In this edition of the newsletter, you will find information on the new journal Qualitative Research in Music Education (Jennifer S. Walter, editor); an update from the European Association for Music in Schools, and several position vacancies at:
- Athletic Band Director and Instructor of Instrumental Music Education – Ouachita Baptist University
- Associate Director of Bands – Appalachian State University
- Full Time Faculty, Music – College of DuPage
- Visiting Instructor/Assistant Professor of Music & Director of Bands – McMurry University
- Instructional Assistant Professor / Associate Director of Bands (Non-Tenure Track) – University of Houston, Moores School of Music
Read the full newsletter here: https://goo.gl/6y5waz
There is still time to submit a proposal for MDG 31, June 19-22, 2019 at the Mary Immaculate College, Limerick, Ireland. The deadline for proposals has been extended until January 18th. The focus of the colloquium was “Music Education as Social, Cultural, and Political Action.” Click here for the Colloquium website. Click here for the Call for Proposals.
- Assistant Professor (Choral Music Education) – University of Louisville
- String Music Education – East Carolina University
- Coordinator of Music Education – Susquehanna University
- Music Education (Choral Emphasis) – University of Central Arkansas
- General Music – University of Missouri St. Louis
- Visiting Assistant Professor of Music Education and Director of Bands – University of West Florida
Read the full newsletter here: https://goo.gl/8s8XqM
We have a jam-packed newsletter today! Reminders from ISSME and VRME as well as new calls for proposals from MMEA, KMEA, and MusCan; a special issue of Journal of Popular Music Education; and quite a few position vacancies:
Read the full newsletter here https://goo.gl/vYNaUm
The narrative “moment” in music education scholarship came to realisation in February 2006 when the first Narrative Inquiry in Music Education conference was held at Arizona State University. Since then, NIME conference convenings and various publications and presentations grounded in narrative inquiry demonstrate that narrative scholarship has found a place in music education. In a keynote address at the 2006 NIME1 conference, Bowman cautioned that narrative was not “the answer to all questions asked and unasked, the position without positioning, the view from everywhere. To take such stances only makes of narrative inquiry another orthodoxy: a status, I think, quite at odds with its most promising features, and one that absolves scholars of the responsibility (response/ability) that we have every right to demand of them” (p. 14). In an essay born of wrestling with the “gold standard” research demanded by the No Child Left Behind legislation, Kim (2008), a narrative scholar, noted the potential for narrative work be self-indulgent, to romanticize the protagonist, and to be under-theorized, particularly in the explication of narrative means/making and the interpretation of narrative texts. Asking “why narrative, why now,” Littlewood (2003), writing from the perspective of psychology, anthropology, and medicine, cautions against thinking that hearing, gathering, writing, and telling stories is “all we can achieve” (p. 257).
Call for Submissions: After more than a decade of narrative scholarship in music education, a critical (re)view is warranted—a robust conversation about how narrative scholarship has contributed to the work of the music education community, what constitutes “good” narrative work in music education, how narrative (stories themselves and narrative as scholarship) has been and might be theorized, and what the future of narrative inquiry in music education might hold. This Special Issue of ACT, co-edited by Margaret Barrett and Sandra Stauffer, seeks to broaden and deepen the discourse about narrative scholarship in music education and among those who choose this means of interrogating, as well as among those who might read, critique, and draw upon narrative work. The imperative for this issue of ACT is grounded in MayDay Action Ideal VI, which calls for refining and broadening scholarship in music education, critically examining research practices, and creating “a more expansive and inclusive research agenda—one that produces a richer research base for better-informed and improved thought and practice” (http://www.maydaygroup.org/about-us/action-for-change-in-music-education/#.W7VJbFJReMI).
We invite submissions that critically examine the affordances and constraints of narrative scholarship in music. Questions addressed might include: How or in what ways might narrative inquiry make evident the means and meanings of musical lives of individuals and musical communities of practice? To what ends might narrative inquiry be undertaken with individuals and communities? To what extent or in what ways is narrative lived theory? How do lived experiences represented in narratives become theorized by narrators in their telling and/or by researcher co-conspirators in their scholarship? What ethical imperatives and problems underlie narrative inquiry? How or in what ways does (or could) narrative inquiry engage or connect not only discourses in/of music and education, but also broader social, cultural, and political discourses?
Peer Review Process: All submissions to ACT are subject to a rigorous process of double-blind peer review. Final publication decisions rest with the editor (in light of reviewer recommendations).
Formatting: Please format submissions using the most recent edition of the Chicago Manual of Style’s author-date system throughout. Endnotes are permitted. Audio and video materials are encouraged. Consult a recent issue of ACT or contact the editor for more information if required.
Abstract and Keywords: Submissions must be accompanied by a brief abstract (ca. 100–150 words) and a short list of keywords.
About the Author: Include a 100-150 word biography for each author. Please email manuscripts as attachments to ACTNarrative@asu.edu.
The deadline for submissions to this special issue of ACT is March 15, 2019.
Bowman, Wayne D. “Why Narrative? Why Now?” Research Studies in Music Education 27, no. 1 (2006): 5-20.
Kim, Jeong-Hee. “A Romance with Narrative Inquiry: Toward an Act of Narrative theorizing.” In Curriculum and Teaching Dialogue, Volume 10, edited by Barbara Slater Stern, 251–267. Charlotte, NC: Information Age Publishing, 2008.
Littlewood, Roland. “Why Narrative? Why Now?” Anthropology & Medicine 10, no. 2 (2003): 255-261.
In this edition of the newsletter, there are calls for proposals for The ABLE Assembly, the Mid-South Music Education Research Symposium, and the Colloquium for Instrumental Music Teacher Education. There is also a long list of position vacancies for those on the job hunt. If you were hoping to submit to CDIME, good news – they have extended the deadline until November 15th.
Access the newsletter here: http://campaign.r20.constantcontact.com/render?m=1102570574389&ca=bb84093f-cbf0-435f-b6f3-539b23bddb46
The MayDay Group Colloquium 31, 19-22 June 2019
Mary Immaculate College, Limerick, Ireland
Music Education as Social, Cultural, and Political Action
CALL FOR PROPOSALS
As continuation of our engagement with the vital and challenging questions that make up our revised Action Ideals, The MayDay Group invites scholars, music makers, educators, and innovators from around the globe to consider and problematize music not just as meaningful sound, but as socially, culturally, and politically embedded action. This year’s Colloquium centers on Action Ideal II.
II. Since social, cultural, and political contexts of musical actions are integrally tied to the nature and values of all human activity, a secure theoretical foundation that unites the actions of music with the various contexts and meanings of those actions is essential to music education in both research and practice.
We must account for the fullest range of meanings inherent in individual and collective musical actions. This will require robust rationales that encompass the widest range of musical experiences in school and community contexts. As teachers of music we are participants and collaborators in a living cultural praxis; therefore discussions of music’s meanings and educative values must concern not just the sounds themselves, but encompass all of music’s humanizing and concrete functions.
Questions that presenters might consider:
- How can specific musical values be understood in relation to the nature of human needs and the social and cultural contexts that bring them forth? How might we work toward more inclusive and globally-informed definitions of musicianship and musicking, while at the same time teaching and promoting culturally relevant musical practices locally in our schools and communities?
- How can various approaches to creating, performing, and understanding music grow alongside and interact with established school musical practices associated with western classical music? How can we enlist exemplars and knowledgeable culture-bearers from various musical traditions among our schools and communities? What are potential risks and gains that might flow from such experiences?
- How can we develop awareness of the ways in which our own musical identities inevitably intersect with, and adapt to, the broad range of musics and musical situations with which we engage? How do these intersections and adaptations affect our teaching and our students’ learning?
- Accounting for the personal, social, cultural, and political situatedness of musics, how might specific tangible socially embedded qualities of musical processes, products, and contextualized actions constitute the basis for ethical music teaching, learning, and assessment?
- How does the notion of authenticity shape students’ engagement with musical traditions; how do notions of authenticity affect curriculum not common to the school or community locale?
Proposals and Provocations
Proposals are invited to address and/or problematize ideas of artistic citizenship, musical democracies, “world music,” multicultural curricula, sociology of music, cultural and institutional biases, non-notated musics, theories of social music learning, music and identity formation, social class and other points of interest on local, national, and international levels that can broaden the range of our professional general knowledge base. Over the past 25 years we have seen a myriad of research and philosophical contributions surrounding music learning and teaching that intersect with the fields of ethnomusicology, arts-based therapy, neuroscience, sociology, gender-sexuality studies, critical race theory, psychology, anthropology, linguistics, and cultural psychology. It is expected that scholarship from these fields and others will inform accepted proposals.
Presenters are encouraged to address issues and events by taking an interdisciplinary, theoretical, or philosophical approach in their analyses of trends and perceived problems, speaking as much to the wider university community and to the public as to our own specialty, and to recommend Action Plans that can broaden our thinking and support a more inclusive, socially aware, and informed practice of teaching and learning music in an increasingly pluralistic and diverse world community and classroom.
Presentations — better understood at MayDay Group Colloquia as provocations — are designed to stimulate discussion and debate. Therefore, each presenter will be allocated 45 minutes, to include no more than 30 minutes for the presentation and no fewer than 15 minutes for discussion.
Proposals that go outside the conventional scope of a provocation, such as a collaborative panel presentation, or a set of lightning talks including artists, school teachers, and/or policy makers, are also strongly encouraged. Musical engagements will also be considered and pianos will be available.
Presenters must be registered and in attendance at the colloquium. Presentations by other means (Skype, substitute presentation readers, etc.) cannot be accommodated. Projectors, speakers, and screens will be available, but it is completely acceptable to use no supporting technology.
PROPOSAL SUBMISSION PROCESS
- Please submit both: a proposal of no more than 800 words (references included in word count) and an abstract of no more than 100 words as word.doc email attachments. Incomplete submissions will not be considered.
- State your name, institutional affiliation, email address, and other contact information in the body of the email only. There should be no identifiers on proposals or abstracts.
- Submit no later than midnight, January 18, 2019 to: Dr Gwen Moore, Mary Immaculate College, Limerick firstname.lastname@example.org
- Proposals will be blind reviewed by the MayDay steering committee and evaluated according to the following criteria: clarity of ideas, contribution to/interest for the profession, relevance and contribution to theory, and connection to the action ideal and surrounding questions.
- Notification will occur by email no later than February 8, 2019.
- If accepted, the primary presenter and any co-presenters must register for the conference no later than March 8, 2019 or forfeit their acceptance.
- Registration information will be posted on the MDG 31 Colloquium website at http://mdg31.weebly.com
- Accepted abstracts will be posted to the Colloquium website by April 8, 2019 and cannot be changed after that date.
The venue for the conference will be Mary Immaculate College (MIC) located on the South Circular Road, Limerick. MIC is a University College academically affiliated with the University of Limerick. It is one of Ireland’s leading centres for teacher education, and has been in existence since 1898. The College offers many undergraduate programmes in education and the humanities, and over thirty graduate level programmes, up to and including at doctoral level. Currently, the College is home to some 5,000 students and nearly 300 staff.
Music education is a core part of all initial teacher education programmes in the College. As well as enjoying a strong relationship with the Department of Music, music education resides within the Department of Arts Education and Physical Education. The department is now home to the first taught MA in Music Education in Ireland and an MA in Education and The Arts.
Mary Immaculate College is situated on a city-centre campus one kilometre from the historical City of Limerick. Founded by the Vikings more than a thousand years ago, the City of Limerick is magnificently sited on one of Europe’s finest rivers, the Shannon. Limerick is an ideal base from which to explore both the South and the West Coast of Ireland. The breathtaking Atlantic Coast, the Cliffs of Moher, the botanically important Burren region, the mountains of Galway, the Aran Islands, Bunratty Castle, the Lakes of Killarney and the spectacular Rings of Kerry and of Beara are all within driving distance.
Shannon is the closest airport to Limerick (20 mins) and would be preferable to fly into. Cork, Dublin, Knock, and Galway airports are also conveniently located and have regular travel connections to Limerick.
Does the conference have special room rates for conference delegates?
All of the recognised conference accommodations have special room rates for conference delegates. For more information on this please see the Colloquium website at http://MDG31.weebly.com where you will find the most up-to-date information.
QUESTIONS? Please contact us at: email@example.com
 For the full set of ideals go to: http://www.maydaygroup.org/about-us/action-for-change-in-music-education/
In this issue of the newsletter, you will find information on the 2nd biannual Transgender Singing Voice Conference is a forum to share research and best practices related to the gender-inclusive choral classroom, focusing specifically on the needs of transgender and non-binary singers. The deadline to submit a proposal for this conference is just two days away, so don’t delay in sending in an abstract.
Also, you will find an updated version of the GRIME (Gender Research in Music Education) bibliography has been posted. Please visit the site, spread the word, and send updates.
Are you planning on attending the 2019 Mountain Lake Colloquium or one of the International Society for Music Education’s regional conferences? Registration for Mountain Lake and several of the ISME regional conferences is now open.
– International Society for Music Education Conference Date
– 2019 Mountain Lake Colloquium – Registration Now Open
– New Issue of Visions of Research in Music Education
– Gender Research in Music Education (GRIME) – Bibliography Update
Conferences & Calls:
– 2nd biannual Transgender Singing Voice Conference
– Two Positions: Assistant Professorships (Instrumental & Choral) – Central Connecticut State University
– Assistant Professor of Music Education & Band Directing – Friends University
– Assistant Professor of Music Education (Choral) – Lee University
– Assistant Professor of Music Education – Seattle Pacific University