Unterrichtspraxis und wissenschaftlicher Musikdidaktik bzw. –pädagogik („Theorie und Praxis“) zueinander sowie die Rolle des Fachs Musik in der fachdidaktischen Diskussion. / The abridged fishbowl-discussion gives an idea of currently discussed problems in the german discourse on music education at general schools (=music didactic). In Fishbowl A four experts (Ursula Brandstätter, Anne Niessen, Christine Stoeger and Christopher Wallbaum with Christian Rolle as moderator) after their lectures discuss the relation between teaching in the classroom and research about it, in other words the relation between theory and practice/praxis Furthermore they discuss the role of the subject ‘music’ in exploring and investigating in educational practice/praxis and concepts.

Die komprimierte Darstellung der Fishbowl bietet Einblicke in die aktuelle Diskussion fachspezifischer Fragen. Vier Experten (Werner Jank, Hans-Ulrich Schäfer-Lembeck, Constanze Rora und Dorothee Barth) diskutieren nach ihren vier Einzelvorträgen miteinander über Grundfragen der Musikdidaktik. An der Diskussion können sich auch Einzelne aus dem Publikum beteiligen. Moderiert wird die Diskussion von Ursula Brandstätter. Im Zentrum stehen der Lernbegriff in Bezug auf offenere und geschlossenere Konzepte zur Gestaltung von Musikunterricht. Bezugsgrößen stellen dabei das Konzept des „Aufbauenden Musikunterrichts“ und der (konstruktivistischen) Erfahrungsorientierung dar. In diesem Zusammenhang werden auch der kulturbezogene Musikbegriff und die Einbeziehung der Schüler als Individuen thematisiert. / The abridged fishbowl-discussion gives an idea of currently discussed problems in the german discourse on music education at general schools (=music didactic). In Fishbowl B four experts (Werner Jank, Hans-Ulrich Schäfer-Lembeck, Constanze Rora und Dorothee Barth with Ursula Brandstätter as moderator) after their lectures discuss the term of learning in relation to more formal and more informel concepts of learning. These subjects are discussed in relation to following focuses: concrete german concepts, which focus on learning or experience, the term of culture-related music and including the pupils as individuals.

Der Beitrag beschreibt die deutsche Musikdidaktik von einer Meta-Ebene. Die an den Autor, einen Deutschdidaktiker, herangetragene Aufgabe wurde in drei Fragen gefasst: 1. Wie stellt sich die Landschaft der Deutschdidaktik aus der Adler- (bzw. Google earth-) Perspektive dar? 2. Wo würde der Adler die Brennpunkte der musikdidaktischen Tagungsdiskussion auf seiner Deutschdidaktik-Karte verorten? 3. Welche Gemeinsamkeiten und welche Unterschiede sieht der Adler zwischen der deutsch- und der musikdidaktischen Diskussion? Die Antwort ist ein Text mit einprägsamen Bildern aus dem Unterricht, mit Übersichten zur Deutschdidaktik und detaillierten Reflexionen aus einer kognitionstheoretischen Perspektive. Brennpunkte werden anhand von Begriffspaaren wie „Didaktik vs. Methodik“ und der Orientierung an „systematischem Aufbau vs. Erfahrung“, „Produktion vs. Rezeption“ sowie an „Produktionsprozessen oder -produkten“ lokalisiert. Die drei Beispielstunden von der DVD lassen sich auf drei Aufgabenfelder der Deutschdidaktik beziehen. / The article looks at music education / music didactic for general schools from a meta-level. The task for the author, a lecturer for didactic of German, was formulated in three questions: 1. How would you draw a map of the didactic of German from the perspective of an eagle (or Google earth)? 2. Where on this map would you locate the focal points of the music didactic discussion after the symposion? 3. Which common and which different points do you see between the didactic of music and the didactic of German? The article gives an answer with clear pictures from situations in the classroom, with overall views and detailed reflexions from a cognition-theoretical point of view. It locates focal points by pairs of terms like “didactic vs. methodology”, “teaching step by step vs. staging situations of experience”, “production vs. reception of music”, “focusing processes vs. objects of music education”. The three lessons on DVD can be related to three scopes of tasks of the didactic of German each.

Esta pesquisa aborda a pedagogia musical online de um curso de música a distância que utiliza como ambiente virtual de aprendizagem a plataforma moodle. A pesquisa tem como objetivo geral compreender como se constitui a pedagogia musical online que se configura no ambiente virtual de aprendizagem musical, tomando como locus o Curso de Licenciatura em Música da UAB-UnB, na modalidade a distância. A pedagogia musical online, neste estudo, inclui: as metodologias, os recursos e os materiais didáticos utilizados no moodle e o direcionamento desses aportes teórico-metodológicos no processo formativo do curso de música a distância, a partir da relação entre plataforma moodle, ferramentas, conteúdos e seus atores sociais. Participaram deste estudo vinte e três sujeitos inseridos na plataforma moodle do curso de música a distância, sendo dois coordenadores, uma gestora, uma professora autora/supervisora, seis tutores a distância e treze alunos virtuais. Como objetivos específicos, este estudo pretende contextualizar a escolha dos alunos pelo curso de música na modalidade a distância; investigar que mediações pedagógico-musicais são constituídas nesse ambiente virtual; verificar a organização das disciplinas observadas, identificar a interação que ocorre no interior dessas disciplinas, identificar como os sujeitos administram o tempo e o espaço no curso de música a distância e examinar a viabilidade do curso de música a distância. A fundamentação teórica está alicerçada no campo da sociologia da educação musical, sociologia da comunicação, sociologia da educação e da sociologia da educação a distância. A partir das ramificações desse campo sociológico, este estudo possui como base teórica autores que lapidaram um olhar sobre a vida cotidiana diante do contexto da cibercultura (LEMOS, 2008; FAINHOLC, 2007; HALABAN, 2010). A metodologia utilizada é Estudo de Caso com abordagem qualitativa (POUPART et al., 2008; DESLAURIERS e KÉRISIT, 2008; GODOI et al., 2007; YIN, 2005; BOGDAN e BIKLEN, 1994). As técnicas de coleta de dados utilizadas foram a observação não participante e participante, bem como a entrevista online, sendo essa uma adaptação da entrevista desenvolvida presencialmente (NICOLACI-DA-COSTA, 2007). Os resultados mostram que aprender música a distância é possível e que a procura por essa modalidade é crescente, tendo em vista a sua flexibilidade na organização do tempo e do espaço. A análise e a interpretação dos dados revelam que a pedagogia musical online tem que ser pensada a partir de suas demandas específicas em cada disciplina, vinculada à realidade de cada contexto inserido no processo de formação, além de ser adaptada e transformada para atender essas necessidades específicas. / This study discusses the online music pedagogy of a distance music course that uses Moodle, a software platform, as a virtual learning environment. It aims to understand how the online music pedagogy is created in the music virtual learning environment, assuming as a research locus, the Degree in Music at the UAB-UnB, as a distance learning mode. In this study, the online music pedagogy includes: Moodle methodologies, resources, and learning materials, and the application of such methodological-theoretical resources in the process of creating the music distance learning course from the relationship amongst its platform, tools, contents and social protagonists. Twenty three individuals , who were included in the moodle platform of the music distance learning course, participated in this study; two coordinators, one manager, one teacher author/supervisor, six distance learning tutors, and thirteen virtual students. The specific purposes of this study aim to contextualize the students’ choice for the music distance learning course; to investigate which musical-pedagogical mediations are created in this virtual environment; to analyze the discipline arrangement; to identify how these disciplines interact; to verify how the individuals manage time and space in this course; and to observe the music distance course viability. The theoretical foundation is based on the field of sociology of music education, sociology of communication, sociology of education and sociology of distance learning. From the branches of Sociology, the theoretical basis of this study is supported by authors who refined a look at everyday life with regard to the cyber culture context (LEMOS, 2008; FAINHOLC, 2007; HALABAN, 2010). This is a qualitative case study (POUPART et al., 2008; DESLAURIERS and KÉRISIT, 2008; GODOI et al., 2007; YIN, 2005; BOGDAN and BIKLEN, 1994). Data collection techniques used were non-participant and participant observations, as well as an online interview, which was an adaptation of a face-to-face interview (NICOLACI-DA-COSTA, 2007). The results showed that it is possible to learn music by taking online music courses. There is a growing demand for such alternative mode of learning as they provide greater flexibility in the organization of time and space. Data analysis and interpretation revealed that online music pedagogy should take into account its specific demands in each discipline, linked to the reality of each context inserted in the process of training, in addition to being adapted and transformed to meet these specific needs.

Esta pesquisa aborda a pedagogia musical online de um curso de música a distância que utiliza como ambiente virtual de aprendizagem a plataforma moodle. A pesquisa tem como objetivo geral compreender como se constitui a pedagogia musical online que se configura no ambiente virtual de aprendizagem musical, tomando como locus o Curso de Licenciatura em Música da UAB-UnB, na modalidade a distância. A pedagogia musical online, neste estudo, inclui: as metodologias, os recursos e os materiais didáticos utilizados no moodle e o direcionamento desses aportes teórico-metodológicos no processo formativo do curso de música a distância, a partir da relação entre plataforma moodle, ferramentas, conteúdos e seus atores sociais. Participaram deste estudo vinte e três sujeitos inseridos na plataforma moodle do curso de música a distância, sendo dois coordenadores, uma gestora, uma professora autora/supervisora, seis tutores a distância e treze alunos virtuais. Como objetivos específicos, este estudo pretende contextualizar a escolha dos alunos pelo curso de música na modalidade a distância; investigar que mediações pedagógico-musicais são constituídas nesse ambiente virtual; verificar a organização das disciplinas observadas, identificar a interação que ocorre no interior dessas disciplinas, identificar como os sujeitos administram o tempo e o espaço no curso de música a distância e examinar a viabilidade do curso de música a distância. A fundamentação teórica está alicerçada no campo da sociologia da educação musical, sociologia da comunicação, sociologia da educação e da sociologia da educação a distância. A partir das ramificações desse campo sociológico, este estudo possui como base teórica autores que lapidaram um olhar sobre a vida cotidiana diante do contexto da cibercultura (LEMOS, 2008; FAINHOLC, 2007; HALABAN, 2010). A metodologia utilizada é Estudo de Caso com abordagem qualitativa (POUPART et al., 2008; DESLAURIERS e KÉRISIT, 2008; GODOI et al., 2007; YIN, 2005; BOGDAN e BIKLEN, 1994). As técnicas de coleta de dados utilizadas foram a observação não participante e participante, bem como a entrevista online, sendo essa uma adaptação da entrevista desenvolvida presencialmente (NICOLACI-DA-COSTA, 2007). Os resultados mostram que aprender música a distância é possível e que a procura por essa modalidade é crescente, tendo em vista a sua flexibilidade na organização do tempo e do espaço. A análise e a interpretação dos dados revelam que a pedagogia musical online tem que ser pensada a partir de suas demandas específicas em cada disciplina, vinculada à realidade de cada contexto inserido no processo de formação, além de ser adaptada e transformada para atender essas necessidades específicas. / This study discusses the online music pedagogy of a distance music course that uses Moodle, a software platform, as a virtual learning environment. It aims to understand how the online music pedagogy is created in the music virtual learning environment, assuming as a research locus, the Degree in Music at the UAB-UnB, as a distance learning mode. In this study, the online music pedagogy includes: Moodle methodologies, resources, and learning materials, and the application of such methodological-theoretical resources in the process of creating the music distance learning course from the relationship amongst its platform, tools, contents and social protagonists. Twenty three individuals , who were included in the moodle platform of the music distance learning course, participated in this study; two coordinators, one manager, one teacher author/supervisor, six distance learning tutors, and thirteen virtual students. The specific purposes of this study aim to contextualize the students’ choice for the music distance learning course; to investigate which musical-pedagogical mediations are created in this virtual environment; to analyze the discipline arrangement; to identify how these disciplines interact; to verify how the individuals manage time and space in this course; and to observe the music distance course viability. The theoretical foundation is based on the field of sociology of music education, sociology of communication, sociology of education and sociology of distance learning. From the branches of Sociology, the theoretical basis of this study is supported by authors who refined a look at everyday life with regard to the cyber culture context (LEMOS, 2008; FAINHOLC, 2007; HALABAN, 2010). This is a qualitative case study (POUPART et al., 2008; DESLAURIERS and KÉRISIT, 2008; GODOI et al., 2007; YIN, 2005; BOGDAN and BIKLEN, 1994). Data collection techniques used were non-participant and participant observations, as well as an online interview, which was an adaptation of a face-to-face interview (NICOLACI-DA-COSTA, 2007). The results showed that it is possible to learn music by taking online music courses. There is a growing demand for such alternative mode of learning as they provide greater flexibility in the organization of time and space. Data analysis and interpretation revealed that online music pedagogy should take into account its specific demands in each discipline, linked to the reality of each context inserted in the process of training, in addition to being adapted and transformed to meet these specific needs.