May/June 2003 INTERNATIONAL SOCIETY FOR MUSIC EDUCATION
newsletter COMPILED AND EDITED BY ROS MCMILLAN
Celebrating 50 years 1953–2003
INTERNATIONAL SOCIETY FOR MUSIC EDUCATION
ADDRESS ISME International Office PO Box 909 Nedlands, WA 6909 Australia Tel: +61 (0)8 9386 2654 Fax: +61 (0)8 9386 2658 Email
[email protected]
WEB
www.isme.org
CONTENTS President’s Letter
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50th Anniversary Message
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Sir Frank Callaway
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Advocacy Series – 3: Brazil
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Commissions 50th Messages 6-7 ISME Board of Directors
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Obituary – K. Peter Eztkorn
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Obituary – Allen Britton
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Music Education International (MEI)
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ABRSM Advertising Sponsor
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Membership Matters Membership Fees ISME Journals Membership Renewals
10-11 10 10-11 11
Past ISME Honorary Presidents11 Voting Information
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History Project
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Regional Conferences
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ISME 2004 – Tenerife
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Sir Frank Callaway
16 May 1919 – 22 February 2003 Honorary President, ISME 1
PRESIDENT’S LETTER MESSAGE FROM GIACOMO OLIVA Dear ISME Colleagues, As you all know, in just several short months our Society will celebrate the anniversary of its founding 50 years ago in Brussels during an international conference on music education. Actually, the celebration of this special event officially began last August, at the conclusion of ISME’s XXV World Conference in Bergen, and it will continue through the conclusion of our upcoming World Conference meeting, which as you know will be held in Tenerife, Canary Islands in July of 2004. In my closing remarks at the Bergen conference, I asked the membership to become part of the celebration right away. This might happen by initiating and organising commemorative events in your home countries that are reflective of the goals and aspirations that ISME set forth at its founding, and by then sharing those events with us so that they can be recognized world wide by our entire ISME family. To be sure, a number of commemorative events are planned or are taking place, and we will be sharing them with you on the ISME website as we hear about them throughout the next 12 months. Let me take this opportunity to thank all of you whose leadership is making these events possible. There are, of course, other anniversar y activities being organized or already underway, thanks to the efforts of the members of ISME’s 50th Anni-
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versary Committee. Here are just a few. Contacts have been made with UNESCO, the International Music Council, MENC, and the College Music Society, in an effort to involve them is some way in the celebration. Marie McCarthy from the University of Maryland is making great progress with the writing of the ISME History and has also written an article about ISME that will appear in upcoming IMC and College Music Society newsletters. We are presently working with the Tenerife Conference Organizing Group to arrange a variety of anniversary events that will be featured on the Tenerife conference program. A panel of ISME members (Carolynn Lindeman, Marie McCarthy, Maud Hickey and myself) will be giving a presentation about ISME and its 50th Anniversary at the annual meeting of the College Music Society in Miami, Florida this coming October, and are hoping to do the same at the MENC meeting in Minneapolis, in 2004. We are also exploring sponsorship opportunities with a number of individuals who have played leadership roles in supporting our Society and its activities for many years. Speaking of sponsorships, we have been asked by a significant number of members if there was a way in which they could make a contribution to celebrate the 50th Anniversary. In response, we have established The ISME 50th Anniverary Fund, and a letter from me explaining the Fund and its purpose has been included in this issue of the news-
letter. Let me invite you all to consider participating in this special sponsorship initiative. Of course, we could not celebrate ISME’s 50th birthday without calling to mind the names of those individuals whose vision, commitment and leadership served as driving forces in the growth and accomplishment of our Society over the past 50 years. In this issue, we pay tribute to one such individual who is close to our heart, our beloved Sir Frank Callaway, who as you know, passed away this past February. As you read John Ritchie’s obituary, let me ask you all to reflect on Sir Frank’s innumerable contributions, but most importantly, on the love he had for this organization, and on his commitment to the goals that ISME has sought to achieve. Sir Frank has truly been an inspiration to us all, and we will miss him dearly. Elsewhere in this issue you will find a piece about ISME’s newest journal, MEI, which has been most enthusiastically received, an article in Portuguese on music education in Brazil, a section about the upcoming ISME regional meetings in Kenya and Mexico, and several pages about the ISME Commissions. And when you have completed your reading, be sure to visit the ISME website, as you will see some major changes! As always, my sincere thanks to all of you for the contributions you continue to make to our Society! With warmest best wishes,
Giacomo Oliva
MESSAGE FROM SIR FRANK CALLAWAY HONORARY PRESIDENT OF ISME 50th Anniversary Greeting
One week before he died, Sir Frank dictated a greeting for this edition of the newsletter. It is typical of Frank that he wanted to fulfil our request for a message for all ISME members. Even though he was very frail at the time, it is obvious from his words that his mind was as sharp as ever. This edition of the newsletter celebrates the life of this remarkable man. Vale Frank. ..................
This biennium, and particularly on 9 July 2003, the International Society for Music Education (ISME) celebrates 50 years since it was established in Brussels, Belgium, in 1953. It has been my privilege and honour to have been a part of ISME spanning this whole period. The occasion which marked the birth of ISME was the International Conference on the Role and Place of Music in the Education of Youth and Adults organised by UNESCO and the then recently formed International Music Council (IMC), both these organizations becoming major players in the development of the Society. From 39 countries came 314 participants as well as 27 performing groups. From 10 different countries an International Orchestra of Musical Youth of 105 players performed at an historic concert to conclude the conference. It was attended by HM Queen Elizabeth of Belgium and featured the great Paul Hindemith directing the orchestra, choirs and audience in the first performance of his Canticle to Hope (words by Paul Claudel). During the conference the eminent United States musical scholar Charles Seegar, on behalf of its international organising committee,
proposed the founding of an International Society for Music Education, which, it was hoped, would “strengthen the bonds thus formed and to carry out a task that should render very great service to the teaching of music throughout the world”. When duly constituted the Society announced its main aims as stimulating music education “as an integral part of general education and community life in accordance with the rights of all persons as set forth in the Universal Declaration of Human Rights – to take part freely in the cultural life of the community and to enjoy the arts – and as a profession”. Today ISME clearly exhibits the fine ideals and aims held by those ISME pioneers. With the Society’s Golden Jubilee now being celebrated, we can reflect on the often dedicated efforts of an army of music educators from throughout the world who have contributed to our profession. ISME has existed in many countries and represented different cultures. Music education world wide has seen many striking developments, some of which have been the outcome of ISME activities and initiatives. Today the Society has members in over 70 countries. To the enthusiastic, loyal and hard working ISME members and their leaders within the ISME Community, I feel confident that ISME is in good hands, and I leave you with two thoughts: ISME “is me” that is, you and your contribution count, and ISME “is you” which is the ISME family connecting and working together around the world. Being inclusive, tolerant and doing things with the right motives, and for the right reasons, will carry ISME forward and ensure that the Society continues to serve the music educators of the world.
Sir Frank Callaway by Professor John Ritchie Kathleen and Frank Callaway
Professor Emeritus John Ritchie is a composer. From 1962-83 he was Head of the School of Music at the University of Canterbury. Dean of the Music Faculty for two terms, he was Deputy Vice Chancellor from 1974-1983. He was an Individual member of IMC, Secretary General of ISME 1976-1984 and ISME President 1990-1992. The death on 22 February 2003 of Sir Frank Callaway, at the end of a long, hard-working and fruitful life in music and music education, takes from the Australian and international scene a figure of major importance. Born in Timaru, New Zealand in 1919, educated at Christchurch West (now Hagley) High School, the young Frank Adams Callaway travelled for Stanton Brothers, selling commercial stationery in the 1930s. When based in Dunedin he resumed musical contact with Vernon Griffiths under whom he had studied in Christchurch as a boy. It was there at the King Edward Technical College that I first encountered Frank, 18 years of age with a handsome presence, a youthful force and resource of humble self-belief. Music supplanted commerce in his interests. He graduated from Otago University with a Bachelor of Music and was rated very highly at Dunedin Teachers’ College.
Frank Callaway Honorary President, ISME
Early in World War II he became a member of the Royal New Zealand Air Force Band playing bassoon and violin. Two years later, following Dr Vernon Griffiths’ appointment to the Chair at Canterbury University, Callaway was released to become Head of Music at the King Edward Technical College, where he continued Griffiths’ pioneering work for ten years. This was broken by a lengthy visit to England’s Royal Academy of Music and travel through Britain and the USA (1948-9).
17 February 2003
At the end of this visit, he had the good fortune to meet up with
As a foundation ISME member, I thank you and send warm congratulations as you celebrate this milestone in music education history.
Vanett Lawler, an executive of the Music Educators National Conference in the USA. Frank, like so many of us, was highly indebted to Lawler for establishing meaningful contacts and itineraries which led to meetings and conversations with Charles Seeger, the eminent musicologist. This was in 1949. It is not simple coincidence that a year later UNESCO recommended the setting up of a conference and agency in the field of music education. In 1953, in Brussels, ISME was founded, based on a constitution drawn up by Seeger and Lawler, over whose shoulders Frank, in absentia, was leaning. On the other side of the globe he was settling into a new job. In 1953 the Callaway family left for Perth, Western Australia, where Frank took up a Readership in Music in the Faculty of Education. Later that year, the music journal Canon described a concert as “yet another proof of the stimulating and beneficent influence Frank Callaway is having on our musical life”. In 1959 he became Foundation Professor and Head of the new Music Department. He remained there until his retirement in 1984, beginning with a class numbering four students and ending his university career with a staff of more than 20, in accommodation that was the envy of the Australian academic community. In burgeoning Perth City, Frank Callaway became the moving spirit behind civic choral and orchestral activity. Bach and
Vaughan Williams were his early favourites. He travelled widely in Australia as guest conductor of the Australian Broadcasting Corporation’s various orchestras. At the same time he was leading a lively peripatetic international life. His early connection with ISME as Treasurer led eventually to his Presidency, and ultimately Honorary President from 1988. He was also President of the International Music Council and a frequent traveller to the UK, the USA, the Soviet Union, Japan and China. He numbered among his close friends Yehudi Menuhin, Dimitri Kabalevsky, Zoltan Kodaly, Arthur Bliss, Ravi Shankar, Eileen Joyce and many younger figures. He pleaded the cause of the music of Percy Grainger (1882-1961), arguably Australia’s foremost composer, whose legacy remains intact in the Grainger Museum in Melbourne, Australia, due in large part to the efforts of Frank who was pivotal in saving the Museum from demolition in the 1970s. ISME and IMC were Frank’s most absorbing preoccupations outside his professional role at The University of Western Australia. Throughout his 50 years of membership, he was the fount of all knowledge concerning hisContinued on page 5
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M USIC E DUCATION
AROUND THE
W ORLD – 3: BRAZIL análise e discussão de abordagens metodológicas do material produzido; pesquisas bibliográficas complementares a respeito das temáticas e conteúdos musicais abordados no repertório.
THIRD IN A SERIES ON ADVOCACY No Brasil, são raras as escolas públicas que incluem o ensino de música nas suas propostas curriculares, tendo em vista a sua não obrigatoriedade. Apesar disso, alguns estados e municípios estão realizando iniciativas no sentido de implementar trabalhos de educação musical nas escolas. Na cidade de Florianópolis, na região sul do país, a prefeitura municipal vem, nos últimos anos, iniciando trabalhos de educação musical em turmas de 5ª a 8ª séries do ensino fundamental. Apesar de ainda serem poucos os trabalhos de educação musical desenvolvidos a nível curricular, é para esta realidade que estamos procurando olhar nos cursos de formação de professores, mais especificamente, no Curso de Licenciatura em Música da Universidade do Estado de Santa Catarina (UDESC). Nesse sentido, nossos alunos – futuros professores, têm ido às escolas públicas onde estão sendo desenvolvidos trabalhos na área de música com o objetivo de observar, refletir e construir propostas de ensino mais condizentes com as necessidades de cada contexto específico. Essa interação universidade-escola tem contribuído para a elaboração de
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projetos de ensino, pesquisa e extensão, além de constituir a base para as propostas de estágio super visionado dos alunos da UDESC. Na maioria das instituições, os alunos encontraram situações bastante adversas para a realização dos trabalhos, tais como a carência de recursos básicos – aparelhagem de som, discos, instrumentos musicais; falta de uma sala de aula para a aula de música; turmas numerosas – com 30 a 40 alunos e, em alguns casos, com idades bem variadas. Por outro lado, ficaram agradavelmente surpresos com os trabalhos de música que vêm sendo desenvolvidos em algumas escolas, nas quais a música já conquistou um espaço de respeito e valorização pelos alunos, professores, direção e comunidade escolar. Chamou-lhes atenção também o uso que vem sendo feito da flauta doce nas aulas de música, sendo este praticamente o único instrumental disponível nas escolas. Observando essa realidade, logo foram detectados alguns desafios: como trabalhar com grupos tão numerosos e heterogêneos? Como utilizar a flauta doce nesse contexto? Qual o repertório mais adequado?
Sobre essa última questão, vale destacar a carência de materiais didáticos destinados ao ensino de música nas escolas brasileiras, justamente por ainda ser rara a sistematização dos trabalhos práticos desenvolvidos no âmbito escolar. Por outro lado, procuramos formar professores capazes de elaborar seus próprios recursos didáticos, incluindo oportunidades para compor e arranjar suas próprias músicas, de acordo com as necessidades trazidas pela prática docente. Considerando esses objetivos, foi elaborado o projeto “Produção de material didático para o ensino de música na escola”, para o qual foram convidados a participar alunos do Curso de Licenciatura em Música da UDESC. Para atingir os objetivos propostos, foram realizados, sob minha coordenação, encontros semanais com a equipe participante 1 , nos quais foram desenvolvidas as seguintes atividades: estudo e discussão de referenciais teóricos para o ensino de flauta doce na escola; análise e seleção de repertório musical do folclore brasileiro; transcrição de partituras; elaboração e experimentação dos arranjos produzidos pelo grupo; execução,
Nesse primeiro momento, o foco do projeto foi o trabalho com a flauta doce e a música brasileira, pensando-se nas particularidades do professor que atua com o ensino da flauta doce na escola e, mais especificamente, com alunos de 5ª a 8ª séries do ensino fundamental. Em termos de recursos instrumentais, optamos pelo conjunto de percussão, voz e flauta doce, pelo seu baixo custo, facilidade de transporte e, ainda, por se adaptar muito bem às necessidades do trabalho coletivo. Consideramos que o ensino da flauta doce no contexto escolar difere de outras propostas por pelo menos dois motivos: (1) o espaço da sala de aula com grupos heterogêneos e numerosos e (2) o estudo da flauta doce não é uma escolha dos alunos, quando esta é uma proposta curricular da escola. Outra questão que diferencia o trabalho com a flauta doce na educação escolar é o de que a aula de música é o centro da proposta, um conceito mais amplo do que o de “aula de flauta” realizada em outros espaços ou na forma de oficinas. Isto é, a flauta doce é um dos recursos a serem utilizados no fazer musical, não o único. Na elaboração dos arranjos partimos do pressuposto de que os alunos têm diferentes preferências, interesses, vivências, conhecimentos e habilidades musicais. Isso implica em termos que pensar em como podemos trabalhar com essa diversidade, reconhecendo o seu potencial educativo e valorizando as diferenças pessoais e subjetivas das crianças. Para tanto, é fundamental que o repertório apresentado contemple os diferentes interesses dos nossos alunos. Além disso, a execução
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do repertório precisa ser uma experiência musical rica e desafiadora para todos. Essa motivação e comprometimento dos alunos com o trabalho é mais difícil de obter quando solicitamos, por exemplo, que todos os alunos toquem uma determinada melodia em uníssono. Nesse caso, estaríamos pensando que os nossos alunos constituem um grupo homogêneo, em que todos têm as mesmas habilidades e interesses, desenvolvendo-as na mesma velocidade. Se essa idéia já é difícil de sustentar em qualquer proposta educativa, no ensino instrumental, em particular, pode inviabilizar todo o projeto pedagógico do professor. Por esse motivo, procuramos elaborar arranjos que valorizassem a participação de cada aluno no fazer musical em diversos instrumentos, com par tes de execução mais simples e outras mais complexas. A idéia central é a de inclusão no fazer musical: todos os alunos poderão participar com aquilo que já são capazes de tocar ou cantar, tanto a partir da leitura de partitura como por imitação. No desenvolvimento de propostas dessa natureza, a atividade de memorização de estruturas musicais que levam ao “tocar de ouvido” é um recurso que consideramos de extrema importância, pois permite, por exemplo, que os alunos toquem músicas mais complexas do que aquelas que seriam capazes de executar a partir da leitura da notação convencional. No caso específico da música brasileira, em que uma das principais características é a complexidade rítmica, o reper tório ficaria bastante limitado se trabalhássemos apenas com as músicas que os alunos são capazes de ler em partituras convencionais. Nesses casos, é proposto que os alunos primeiramente cantem as canções, memorizando o ritmo, para depois tocá-las na flauta. Dessa forma, o repertório possível de trabalhar em aula fica bastante ampliado, além de, em muitos casos, despertar maior interesse dos alunos. Na fase final do projeto foi organizado um livro contendo uma coletânea de músicas, no
qual as partituras dos arranjos produzidos pelo grupo vêm acompanhados de breves explicações sobre os ritmos, folguedos e danças brasileiras trabalhadas, bem como de algumas sugestões quanto à abordagem metodológica de cada música em sala de aula. Atualmente o material está sendo utilizado em práticas de ensino desenvolvidas na universidade e em escolas de ensino fundamental da rede pública. Participando do projeto, os acadêmicos tiveram a oportunidade de tocar e discutir as músicas trabalhadas, arranjandoas conforme as necessidades e recursos instrumentais disponíveis, além de estarem sempre analisando-as do ponto de vista pedagógico, isto é, pensando em como o repertório poderia ser utilizado no contexto escolar. Trabalhando na produção de arranjos musicais que possam ser tocados e cantados na escola, os acadêmicos anteciparam ações concretas de planejamento e ação em educação musical, podendo articular seus conhecimentos musicais e pedagógicos. Ações como essas são relevantes e contribuem para a preparação mais consciente e criativa dos alunos de cursos de Licenciatura em Música para suas práticas docentes, tanto no estágio supervisionado como em suas futuras atuações profissionais. A formação profissional competente do educador musical é uma necessidade sentida no cotidiano das atividades de um curso de formação de professores. Considera-se o processo vivido pelos alunos como uma importante etapa de construção instrumental que os auxiliará na mediação pedagógico-musical. Entende-se que a criação e produção de material didático para o ensino de música nas escolas é uma das funções de um curso comprometido com a produção de conhecimentos na área de Educação Musical.
Viviane Beineke Educadora Musical Universidade do Estado de Santa Catarina (UDESC), Brasil
[email protected]
International Resource Centre for Music Education.
Sir Frank Callaway tory, procedures and precedent within ISME. As its Treasurer he adopted a conservative role in the sense of sequestering funds so that prudent investment would produce derivative incomes on a long-term basis, a policy that required patience and determination, qualities which he had in abundance. Professor Callaway was Director of Music for the Commonwealth Games held in Perth in 1962. He established the regular Indian Ocean Arts Festival which exploited the accessible cultural diversity surrounding the socalled ‘most isolated city in the world’ and capitalised on the rising tide of foreign students coming to Western Australia. His knowledge of publishing contributed to his wide editorial experience. He was responsible for the International Journal of Music Education and the important Studies in Music. Not only is there a Callaway Auditorium in UWA, but also, since 1989, there has been the Callaway
Frank Callaway was honoured for his services to music in Australia and throughout the international community. He was made an Officer of the Order of the British Empire (OBE) in 1961 and a Companion of the Order of St Michael and St George (CMG) in1975, and was knighted in 1981. He had honorary doctorates conferred by The Universities of Western Australia and Melbourne. The passion Frank exhibited for gardening was equalled by his love of cricket. He was expert at scrabble using Australian rules of his own devising. Our friendship thrived on Australia versus New Zealand sporting jousts and the memory of youth in the remarkable institutions we attended together. Sir Frank himself was a conspicuously ‘good’ man – in fact he had to be, I suppose, to qualify as ‘best man’ at my wedding in 1944. From that time, Frank, Kathleen, Anita and I reunited regularly, consistent with the arrivals of nine children and 4000 miles distance. We have met the world over from Warsaw to Eugene, Seoul to Canberra. In railway carriages, aircraft and hotel rooms we have solved ISME problems and ‘scrabbled’. And apart from his inexperience as a drinker (he used to shake a bottle of champagne before pouring) I can find no fault in the man. A full and fruitful life is ended. We can be nothing but grateful for it.
This article discusses the production of didactic materials for music teaching as a strategy in the education of music teachers. It is related to an experience developed in the Music Degree Course in Santa Catarina State University (UDESC), Florianópolis, Brazil. Mindful of the daily routine in primary public schools, arrangements of Brazilian songs for recorder, voice and percussion were produced. At the project’s conclusion a collection of music was organized, containing suggestions for a methodological approach in the classroom. The material is now being used in teaching practices developed at the university and in public schools. Undergraduate music education students took part in the planning, which aimed to provide them with a greater understanding of the role of creativity in teacher education. We believe that the creation and production of didactic material for music teaching is one of the major functions of a course committed to the production of knowledge in Music Education. 1
Alunos participantes: Alberto Valter Feuerharmel; Ana Paula Alves de Souza; Áurea Demaria Silva; Cláudia M. Passos Karam; Gisele Garcia Vianna; Glauber Aquiles Sezerino; Rodrigo Gudin Paiva; Silvana Kalff; Silvana Mariani Hueblin. Professora convidada: Cláudia Ribeiro Bellochio.
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ISME COMMISSION FOR MUSIC IN CULTURAL, EDUCATIONAL AND MASS MEDIA POLICIES
ISME COMMISSION FOR COMMUNITY MUSIC ACTIVITY (CMA)
ISME COMMISSION
The Commission for Music in Cultural, Educational and Mass Media Policies congratulates ISME on 50 years of leadership in the field of music education advocacy, research and direction.
The Commission for Community Music Activities, whose histor y can be traced back just 19 years to 1984, nonetheless will join in celebration of ISME’s 50th Anniversary by considering the many publications, conference papers and workshop sessions over the course of its history with relevance to the school-community connection. At least one presentation at its Commission meeting will be devoted to an examination of the strands of community music to school programs, and to the development of a professional training in Community Music that has prepared individuals to complement the efforts of school music teachers. As well, we hope to gather together former members of the Commission, including founding members, to provide a retrospective of the original intent of the Commission, its development over its brief history, and its course into the future both within ISME and beyond it.
ISME’s 50th Anniversary is an ideal occasion to rethink the future of the Research Commission. We look back to the past, not as a reason to be complacent, but as an impetus for the future. The ISME Research Commission was created in 1967 when two music education researchers, Arnold Bentley from England and James Carlsen from the US, were invited by Bengt Franzen to the Royal Academy of Music in Stockholm. The fruitfulness of this experience convinced the participants to continue and to share this experience with other colleagues, thus, the ISME Research Commission was born.
We are using the period around the time of the 50th anniversary of ISME to consider the focus, intent and future work of our Commission. A series of small research projects have been initiated to collect and disseminate work around the three spheres of interest within the Commission – those of cultural policy, educational policy and mass media policy, as they impact on music education. The findings will form part of the presentation at the next Commission meeting in 2004. Over the years a number of small but extremely important regular meetings have been held focusing on various aspects of the work of the Commission. Two of the current projects are to bring together the publications of the Commission over its history and to document the participation of members of the Commission. I would welcome any recollections of ISME members who have participated in the seminars and meetings of our Commission. The details of the 2004 seminar will be released shortly on the ISMW website. CHAIR David Forrest
[email protected]
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CHAIR Patricia Shehan Campbell
[email protected]
FOR
RESEARCH
Since then, many Seminars have been held all over the world on the basis of the fundamental motivation behind the establishment of the Commission: (1) to learn what other music education researchers are investigating and (2) to receive critiques and suggestions that might improve each person’s research efforts and consequently contribute to the solution of problems facing music educators. The Research Commission celebrated its 35th anniversary in 2002. We think that the best way to participate in ISME’s 50th Anniversary is to continue working in the same direction, furthering our horizons and making contacts with those music educators interested in promoting music education through the method of research. But something more concrete is brewing! News will arrive when our ideas are finalised. CHAIR Johannella Tafuri
[email protected]
ISME COMMISSION FOR EARLY CHILDHOOD MUSIC EDUCATON (ECME) The Early Childhood Commission will be celebrating its own 20th anniversary along with that of the 50th birthday of ISME. Plans for our 2004 Barcelona conference, “Els MÛns Musicals dels Infants” (“The Musical Worlds of Children”), are well under way and will include some joint sessions with the Professional Musician Commission. A similar collaborative effort was par t of the first meeting of the commission in Seattle, Washington, USA, when members from the MISTEC Commission joined early childhood specialists. In addition to this connection to our roots as a Commission, we are discussing plans for a publication, and specific ways in which we can bring a sense of historical legacy to our conference organization. By reflecting upon our journey, we hope to set the course for future directions in research and advocacy efforts concerning music in the lives of young children. CHAIR Lori Custodero
[email protected]
ISME COMMISSION FOR MUSIC IN SCHOOLS AND TEACHER EDUCATION COMMISSION (MISTEC) The Music in Schools and Teacher Education Commission will be celebrating ISME’s 50th anniversary by publishing a volume of selected papers from the past two seminars, under the provisional title: Music in Schools and Teacher Education in the 21st Century, edited by Pat Shand and Glenn Nierman. This publication will carr y ISME’s 50th Anniversary logo. It will also include a short historical description of this Commission since its inception in 1976, a mere 27 years ago. By this means MISTEC hopes to underline the importance of ISME’s long-standing contribution to music education in all fields, and par ticularly where so many of us are involved on a daily basis – teaching in schools and educating the educators. Happy Anniversary ISME! CHAIR Minette Mans
[email protected]
ISME COMMISSION ON THE EDUCATION OF THE
PROFESSIONAL MUSICIAN The Commission for the Education of the Professional Musician will hold its 2004 Seminar at the Escola Superior de M˙sica de Catalunya in Barcelona with the theme “Preparing musicians – making new sound worlds”. As well as the usual Seminar activities – presentations, discussions, and concer ts – that generate publications and documents advising policies for musicians, education and professional development, the CEPROM will fulfil a long awaited wish, stated during the 2000 Cape Breton Seminar. This is to increase communication and collaboration with other ISME Commissions and to this end we will share the meeting venue and some sessions with the Early Childhood Commission. The CEPROM hopes that this will strengthen the bonds within ISME Commissions, build up the development of more integrative views of music education and provide an excellent opportunity and ambience to celebrate the first half century of ISME’s life in the cordiality and warmth of our Catalan hosts. Los esperamos! CHAIR Orlando Musumeci
[email protected]
ISME COMMISSION FOR MUSIC IN SPECIAL EDUCATION, MUSIC THERAPY AND MUSIC MEDICINE Happy 50 th Birthday to ISME in 2003 and happy 30th Birthday to the ISME Commission on Music in Special Education, Music Therapy, and Music Medicine in 2004! Established in 1974 as a commission to share and disseminate information between professionals involved in music in special education and music therapy, the Special Education Commission expanded to include yet another discipline – music medicine – in 1988. Our Commission continues its emphasis on the importance of communication among the three related disciplines. If your interests are in teaching special learners, in serving clients through music therapy, or in using music in hospital programs or for injury prevention and care of musicians, you will find this Commission a wonderful intersection to meet people in these three fields. We invite people with these interests to read our publications, attend a seminar, and develop research projects that will benefit our students, clients, and patients. Although some of our participants have attended seminars for more than 20 years, we also welcomed eight newcomers last year in Jyvaskyla, Finland. (Thanks again to our wonderful hosts at the University of Jyvaskyla! A boat ride, a sauna experience and lots of music making!) We would love to welcome even more newcomers in 2004 so come help us celebrate our 30th birthday.
ISME BOARD OF DIRECTORS * denotes Executive Board Member IMMEDIATE PAST HONORARY PRESIDENT Sir Frank Callaway Australia PRESIDENT * Giacomo M. Oliva USA IMMEDIATE PAST PRESIDENT * John Drummond NZ PRESIDENT ELECT * Gary McPherson HK/AUSTRALIA *Carolynn Lindeman USA * Håkan Lundström SWEDEN Lily Chen-Hafteck USA Magne Espeland NORWAY Wilfried Gruhn GERMANY Ros McMillan AUSTRALIA Tadahiro Murao JAPAN Meki Nzewi SOUTH AFRICA Alda De Jesus Oliveira BRAZIL Dina Grätzer ARGENTINA Jonathan Stephens SCOTLAND/UK Kari Veblen CANADA
IMMEDIATE PAST CHAIR Janet Montgomery
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OBITUARY K. Peter Etzkorn (1932–2002) by David Forrest
ISME is about friendships – international friendships – and ISME offers us the opportunity to meet together every few years. Peter Etzkorn was the epitome of an international friend. He was supportive, welcoming and encouraging to everyone who came in contact with him. Professor K. Peter Etzkorn was Professor Emeritus of Sociology and Ethnomusicology at the University of Missouri at St Louis (UMSL). He was also a longstanding ISME friend. He was born in Karlsruhe, Germany and completed an undergraduate degree at Ohio University in Columbus. He later completed a Masters degree and Doctorate at Princeton University. Peter had a distinguished career as an academic, researcher and
teacher. He taught sociology at UMSL for more than 33 years and was Associate Dean of the Graduate School and Director of Research. From 1970 he was closely associated with Mediacult – International Research Institute for Media, Communication and Cultural Development in Vienna, as a long standing member and, from 1995 to 2002, its President. In 1987 Peter was guest professor at the Institute of Music Sociology in Vienna. From 1990 to 1996 he was first a member and later the Chair of the ISME Commission on Music in Cultural, Educational and Mass Media Policies. The Commission was founded by Kurt Blaukopf to whom he was closely attached on a personal level and as a scholar. After his six year
term he remained as a Special Advisor to the Commission, a position from which he was able to offer significant comments and advice on the direction of the Commission. The commission seminar in Nairobi, which considered the theme of Building Bridges Between Mass Media, Technology and Music Education, was the last meeting that he attended. He was unable to attend either the seminars in Vancouver in 2000 or Helsinki in 2002. At the Nairobi meeting he delivered a paper titled: ‘Some Reflections on Technology and the Musical Learning Process – Implications for Music Education: The Paradox of the Symphony Industry’ that positively challenged us to consider the vast web of relation-
MUSIC EDUCATION INTERNATIONAL – ISME’S NEWEST JOURNAL Music Education International (MEI) is a new journal of the International Society for Music Education. Presently published once a year, MEI is part of the annual ISME Journal subscription (i.e. one IJME and one MEI per year) and is designed to publish articles representing a wide range of literature on education practice including materials relevant to music teaching and learning at all levels, in all forms and in all contexts, from pre-primary to further and higher as well as lifelong education. The articles may draw upon methodologies and theories developed in educational research or look at the relationship between views of learning, learners, teachers, teaching, curriculum and pedagogy. This journal aims to recognise and address what is useful, innovative and relevant to an international community of practitioners, researchers and practitionerresearchers whose voices, whether heard as solos or choruses, constitute a dialogue about new possibilities for advancing practice.
For ISME he also edited the proceedings of the 1994 seminar Mass Media Programming Policies affecting the Musical Experience of Youth that met at the State University of New York, Buffalo, USA. With Siegmund Helms he edited the proceedings of the 1996 Köln seminar on Policy Concerns with Media Influences on Music Listening. He left us a large body of work in the fields of sociology of the arts and media, its relationship to the music and cultural industries, and the influence on musical production and reception. The news of the death of Professor K. Peter Etzkorn reached his ISME friends at the time of the Conference in Bergen in 2002. His death saddened us greatly. To his wife Hilde and family we offer our sympathy. We are thankful for having had the opportunity to know such a man and share in his ideas and insights.
OBITUARY – ALLEN BRITTON ISME was saddened to
As co-editors of Music Education International we invite and welcome manuscripts for publication consideration that contribute to an understanding and advancement of music education. Submission of articles for review by the MEI editorial board should be sent electronically to both Pamela Burnard at
[email protected] and Liane Hentshke at
[email protected]. All articles should be sent as an attachment in Rich Text Format (.rtf) or otherwise, four copies of the complete paper may be mailed to either:
hear of the death on
PAMELA BURNARD, Co-Editor, Music Education International, University of Cambridge, Faculty of Education, Homerton Site, Hills Road, Cambridge, UK CB2 2PH or LIANE HENTSCHKE, Av Nilo Pecanha, 2863 Apt 804, 91330-001 Porto Alegre-RS, Brazil.
Research Commission
If you have not yet subscribed to the ISME Journals (US$24) and would like to receive a copy of MEI#1, please order via the ISME website at: www.isme.org or contact the ISME International Office.
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ships that he presented. He produced the summary of the findings of the Commission that met for its first time in Africa.
18 February 2003 of ALLEN BRITTON, who was involved in the formation of the ISME in 1966. An obituary will appear in the next edition Newsletter.
of
the
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9
Membership Matters ISME INTERNATIONAL OFFICE AND SERVICES TO MEMBERS: The ISME International Office (IO) is continuously working on improving ser vices to members. These may be seen in improvements to the website and communications with members directly through the Office. The membership database has undergone several changes over the course of the past year, and the Office staff have been challenged to keep up with the improvements and new technical requirements. We thank our members for their continued loyalty, support and especially your patience as we learn and grow! We look forward to giving you more and improved services all the time. The website is being improved almost daily, and there are still many plans and improvements to be implemented, so do keep looking at the site and let us have your feedback and suggestions. As the website is now very large, we are counting on input from members to keep us informed and alert us to any changes and improvements which could be made. Furthemore, the ISME website will also keep you updated on celebrations happening around the world, by ISME members and in ISME countries. It is a way of keeping abreast of internationl developments in music education, even if you are unable to attend conferences. See: www.isme.org
ADDRESS ISME International Office PO Box 909 Nedlands, WA 6909 Australia Tel: Fax: Email
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+61 (0)8 9386 2654 +61 (0)8 9386 2658
[email protected]
MEMBER ADVOCACY:
MEMBERSHIP FEE STRUCTURE:
We would like to share the ISME experience with as many music educators as possible around the world, and to do this we rely heavily on those who belong to ISME and enjoy what it has to offer. We urge you, as an ISME member, to tell your colleagues about membership of ISME and encourage them to join, to tell your institution about Group Membership and to make your institution (staff and students) and its library aware that subscriptions to the Journals are available. They may also purchase publications which ISME has to offer. Refer to the website: www.isme.org
At the General Assembly of the Society held in Bergen, Norway, August 13/15, 2002, the following was passed by the membership to take effect as of July 1, 2003.
Why belong to ISME and what do I get for membership? If you are not able to attend conferences, ISME still has plenty to offer you. Current Individual ISME membership benefits include: • Regular information from the Society (via mail or electronically) • Regular Newsletters (free to members!) • Access to ISME events at reduced rates • Discounts on ISME publications • Other benefits as these become available • Website information, including research and teaching resources, with Members Only sections • Voting will in future be possible to all ISME members (not only at conferences) You will also: • be able to share with us the 50th Anniversary celebrations of ISME • be a “50th Anniversary member and go down in history!
• Two-year memberships will again be possible, as an option. • Journal subscription is optional, although we encourage you to subscribe to the Journals at the same time, and take advantage of the member discount. • ISME Newsletters are included in the annual membership fee. 1. High HDI: One year: per year US$35 plus Journal subs for one year $35 + $24 = US$59 Two-year: discounted for the biennium to US$65 plus Journal subs for two years $48 = US$113 Note: Annual membership fee will be raised to $35 per year if paid annually Two-year memberships will now be possible from July 1, 2003 and are at the reduced rate of US$65 if paid in full at the start of the period. 2. Medium HDI: One year: per year remains unchanged at plus Journal subs for one year $24 = Two-year: for the biennium discounted to plus Journal subs for two years $48 =
US$25 US$49 US$45 US$93
3. Low HDI: One year: per year remains unchanged at plus Journal subs for one year $24 = Two-year: for the biennium discounted to plus Journal subs for two years $48 =
US$20 US$44 US$35 US$83
4. Group Membership No change ISME JOURNALS: ISME publishes two Journals per year: • International Journal of Music Education (IJME) • Music Education International (MEI). One of each makes up an annual subscription, and although they have different titles, their ISSN number: 0255-7614 is the same. ISME Journals (two per annum): 2002: IJME #39, May/June MEI #1, Oct/Nov BOTH Journals: US$40, (including packing and postage) Members Special: US$24 These are now available as single copies. Postage is added if not a subscription. Continued on page 11
Membership Matters
[contd]
2003: IJME #40, May/June MEI #2, Oct/Nov BOTH Journals: 40 US$, (including packing and postage) Members Special: US$24 Single copies of ISME Journals are not available during the year of publication, only as back copies. NOTE: Journal Subscriptions must match your membership. If you pay for a two year membership and also want to order the ISME Journals, you will be required to subscribe to the ISME Journals for that same period. ISME Newsletters are included in the annual membership fee. Special Member Journal Rates: You will not be able to subscribe to ISME Journals for periods when you are not a member, unless you pay the non-member price. MEMBERSHIP RENEWALS: Remember that your renewal date is always the same, so it is important to renew on time. If you pay late, you may miss out on a Newsletter or other ISME communication and not be able to access the Members Sections on the website. Memberships which are more than one month overdue will be removed from the lists. If you renew late your membership will be backdated to the time when your membership originally lapsed. CURRENT DETAILS CORRECT? The membership database is now integrated with the ISME website. In future you will not be required to re-
submit an application form when renewing your subscription on time, just confirm your details and send payment. View your details on the ISME website and make any changes yourself at: www.isme.org Please use this facility to advise the ISME office of changes or additions to your member profile and do be sure you include information on your interests, so we can keep you up to date in those areas. If you do not have website access you are welcome to fax (61+8+9386 2658) or mail updated information to the ISME International Office. ISME International Office May, 2003
Past ISME Honorary Presidents In the 50 years of ISME’s existence there have been four Honorary President’s. We celebrate their commitment to and vision for music education. • Leo Kestenberg (Israel) • Dmitri Kabalevsky (USSR)
• Zoltán Kodály (Hungary) • Frank Callaway (Australia)
Voting Information . . . BOARD ELECTIONS We are due to hold Board elections in 2004, and it is time for members to start thinking about the process. In the past, voting took place only at the biennial Conference, but this time, and for the first time, we are introducing electronic voting, which will give every single member of ISME the opportunity to vote for the President and the Board Members. In June this year the Board will consider a proposal from the Executive on how we can make the new system work. Our computer experts in Perth have come up with a way for voting to happen simply, efficiently and legally, so we are confident. What follows is the way we’ll do things if the Board approves the Executive’s recommendation. Firstly, of course, we all need candidates – people to vote for. Because we must open the voting earlier than in the past, we’ll need nominations in earlier. BECOMING A BOARD MEMBER ISME deals with all kinds of music education in every country of the world. It therefore needs a Board of enthusiastic and experienced music educators that is widely representative. If you know people who are members and meet the requirements of Board membership (as laid down in the Constitution, which you can find on the website), you should think about nominating them. NOMINATIONS WILL BE DUE BY 1 DECEMBER 2003. The next Newsletter will contain details about how you can nominate someone to the Board. And of course, we need not only Board members but a President. In 2004 we elect the person who will become President in 2006, so he or she has a lead-in time on the Executive and learns how the Society works. So if you know someone who could be an effective leader of ISME, then think about nominating that person for the Presidency. VOTING PROCEDURES Once we have a list of candidates for the Board and for the Presidency we’ll need to know about them, and we’ll need to be able to say who we want to manage ISME for us. Full details of every candidate will be posted on the ISME website by mid-May 2004. Members who cannot access the net will be supplied with the same materials in printed form. As soon as the information is posted, you can start voting on the ISME website. You’ll need to identify yourself, and once you’ve cast your votes you won’t be able to vote again. The votes will all be electronically counted. If you come to the conference in Tenerife, you will be able to vote there – also electronically.–Towards the end of the conference, the voting will officially close and the election results announced at the General Assembly. It’s a technically complex business, and we may have a few teething troubles but the benefits are great!’Whether you are an Individual Member or a representative of a Group Member, you will be able to exercise your right to choose who shall lead the Society. So look out for the next Newsletter which will have all the details about Nominations. Remember, ISME Is You, and ISME will be the Society you want it to be, through the way you nominate people to the leadership and the way you vote for them.
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ISME CONFERENCES ISME HISTORY PROJECT Please contribute! How has ISME contributed to your life? What special memories of ISME do you wish to share with the ISME community? The International Society for Music Education celebrates its 50th anniversary in 2003. To mark the occasion I enlist members’ assistance at this time. The organizational history of ISME can be reconstructed in large part using ISME archival material that is housed in the Special Collections in Performing Arts at the University of Maryland, College Park. It can be enlivened, clarified and expanded by interviews with living officers and organizational leaders. At another level, its value can be identified by feedback from ISME members who have attended conferences over the years and who have many memories and stories to share. Therefore, I invite you to send me your thoughts, your memories, your photographs, anything that can assist me in providing a comprehensive story of ISME and one that reflects the membership at large. Please contact me at
[email protected], or you may mail materials to me at the following address: Marie McCarthy, School of Music, Clarice Smith Performing Arts Center, University of Maryland, College Park, MD 20742, USA
ISME R EGIONAL C ONFERENCE – K ISUMU, K ENYA PASMAE 2003 5-11 July 2003 www.pasmae.org We are inviting you to attend the above conference, which is scheduled to take place in July 2003. The Conference is being organised under the auspices of the Pan African Society for Musical Arts Education, the Kenyan Music Educators Association, UNESCO and ISME. The Conference will be held jointly with the first ever ISME African regional conference, and will offer participants an opportunity to celebrate with ISME its 50th Jubilee Year. Our host will be the Department of Music, Maseno University – the only university situated on the equator! The major objective of the Conference will be to provide workable solutions to the problems of music research, teaching and performance peculiar to the African continent. The Conference will comprise plenar y, workshop, paper, seminar, performance and poster sessions. The conference program will be arranged in such a way as to allow two or more activities to run concurrently.
ISME R EGIONAL C ONFERENCE – MEXICO CITY, MEXICO 11-15 August 2003 IV Encuentro Regional Latinoamericano de Educación Musical (ISME/UNAM) www.unam.mx/enmusica
M USIC E DUCATION E VENTS AROUND 29-31 MAY – Research visit of Professor Wilfried Grühn (Freiburg, Germany) 18-19 JULY – First International Conference on Music Teaching and Learning 20-25 JULY – Third Summer School of the Music Teaching in
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THE
W ORLD
Professional Practice Initiative Enquiries and registration for all events: Daniela Brewis The University of Reading Email:
[email protected] (See website on ISME links page)
ISME 2004
SOUND WORLDS TO DISCOVER 26th International Society for Music Education World Conference 11 to 16 July 2004. Tenerife – Canary Islands/Spain www.isme2004.com http://www.isme2004.com Please allow us to present an ancestral instrument, the bucio, a shell which can be found in the ocean depths of the Canarian Archipelago and, when used as a musical instrument, emits sounds. The island inhabitants, when playing the bucio, inform us of their presence, they feel sure and decided. We feel the same way by summoning you to the XXVI ISME Conference which will be celebrated on one of the seven islands of this unique archipelago, Tenerife. From 11 to 16 July we will offer you, within this rich ethnic and cultural enclave, the opportunity to share different types of music and ideas in enriching moments of exchange by way of concerts, discussions and work sessions which we are programming for you. Sound Worlds to Discover is the theme that defines our Conference. At the beginning of a new millennium (apart from the predisposition that we show towards globalisation) we are convinced that there are still many initiatives that, from different perspectives related to music, require a forum for their diffusion. From Tenerife, we propose to share these, grouping them around the following five sub-themes: A world of sound to know, A world of sound to create, A world of sound to interpret, A world of sound to teach, A world of sound to feel. All these sub-themes could be considered from broad perspectives
such as world peace, popular music or youth, and their implications for music, culture and society. We will debate and reflect on different themes of interest, by way of round-table discussion with prominent professionals in the field. We would like to invite you to participate by presenting your work through papers, workshops and poster sessions. In light of the always growing interest in new technologies within the different worlds of music education, we propose the creation of a Technological Pavilion within ISME 2004 that will group all events related to the application of new technologies to music. Finally, we will show you the musical plurality of which Spain is made, through musicians and local groups from diverse points of our geography. We especially encourage you to bring musical representation from your country. We are sure that this encounter will be unforgettable. Together we will generate a space in which we will have the occasion to know, create, interpret, teach and feel our Sound Worlds with colleagues from around the world. With the sound of the bucio, we invite you to participate actively in our Conference, because ISME offers us a great opportunity – the ability to share!
Maravillas DÌaz President SEM-EE
IMPORTANT DATES TO REMEMBER 31 May 2003 Deadline for receiving performing group applications 1 September 2003 Performing groups notified of acceptance 1 September 2003 Deadline for receiving general session applications 15 December 2003 General session applicants notified of acceptance