New Issue of Action, Criticism, and Theory for Music Education | |
The newest issue of Action, Criticism & Theory for Music Education (ACT) 22.3 is out. This issue includes the following:
An introduction by Deborah Bradley & J. Scott Goble
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“Music Teacher Education for the Future: Reflections on Change” by Catharina Cristophersen, José-Luis Aróstegui, Kari Holdhus, Ailbhe Kenny, Jan Sverre Knudsen, Monica Lindgren, Lauri Väkevä, and Tine Grieg Viig
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“Critical Reflection in Music Teacher Education: Contradictions and Dilemmas in Theory, Policy, and Practice” by Hanne Rinholm, Bendik Fredriksen, and Silje Valde Onsrud
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“Disrupting Racism in Music Education: Conceptualizing Admissions Processes through the State and the War Machine” by Erika J. Knapp and Whitney Mayo
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“Can I Speak, When and How? Colonization, Subalternity, and Contested Practice” by André de Quadros
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“Popular Music Education as a Technology of Access and Intervention: Tanglewood and Popular Music Education in the US” by Noah Karvelis
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“Minds That Know: Seeking A New Music Literacy through Syntax, Prosody, and Community” by Aaron Lohmeyer
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““Do Not Dig Further Back”: The 500-Year Assimilation Project in Mexico” by Hector Vasquez-Cordoba
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“Emotional Abuse in Classical Music Education in Finland: A Study of Finnish Women Musicians’ Experience” by Anna Ramstedt
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“Rethinking, Re-storying, and Reclaiming Narratives of Aging in Music Education Research” by Tuulikki Laes
Read the issue here
Congratulations to Deborah Bradley & J. Scott Goble on their final issue as ACT editors! Thank you for your service.
Action, Criticism, and Theory for Music Education is a peer-reviewed journal seriously committed to principles of open access. Authors do not pay a fee to be published in ACT. Founded in 2001, the journal publishes critical, analytical, theoretical, and policy development articles of international interest that illuminate, extend, or challenge the “Action Ideals” of the MayDay Group.
Critically-informed scholarship from a broad range of disciplinary perspectives is welcomed: music, education, philosophy, sociology, history, psychology, curriculum theory, and others. Please email manuscripts as attachments to the editor, Lauren Kapalka Richerme (lkricher@indiana.edu).
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Call for Papers: Special Issue of Action, Criticism, and Theory for Music Education
Music Education in the Age of Capitalist Realism
Sean Powell, Guest Editor (University of North Texas)
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The late British philosopher, music critic, and political theorist Mark Fisher (1968–2017) coined the term capitalist realism to describe the ideological frame that undergirds our current social, cultural, economic, and political life-worlds. He summarized the concept with the phrase, “it’s easier to imagine the end of the world than the end of capitalism.”[1] As he explained, “That slogan captures precisely what I mean by ‘capitalist realism’: the widespread sense that not only is capitalism the only viable political and economic system, but also that it is now impossible even to imagine a coherent alternative to it.”[2] Fisher further described the ideological nature of this concept thus:
Capitalist realism as I understand it cannot be confined to art or the quasi-propagandistic way in which advertising functions. It is more like a pervasive atmosphere, conditioning not only the production of culture but also the regulation of work and education, and acting as kind of an invisible barrier constraining thought and action.[3]
After the fall of the Berlin Wall and the dissolution of the Soviet Union, philosopher Francis Fukuyama famously claimed in 1989 that we had reached “the end of history”—that, with the defeat of “actually existing socialism” by capitalism, we had reached the “the end-point of mankind's ideological evolution and the universalization of Western liberal democracy as the final form of human government.”[4] The future development of political and economic systems was therefore, in his view, foreclosed. For Fisher, capitalism is “realistic” in that it serves as the unnoticed background within which we act. It seems to be the natural state of the world to those who have lived their lives in capitalistic societies. In this way, capitalist realism is ideological, in that it structures the parameters of reality while going largely unquestioned.
Similarly, American political theorist Wendy Brown sees our current predicament as one in which the market tenets of neoliberal capitalism have spread—without significant resistance or debate—from the economy proper to all areas of social, cultural, and political existence. Invoking Frankfurt School philosopher Herbert Marcuse, she describes this situation as the “closing of the political universe—the erasure of intelligible, legitimate alternatives to economic rationality.”[5] Not only has neoliberal capitalism constructed a new economic and material reality, its advance marks “a new production of subjectivity.”[6] Within this frame, all aspects of life, even those previously outside the economic sphere, are subjected to the model of the market as human beings are configured “exhaustively as market actors, always, only, and everywhere as homo oeconomicus,”[7] even when direct profit-making is not enacted.
The capitalist base of society serves as the “pervasive atmosphere” within which music education exists in many nations. For example, in many contexts, teachers have developed a sense that organizing music education around competition is the only viable system, and it has thus become impossible for them to imagine alternatives to the competitive structures that undergird so many music programs, converting the use value of musical learning into the exchange value of competitive scores.[8] In these school music contexts, structuring music learning as competition “seamlessly occupies the horizons of the thinkable”[9] as an a priori, taken-for-granted substructure of music education.[10] In addition to this competitive structure, capitalist realism’s effects (market logic, business ontology, entrepreneurial ethos, instrumental aims, economic centering and marginalization, hierarchical structures, precarity and scarcity, etc.) appear in music education in myriad ways.
Capitalism is the pre-given, taken-for-granted base upon which the global hegemonic economic system’s social superstructures—including music education systems— are built. The effect of this system reaches people in nominally non-capitalist nations. Given these dynamics, this special issue of ACT invites manuscripts that examine and critique capitalist realism as it relates to the theory and practice of music education. While we seek manuscripts that employ Fisher’s concept of capitalist realism as a frame, a direct, explicit engagement with Fisher’s work is not required (although it is certainly welcome). [11] Authors are also strongly encouraged to engage with scholarship previously published in ACT that addresses issues of capitalism and socioeconomic status.[12]
Possible themes may include but are not limited to:
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How can music education (and/or the arts in general) contribute to a critique and/or amelioration of capitalism’s effects? Given Fisher’s background as a music critic (aka the music blogger k-punk), how does music, in particular, factor into this theoretical matrix?
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What possible alternatives can we offer to capitalist realism? What are the conditions of possibility for conceiving of such alternatives? How could or should music education appear differently under such alternative scenarios?
- How does an intentional (re)focus on a critique of capitalist ideology within music education scholarship and praxis—with its centering of the class struggle—inform, augment, intersect, or potentially conflict with scholarly critiques centered on other oppressive social structures (e.g., racism, sexism, homophobia, transphobia, ableism)?
- How can a return to the critical dimension (combating post-political ideology) offer space for envisioning alternative modes of music teaching and learning without succumbing to naïve utopianism? How can we combat “the commodification of political engagement and the reduction of politics to the performative signaling of political affiliation and support which forestalls an ‘actual’ political agency towards palpable material change?”[13]
- Given Fisher’s focus on post-Fordist finance capitalism as it manifests in the Global North (in the U.K. and U.S. in particular), how might the critique of capitalist infused music education practices appear different in other settings?
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What are the potential deficiencies within the capitalist realism concept of ideology critique as it relates to music teaching and learning?
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How have the technological, social, cultural, and economic changes that have occurred since 2009 (the publication year of Capitalist Realism) weakened or strengthened Fisher’s position, and what are the implications for music education?
- How can the explicit capitalist intervention in music education (e.g., corporate sponsorship of music education as a market-building strategy, public-private partnerships, outsourcing public education to private interests, the interpellation of music teachers and students as “entrepreneurs,” school choice, vouchers, charter schools) be critiqued and challenged, and what alternative models could be considered?
- How can an analysis of the capitalist commodification of music, which leverages desire by producing phantasmal objects for consumption, problematize the use of “popular” music in education?
- Can a renewed emphasis on economic class dynamics in music classrooms inform a re-conceptualized framework for music education philosophy, advocacy, and praxis?
- Do current (or historical) philosophies or approaches to music education knowingly or unwittingly support capitalist exploitation?
Submission Deadline: Please submit your manuscript as a Word document via e-mail no later than January 1, 2024 to Dr. Sean Powell at sean.powell@unt.edu, copied to the ACT Editor Dr. Lauren Kapalka Richerme at lkricher@indiana.edu.
Submission Guidelines
Action, Criticism, and Theory for Music Education is devoted to the critical study and analysis of issues related to the field of music education. ACT welcomes submissions from diverse perspectives (e.g. education, music, philosophy, sociology, history, psychology, curriculum studies), dealing with critical, analytical, practical, theoretical, or policy development concerns, as well as submissions that seek to apply, challenge, or extend the MayDay Group’s Action Ideals.
Article Length: ACT imposes no set restrictions on length. However, authors may be asked to shorten submissions where reviewers or the editor determine that an essay’s length is not warranted by its content.
Formatting: Please format submissions using the most recent edition of the Chicago Manual of Style’s “author-date system” with the following three adaptations: 1) omit quotations marks around titles in reference lists, 2) follow APA conventions for capitalization in reference lists, and 3) use closed ellipses (necessary for html formatting). Endnotes are permitted. Audio and video materials are encouraged. Also, ACT encourages the use of “they” (and any derivation) as a singular, gender-neutral pronoun. Consult a recent issue of ACT or contact the editors 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.
Languages: Following ACT’s special issue guidelines on the Decolonization of Music Education, and with the purpose of actively diversifying knowledge creation strategies, this special issue also welcomes manuscripts that were originally published in a language other than English and in a venue not commonly accessible by all. Submitters are required to provide the English translation of their submissions.
Peer Review Process: ACT submissions are subject to a rigorous process of anonymized peer review. Final publication decisions rest with the editors (in consideration of reviewer recommendations).
Notes
[1] Mark Fisher, Capitalist Realism: Is There No Alternative? (Winchester, UK: Zer0 Books, 2009), 2.
[2] Ibid.
[3] Ibid., 16.
[4] Francis Fukuyama, “The End of History?” The National Interest, no. 16 (1989): 3–18. http://www.jstor.org/stable/24027184.
[5] Wendy Brown, Undoing the Demos: Neoliberalism’s Stealth Revolution (New York: Zone Books, 2015), 68.
[6] Rachel Greenwald Smith, Affect and American Literature in the Age of Neoliberalism (New York: Cambridge University Press, 2015), 5.
[7] Brown, Undoing the Demos, 31.
[8] Joseph Michael Abramo, “The Phantasmagoria of Competition in School Ensembles,” Philosophy of Music Education Review 25, no. 2 (2017): 165.
[9] Fisher, Capitalist Realism, 8.
[10] Sean Robert Powell, The Ideology of Competition in School Music (New York: Oxford University Press, 2023), 29.
[11] For an example of the use of the concept of capitalist realism as an analytical frame in music education scholarship, see Chapter 2, “It’s Easier to Imagine the End of Music Education Than then End of Competition,” in Powell, The Ideology of Competition in School Music.
[12] For example, see (among many others) articles appearing in the special issue of ACT on neoliberalism and music education (volume 20, issue 3).
[13] Schutzbach, There is an Alternative, 47.
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Conferences, Workshops, & Calls | |
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Contributions to Music Education Editorial Board
Call for Nominations
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Contributions to Music Education seeks nominations for regional, national, and international members of the editorial review board. Candidates are selected primarily for recognized expertise in the field of music education and research. Members are seated by May 2024 for a 4-year term, from September 2024 to 2028.
Background and Qualifications
- Nominees should be current or retired music teacher educators or professors at the collegiate level.
- Graduate level teaching experience with an understanding of research writing protocols is preferred.
- Nominees should have a record of peer-reviewed research publication in the field of music education.
- Prior experience as a member of a journal editorial review board is also useful and preferred.
Duties and Responsibilities
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Conduct thorough blind reviews of manuscripts submitted to CME for publication consideration.
- Return reviews in a timely way, with detailed and helpful feedback to author/s, by the specified date.
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Encourage qualified authors to submit research manuscripts to Contributions to Music Education.
- Provide input and advice on multiple facets of scholarly evaluation and related protocols at CME.
Application and Review
- Interested applicants should send a curriculum vitae and one-page letter of background and interest.
- Prepare the digital submission as a single PDF, with the cover letter followed by curriculum vitae.
- Candidates will be selected by review of the CME Editorial Board, Editor, and Associate Editor.
- After materials review and vote, applicants will be notified of results and standing by the CME Editor.
Contributions to Music Education is a refereed journal published by the Ohio Music Education Association. A primary purpose is to highlight the importance of social science research, as related to progressive music teaching and learning in school contexts. With a history of 50+ years and 450+ articles in 48 volumes, CME has supported scholarly investigation into music education since 1972.
Application material will be accepted from November 6th to December 22nd, 2023.
Please email dossier (single PDF with one-page cover letter and CV), or address questions to:
Brian D. Meyers, Editor of Contributions to Music Education, at contributions@omea-ohio.org.
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International Journal of Community Music
Call for Editorial & Advisory Board Members
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The International Journal for Community Music seeks applications for members of the editorial and advisory board. Members of the board are expected to review 3-5 articles each year and typically serve a 6-year term. Duties include (but are not limited to):
- Providing content by occasionally writing articles, reviews, etc.
- Reviewing submitted manuscripts
- Advising on journal policy and scope
- Identifying topics for special issues
- Assisting the editor(s) in decision-making
Qualifications
- The applicant must be familiar with the field of community music, as evidenced in such things as applied activity in community music, publications related to community music, or teaching in areas related to community music.
- The applicant must be able to read, write, and review scholarly articles in English.
- The applicant must have regular access to, and facility with, on-line communication and editorial tools.
To apply, please submit a letter of application (300 words maximum), articulating your interest and qualifications for the Editorial & Advisory Board. Also include a short, 2-page resume (CV).The short resume should list only: (1) professional preparation and background; (2) professional positions held; (3) scholarly activity including publications, editing, and reviewing, and (4) teaching activity.
Submit to Roger Mantie, Senior Editor: roger.mantie@utoronto.ca
Deadline: November 28, 2023
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QMUE: The 5th Symposium for LGBTQ Studies and Music Education
Call for Proposals
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Location: Chicago, Illinois, USA
Co-Sponsored by: University of Illinois Chicago and Northwestern University
Date: June 24-26, 2024
Call for Proposals:
In 2010, 2012, 2016, and 2021, LGBTQ Studies and Music Education Symposia I, II, III, & IV brought together students, teachers, college faculty, and researchers to discuss relevant research, theory, and practice from an LGBTQ perspective (for contextual information, visit the QMUE 4 website).
The purpose of these ongoing symposia is to encourage, promote, and disseminate discourse regarding the intersections of LGBTQ topics and music education. Held during Chicago Pride, we seek to further explore in this fifth symposium how Queer interests operate within music education in terms of research, curriculum, teacher preparation, and the musical lives and careers of LGBTQ music students and teachers.
Presentation Formats:
Scholars, researchers, and music educators are invited to propose a presentation in one of the following formats:
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Paper Presentations: 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 on a research topic that will stimulate discussion and debate.
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Panel Session: Two or three related papers by different authors addressing a single research topic or theme scheduled in one 45-minute session and hosted by a moderator or discussant proposed by the authors.
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Poster Presentation: A forum for dialogue about ongoing inquiry or works in progress. Conference participants are asked to interact with poster presenters during the forum.
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Lightning Talks: 5-minute research presentation as part of a 45-minute block (time shared with other presenters, culminating in group discussion)
Questions to Consider:
- How are LGBTQ identities reflected in the diverse ways that we make music as human beings?
- In what unique ways does music participation enrich the lives of LGBTQ individuals?
- In what ways can music education enrich the lives of LGBTQ teachers and students?
- In what ways can we support LGBTQ teachers and students to reach musical self-fulfillment or maximize their musical potential?
- How do Queer topics intersect with issues related to identity, such as socioeconomic status, ability, race, sexual orientation, age, gender, sex, ethnicity, and religion?
- How can we work towards increased accessibility and equity in music curricula for all music learners?
- How can we create continuously developing and sustainable partnerships for musical activity within our local communities that promote and support LGBTQ persons?
Submission Details:
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Proposal abstracts (up to 350 words) are due by email to QMUE5symposium@gmail.com before December 3, 2023.
- Responses regarding acceptance will be sent via email. Please send the manuscript from the email address you wish to be used for correspondence.
- Attach the abstract as a PDF document to the email. The submitted abstract should contain no clues as to author identity or institutional affiliation.
- In the body of the e-mail, please include the following information: (a) the author’s or authors’ names; (b) current position(s) and institutional affiliation(s); (c) mailing address, telephone number, and email address (submitter only); (d) the proposed presentation title; (e) the proposed presentation format (e.g., paper, panel, poster, lightning talk, working pod); and (f) prior presentation details (e.g., place, date), if applicable.
- Criteria for acceptance: relevance to LGBTQ interests; connection to music, education, and the arts; innovation and timeliness; theoretical/conceptual foundation; overall quality of proposal. Research that has not appeared in other physical or virtual venues may be given preference in the selection process.
- A panel of qualified scholars will screen all abstracts for presentation at the symposium.
- Authors of symposium papers will be notified of the reviewers’ decision no later than February 5, 2024.
Presenters must be registered to present in person at the symposium. Any questions related to registration and presenting can be directed to the planning committee.
Projectors, speakers, and screens will be available. It is also completely acceptable to use no supporting technology.
Symposium Planning Committee:
Matthew L. Garrett, Case Western Reserve University; Brent C. Talbot, University of Illinois, Chicago; Sarah Bartolome, Northwestern University; Jace Saplan, Arizona State University
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Call for Participation:
Association for Popular Music Education Conference
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The Association for Popular Music Education is pleased to announce our 2024 conference will be held at the Thornton School of Music at the University of Southern California in Los Angeles, CA, USA, from June 5–8, 2024. The conference will be held in person and virtually in a hybrid setting. The theme for the conference is Come Together: Considering the Past, Present, and Future of Popular Music Education
Call for Participation
When considering the history of popular music education, what types of knowledge, experiences, and practices shape how we engage with popular music? As a community of teachers, researchers, students, and musicians, how do our diverse backgrounds in popular music impact how we approach the learning space? What is popular music education, who is popular music education for, and where does popular music education go from here?
When troubling the need for a concrete definition of popular music, Bowman (2004) noted that “popular music is not an ‘it’ but a ‘them’ – a vast, multifarious, and fluid range of musical practices with remarkably different in divergent intentions, values, potentials, and affordances” (p. 34). If we parallel this notion to the individuals and practices that embody the field of popular music education, one could suggest that those who engage in popular music education do not form a homogenous collective, but rather serve to fashion an interconnected group of “remarkably different” individuals and practices.
Much like the modern-day portfolio musician, the popular music education field has developed over time into an interdisciplinary field to include various creative, performing, learning, research, and teaching practices that overlap and weave through one another, with each element of the field impacting the others to form a complex ecosystem. Thinking back to Bowman’s (2004) assertion of popular music, how do our community’s “divergent intentions, values, potentials, and affordances” contribute to the breadth and depth of an education in popular music? How are these seemingly divergent practices enacted in the classroom, in the rehearsal, and on the stage? Further, how might these creative practices break down and transform the attitudes and habitual silos often encountered in music education? How do we recognize and celebrate our community and, through this process, nurture a greater sense of belonging in popular music education?
The APME conference offers a space for our multi-faceted and fluid community to come together to learn from and with each other. In doing so, we serve as a vibrant ecosystem that helps to promote and advance popular music at all levels of education, both in the classroom and beyond. We invite you to connect with, learn from, and contribute to our community as we consider our past while looking toward the future of popular music education.
Information on the conference, including the submission portal for the conference and the APME LIVE Student Festival, can be found at https://www.popularmusiceducation.org/conferences/usc-2024/
Submissions are due December 1, 2023
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4th Symposium on Research in Choral Singing
April 25–26, 2024
Chicago, IL (In person and Remote) Big 10 Conference Center
Call for Participation
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The American Choral Directors Association is pleased to announce the fourth international Symposium on Research in Choral Singing, a forum for the dissemination of research and scholarly activity. The 2024 hybrid Symposium is intended to be held for ACDA members from North America, and synchronously (no membership required) for members outside the U.S. on Thursday and Friday, April 25 and 26, 2024. The international Symposium will combine diverse presentational formats and break-out sessions with opportunities for in-depth conversation, inquiry, and consideration of future research directions of all types. Penn State University will host the conference in Chicago, in conjunction with Universidad Autónoma de Madrid (Spain) and De Montfort University (England).
The intent of the Symposium is aligned with the purpose of the International Journal of Research in Choral Singing: to advance knowledge and practice with respect to choral singing, choir sound, choral pedagogy, and related areas such as equity and inclusion in choral singing, school community partnerships, adolescent development, vocal development, and singing and well-being. Like the IJRCS, the Symposium program committee welcomes proposals that reflect well-executed research employing, qualitative, historical, quantitative, performance practice, or philosophical methodologies. Proposals for research presentations, research-informed panels, and posters are welcomed.
Sessions will be presented in person or synchronously via Zoom; time allotments will be determined by the Program Committee and communicated to presenters in acceptance letters. Typical duration for spoken presentations will be 10–15 minutes plus 5 minutes for questions/answers; poster presenters will describe their work in a lightning talk. We anticipate a schedule of morning/afternoon in the Americas, afternoon/evening Europe and late night/early morning in Asia/Australia.
Proposals must comply with the following guidelines:
- Previously published research should not be submitted; however, unpublished findings from a published project may be submitted.
- Research previously presented at a Symposium should not be submitted.
- In-progress research is permissible for submission to the Symposium so long as preliminary data and findings can be discussed and the author plans to have completed the project by the symposium. Prospective research projects are not suitable for this particular Symposium.
- Proposal submission implies intent to register for and present at the Symposium if accepted. The Symposium registration fee will be approx. $100 USD.
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400-word abstracts for presentations or for the poster session must be submitted to the following link: https://forms.gle/6Z4pEEBsuYW6DYQH7
The IJRCS Editorial Board will serve as the Program Committee and will rate each proposal according to relevance, originality, clarity, validity, and interest. The Program Committee reserves the right to designate accepted proposals for either paper or poster presentation.
Proposal Deadline: Friday, November 17, 2023 at 5:00 PM EST.
- All submissions will be blinded for review by the program committee.
- Applicants will be notified on or before January 15, and presenters will be asked to register by April 1.
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Associate Professor and Chair of Music Education
Johns Hopkins University
Baltimore, Maryland
Job Description
The Conservatory of the Johns Hopkins Peabody Institute seeks a visionary leader to be appointed Associate Professor or Professor, and Chair of the Department of Music Education effective July 1, 2024. Building on a long tradition of excellence in teacher training, the new Chair will oversee development of the strategic direction for the program, while collaborating with faculty to elevate the visibility of music education at Peabody regionally and nationally and heighten the program’s impact on our local and regional communities.
Responsibilities:
The chair works to develop faculty, staff, and programs, oversee curricula and budgets, facilitate Music Education department events, and ensure compliance with accreditation standards. In addition to providing collaborative and visionary leadership for the department, duties will include teaching, mentoring, and advising graduate and undergraduate music education students. The candidate will teach undergraduate and graduate music education classes, supervise field experiences and student teaching, and pursue an agenda of research, scholarship, and creative work consistent with the candidate’s expertise and interests in music education. Finally, the new chair will be a strategic partner in collaboration with outreach efforts in and around the City of Baltimore.
Qualifications:
Qualified applicants will have successful experience as a music educator in public schools at the elementary level, a doctorate in Music Education, and experience teaching at the collegiate level. Applicants should demonstrate evidence and potential of research and a record of professional/service activities in music education. Specialization in Vocal/General music is required.
Applications should include a cover letter and a Curriculum vitae with three professional references. A review of applications will begin on December 1, 2023.
To learn more, please click here.
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Assistant Professor, Music Education
Washington State University
Pullman, Washington
Job Description
The School of Music at Washington State University (WSU) invites applications for a permanent, full-time, nine-month, tenure-track Assistant Professor position in Pullman, WA, with a specialty in Music Education. We seek applicants who will lead our growing music education program and teach music education courses at the graduate and undergraduate level.
It is anticipated that the successful candidate will begin the appointment on August 16, 2024.
Summary of Duties:
The new Assistant Professor will teach General Music Methods/Materials and Foundations of Music Education, create and teach graduate courses in music education, and coordinate the supervision of teaching internships. Other duties will be assigned by the Director of the School of Music based on the successful candidate’s strengths and could include academic advising of music education students, teaching other methods courses, developing and teaching new courses as part of curriculum revision, or teaching Music for the Elementary Classroom, a course designed for elementary education students. The successful candidate will build relationships with educators across the region for the purpose of supporting music education in line with the land-grant mission of WSU. The candidate will increase the visibility of WSU's music education program and will recruit new music majors for the School of Music. The successful candidate will build and maintain a national profile as a scholar and/or clinician. The duties of this position are: 40% teaching, 40% research and creative activity, 20% service.
Required Qualifications:
- Terminal degree in music education or related discipline by August 16, 2024.
- Three years minimum of PK-12 teaching experience.
- Innovative and creative approaches to music making, pedagogy, and leadership that prepare pre-service music teachers to demonstrate the skills and competencies articulated by the State of Washington and in the National Core Arts Standards.
- Experience teaching music education courses at the collegiate level, with preference given to experience teaching elementary/general music.
- Commitment and ability to work with a diverse group of students, faculty, staff, and constituents in support of campus and School of Music missions.
- Record of professional publication and/or presentation demonstrating knowledge of the field and potential for further productivity.
- Demonstrated record of or potential for commitment to inclusion, diversity, equity, and access efforts.
Preferred Qualifications:
- Experience mentoring pre-service teachers in internships
- Experience in academic advising for undergraduate music education majors
- Experience in course creation and curriculum development at the collegiate level
- Demonstrated experience mentoring student researchers
- Experience in teaching instrumental music methods or graduate courses
- Record of successful recruitment and retention of undergraduate and graduate music education students
- Evidence of experience engaging with current dialogues in the profession (e.g., social-emotional learning, teacher evaluation, teacher shortages, supporting refugee populations)
Required Documents:
- A cover letter addressing qualifications for this position
- Curriculum vita
- Teaching statement that describes your teaching experience and philosophy, which may incorporate experience from formal or informal teaching and mentoring opportunities
- Research/Scholarship/Creative Activity statement that outlines your scholarly work and includes your future plans
- Contributions to Diversity, Equity, and Inclusion statement that includes your demonstrated and or potential for contributions to diversity, equity, and inclusion efforts through scholarship/research, and/or teaching/mentoring, and/or service/engagement. There may be some overlap with your research and teaching statements
Additional materials will be requested later in the search process and could include:
- Research sample, published or pre-published, 5-10 pages in length
- Video of effective teaching
- Additional sample syllabi of music education courses
Inquiries should be directed to Dr. Danh Pham, Committee Chair, danh.pham@wsu.edu, or 509-335-3972.
Submission Deadline: November 27, 2023
For more information, click here.
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Assistant Professor of Music Education (Strings)
University of Utah
Salt Lake City, Utah
DUTIES:
(1) Teach undergraduate and graduate music education courses; (2) supervise graduate research, theses, projects, and dissertations at the masters and doctoral levels as assigned; (3) conduct music education research and engage in creative activities designed to enhance teaching and learning; (4) recruit undergraduate and graduate students; (5) supervise student teachers; (6) serve on committees as assigned; and (7) build and maintain productive relationships with other Utah music educators. The School of Music seeks to create a diverse and inclusive, rigorous and responsible environment that reaches across disciplines to foster highly adaptive creators and thinkers.
QUALIFICATIONS:
(1) Doctorate preferred, ABD considered; (2) outstanding musician with successful instrumental music teaching background; (3) minimum three years successful instrumental music teaching in P–12 schools required, (4) college/university teaching experience desirable; (5) evidence of the potential to develop a national reputation in music education through scholarly research and creative activities, as defined in our Retention, Promotion, and Tenure guidelines. (6) Candidates who have diverse teaching interests and/or research specializations which may complement those of our current music education faculty are encouraged to apply.
Applicants must submit: (1) a letter of application including a link to a teaching video (any level/content of instruction); (2) curriculum vitae (including the names, telephone numbers, and email addresses of 3 to 5 persons who can provide references); (3) a succinct teaching statement; (4) 3 confidential letters of recommendation (uploaded directly by recommenders); (5) unofficial copies of undergraduate and graduate transcripts.
The review of applications will begin immediately and will continue until the position has been filled. Candidates should complete their on-line application prior to November 13, 2023, to ensure full consideration. Candidates who proceed to the final level will be required to participate in a routine criminal background check and to provide official transcripts. For more information, or to suggest nominations for this position, please contact Emily Mercado, chair of the search committee, at Emily.Mercado@utah.edu. Do not send other materials unless requested.
For more information, please click here.
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Assistant Professor of Vocal Music Education and
Assistant Professor of Instrumental Music Education (2 positions)
Minnesota State University Moorhead
Moorhead, Minnesota
Job Description
- Supervising the university’s band program (Instrumental) or choral activities (vocal)
- Coordinate Instrumental Music Education program, including advising instrumental Music Education majors or Vocal Music Education majors, as appropriate
- Active recruitment for the School of Performing Arts.
- Teaching related courses according to the candidate’s areas of expertise and the needs of the department, including music education methods classes (secondary and/or general) and student teaching supervision.
- Instruct courses in varied locations, at varied times, and via various media commensurate with department and university needs.
- Engage in scholarly research or creative achievement to enhance knowledge of field.
- Provide evidence of continuing preparation and study in the field to enhance teaching abilities.
- Contribute to student growth and development including student advising.
- Support Minnesota State University Moorhead’s strategic priority of creating a campus community that is diverse, inclusive, globally aware, and just.
Required Qualifications
- Doctorate in Wind Ensemble Conducting, Choral Conducting, or Music Education by date of appointment (ABD considered)
- Minimum of three years band or choral directing experience at high school level
- Demonstrated ability to work successfully with students of diverse backgrounds including a sensitivity to their needs and concerns
- Evidence of strong recruiting skills
Preferred Qualifications
- Collegiate level band or choral teaching/conducting experience
- Pep band conducting experience/ability to teach applied voice
- Applied wind teaching experience/ability to direct a commercial music vocal ensemble (pop/jazz/musical theatre)
Other Requirements
- The successful candidate must be able to lawfully accept employment in the United States by the day employment begins. The University regrets that we are unable to offer H1-B sponsorship at this time.
- Official transcript(s) from all degree granting institutions must be provided to the Office of Human Resources prior to first duty day.
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Employment for this position is covered by the collective bargaining agreement for the Inter Faculty organization (IFO) which can be found at https://www.minnstate.edu/system/working/docs/contracts/ifo-contract.pdf.
- In accordance with the Minnesota State Colleges and Universities Vehicle Fleet Safety Program, faculty and staff driving on college/university business, who use a rental or state vehicle, shall be required to complete a vehicle Use Agreement form and conform to Minnesota State College and Universities vehicle use criteria and consent to a motor vehicle records check.
Deadline to Apply: November 26, 2023
For more information, please click here (vocal) or here (instrumental).
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Assistant/Associate Professor of String Music Learning and Teaching
Arizona State University
Tempe, Arizona
The School of Music, Dance and Theatre in the Herberger Institute for Design and the Arts at Arizona State University seeks an exceptional colleague to help us broaden the ways people conceptualize string music learning and teaching and expand where and how music learning and teaching occurs throughout contemporary society. This is a full-time, tenure-track appointment as an assistant or associate professor, depending on experience, beginning fall 2024. This position is in-person on the ASU Tempe campus.
Job Description
We are looking for someone who will collaborate with us, work in solidarity with our community and think deeply and expansively. We are interested in someone who imagines new possibilities and embraces creative thinking. The successful candidate will teach undergraduate and graduate courses in music learning and teaching, which may include string pedagogy and rehearsal techniques, art of teaching beginning and advanced instrumentalists, strings lab, research, and other areas related to the candidate’s expertise. Our new colleague will advise and mentor master’s degree and PhD students, supervise and support their culminating projects, dissertations, and related research. We seek someone who will help us grow the student population entering our programs and help us expand the multiple pathways that students move through and beyond our programs. This faculty member will continue to publish scholarship in music learning and teaching, contribute to our learning community, serve with others to forward aspirational goals, and collaborate with us and others to foster vibrant musical ecologies. Together, we will support our students, partners, alumni, and others to have a tangible positive impact in their communities. We are especially interested in applicants who are dedicated to advancing the ASU Charter and realizing ASU’s Design Aspirations.
Required Qualifications
- Doctoral degree in music education or related field (degree must be conferred by the appointment start date);
- Four or more years of successful string music teaching in public and/or private schools or other educational contexts;
- Scholarly/research achievement as demonstrated through publications and/or presentations;
- Exemplary pedagogical skills and knowledge;
- A record of professional activities in music learning and teaching;
Preferred Qualifications
- Ability to conduct socially engaged research in an interdisciplinary community of scholars and artists, including (but not limited to) music therapists, performers, composers, digital artists, and scholars in the sciences and humanities;
- Experience in college-level music learning and teaching at the undergraduate and graduate levels;
- Embodiment of and ability to support students’ flexible musicianship, inquisitive thinking, innovative practice, community leadership, and equity in all;
- Demonstrated ability to provide pedagogical and musical leadership in one or more of the following: community-based music, improvisation, jazz, new and emerging ensembles, popular/contemporary music, Mariachi, Hip-Hop arts, or world music;
- Experience with music technology, digital media and/or interactive media;
- Ability to develop, launch, and manage grants or large-scale initiatives;
- Experience working or collaborating with non-profit organizations or the corporate sector.
Application Instructions
Please submit the following materials as separate items:
- Letter of interest addressing how the candidate uniquely meets the qualifications for the position.
- Curriculum vitae.
- A one-page statement addressing the candidate’s teaching philosophy.
- An example of research and/or creative work.
- One or two course syllabi developed, and preferably taught, by the candidate
- Two unedited videos (no longer than 15 minutes) demonstrating classroom teaching or ensemble preparation/rehearsal techniques
- Names and contact information for three references.
Video samples must be submitted via live hyperlinks to media sharing websites (ex. YouTube, Vimeo, SoundCloud, etc.). For detailed instructions on how to create a document with live hyperlinks, please click here.
The application deadline is November 11, 2023. Applications will continue to be accepted on a rolling basis for a reserve pool. Applications in the reserve pool may then be reviewed in the order in which they were received until the position is filled.
For more information, please click here.
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Assistant Professor of Music Education
University of Illinois Chicago
Chicago, Illinois
Job Description:
The School of Theatre and Music at the University of Illinois Chicago (UIC) invites applications for a full-time tenure-track (assistant professor) faculty position, music education.
We seek a music education scholar and teacher with the facility to engage a diverse set of music learning and teaching practices; who will teach core courses in music education; and who will take a leadership role in the implementation of a new city-school-based music teaching licensure degree program. The successful candidate will approach the discipline in culturally responsive ways, place high value on aural ways of knowing and organizing music, center creative musical activities (arranging, composing, and improvising), and prepare students for success in large, urban school districts via field experiences in the Chicago Public Schools and with various partnerships in and around Chicago.
All tenure-track faculty members contribute to the university's general education program as needed and provide service. Teaching duties will be determined by qualifications and institutional needs. Continuing academic year (nine-month) appointment begins 16 August 2024. Salary is competitive and commensurate with experience and qualifications.
Qualifications:
Terminal degree in Music Education (Ph.D. or D.M.A.) or in Education (Ed.D.) by 16 August 2024. A record of, or clear potential for, creative scholarly activity, peer-reviewed publications and presentations at conferences, and demonstrated leadership potential in the field. Demonstrated success in teaching at the college/university level, including graduate assistantships. A proven commitment to equity, diversity, inclusion, access, and nurturing a sense of belonging in teaching and/or scholarship. Evidence of administrative, collaborative, and interpersonal skills.
Preferred Qualifications:
Three or more years of experience teaching music in early-childhood, elementary, and/or secondary programs in city public schools. Competence in and engagement with vernacular, popular, indigenous, and non-Western musical practices. An understanding of and experience with teaching populations that reflect UIC’s diverse student body. Experience with licensure requirements for undergraduate music education degrees.
Application Deadline:
December 4, 2023: Submit a letter of application indicating qualifications for the position, curriculum vitae, a two-page research statement addressing the candidate’s scholarly trajectory, and contact information for three recommenders (including e-mail and phone numbers) to the UIC job board at jobs.uic.edu. Direct questions to Professor Harris Saunders at hssaund@uic.edu.
For more information, please click here.
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Open Rank Professor of Music Education
University of New Mexico
Albuquerque, New Mexico
Job Description:
The University of New Mexico is seeking a tenure track Professor of Music Education with specialization in Elementary/General Music. This Assistant, Associate, or Full Professor will teach courses in music education focusing on expertise in elementary and general music, supervise student teachers and prestudent teaching interns, advise graduate research, possibly provide supervision for music education area (depending on rank), possible budget management, and the participation in recruitment activities. This faculty member will establish/maintain a research profile in peer reviewed journals and conferences and establish an active schedule of recruitment and interaction with music educators in the metropolitan area, throughout the state, nationally, and internationally. This faculty member will work collaboratively with faculty in applied instruction, music education, and ensembles to create an inclusive environment. This faculty member will actively organize and implement music education area initiatives that engage music students and music teachers in New Mexico and beyond. In addition to the calculable load, the candidate will contribute to School, College and University service, including committees, recruiting, and community outreach.
Minimum Qualifications:
1. Doctorate in Music, Music Education, or Education, required by August 2024
2. Three years elementary general music teaching experience.
Preferred Qualifications:
1. Minimum two years of university-level teaching experience in the capacity of a graduate
assistant or higher.
2. Excellence in university-level teaching experience as demonstrated by the C.V., teaching
philosophy statement, videos, references, and experience.
3. Continued commitment to scholarship and a vision for future research activity.
4. High-level expertise (teaching ability, musicianship, and scholarship) in PreK-12 general
music education.
5. Specializations in one or more of the following areas: Elementary PreK-12 general music
pedagogies (Kodaly, Orff, Dalcroze, etc.)
6. Additional expertise in secondary general music pedagogies (World Drumming, Modern
Band, etc.), and/or decolonized music education curriculum, differentiation and exceptional
learners, vernacular music, or mariachi.
7. A demonstrated commitment to diversity, equity, inclusion, and student success, as well as
working with broadly diverse communities.
8. Engagement and experience with community-oriented programs.
9. An understanding of teaching asynchronous online courses.
10. Five years of more of public-school teaching
Application Deadline:
November 10, 2023
For more information, please click here.
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Assistant Professor of Music Education, African American Music Emphasis
University of Washington
Seattle, Washington
Job Description:
The School of Music in the College of Arts and Sciences at the University of Washington-Seattle invites applications for a full-time, tenure-track Assistant Professor position in Instrumental Music Education with an emphasis on African American music. This may include research and teaching in the areas of African American Music Education, African American ensembles, and/or African American music research. This position has an anticipated start date of September 16, 2024 and will have a 9-month service period (September 16-June 15).
The responsibilities of the successful candidate will include:
- Teach a range of graduate and undergraduate courses in music education across a two-year sequence that incorporate African American music. Teach advanced undergraduate courses and graduate courses in instrumental music education, large non-major undergraduate classes which may include online courses, and supervision of student teachers, and conduct an ensemble if assigned.
- Advance scholarship in Music Education and/or related fields
- Mentor undergraduate and graduate students, including serving on graduate-level supervisory committees and supervising graduate teaching assistants
- Promote the School of Music’s mission to foster musically knowledgeable and engaged citizens
- Work collaboratively with faculty and staff on advancing issues of diversity, equity, inclusion, justice and accessibility work in the School and University.
- Additionally, this position is expected to cultivate effective communication with the local community
- Other duties as assigned
Qualifications:
- Doctoral degree (or foreign equivalent) in Music Education or a related field required by the start of the appointment.
- Candidates will demonstrate the following:
- Evidence of a national or international record of research and teaching expertise
- A record of focus on wind or brass instrumental technique
- Expertise in African American music
- Teaching experience at the K-12 and/or college level
- Evidence of involvement in professional societies and activities, and/or community-engaged scholarship
Application Deadline:
November 15, 2023
For more information, please click here.
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Assistant Professor of Music Education, Instrumental/Band
Bowling Green State University
Bowling Green, Ohio
Job Description:
Assistant Professor of Music Education, Instrumental Band (tenure track). Nine-month appointment in the Department of Music Education, beginning August 2024.
The successful candidate will:
• Teach undergraduate courses in music education, including instrumental band methods; organize effective field experiences for undergraduate students in schools and in community field experience settings; supervise student teachers.
• Develop and maintain successful associations with surrounding public and private schools.
• Teach graduate courses in music education, including guidance of graduate research projects.
• Actively participate in recruiting highly qualified graduate and undergraduate students.
• Establish and maintain a profile in music education research and contribute broadly to music education at the university and the music education profession at large.
• Participate in department, school, and university committees and initiatives, as assigned.
Minimum Qualifications
• Completed Doctor of Philosophy in Music or Doctor of Musical Arts in Music Education.
• ABD candidates will be considered with completion of the degree within one year of hire.
• Minimum of 3 years of documented success in teaching instrumental music (band) in middle and/or high school band programs.
• Demonstrated teaching experience at the collegiate level.
Preferred Qualifications
• Completed Doctor of Philosophy in Music/Doctor of Musical Arts degree with a minimum of 3 years of full-time college teaching experience in music education,
• Demonstration of an emerging or established research profile.
• Preference will be given to candidates who have experience working in community/university partnerships.
Application Deadline:
November 17, 2023
For more information, please click here.
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Assistant Professor of Choral Music Education
Oklahoma State University
Stillwater, Oklahoma
Job Description:
The Michael and Anne Greenwood School of Music invites applications for a tenure-track Assistant Professor position in Music Education, specializing in secondary choral music education, to join our renowned Music Education and Choral faculty.
Responsibilities:
The successful candidate will teach undergraduate courses in Secondary Choral Methods, Choral Literature for the Classroom, Choral Rehearsal Practicum, conduct a choral ensemble, and mentor and supervise Choral Music Education students and student teachers. Additional teaching assignments may be made according to the candidate’s expertise and the needs of the Music Education Area and School of Music.
The candidate is expected to actively recruit new music education students and to develop and maintain relationships with secondary choral music educators on the local, regional, and national levels. In addition to excellence in teaching, the successful candidate will engage in service to the School of Music, University, community, and the profession; contribute to the advancement of the Music Education field through research and creative activities that lead to conference presentations, conducting engagements, and publications; and promote an inclusive workplace and learning environment.
Qualifications:
Required
• PhD in Music Education or DMA with a cognate in Music Education. Official notification of the completion of the terminal degree must be received by August 1, 2024.
• A minimum of three years of public-school teaching experience
• A broad knowledge of pedagogical approaches in Secondary Choral Music Education
• Understanding of 21st century classroom technologies and teaching strategies
Preferred
• PhD in Music Education
• Five or more years of public-school teaching experience
• College-level teaching experience
• A record of peer-reviewed scholarly and/or creative activities
• A record of service to the field of Music Education
Application Deadline:
November 15, 2023
For more information, please click here.
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Assistant Professor of Music Education - Elementary/General
University of North Carolina, Greensboro
Greensboro, North Carolina
The School of Music at the University of North Carolina at Greensboro invites applications for the position of Academic Professional: Assistant Professor of Music Education (Elementary & General Music). We seek a colleague with experience working with students from diverse musical, social, and cultural experiences and backgrounds. The ideal candidate will be a skilled teacher of P-12, undergraduate, and graduate students and will teach undergraduate elementary and general music courses and graduate courses in their area of expertise. We seek a colleague who prepares elementary and general music teachers for existing classrooms while also challenging and expanding the boundaries of elementary and general music teaching. They will demonstrate an understanding of current issues in elementary and general music teaching and may have additional experience in at least one of the following areas:
- Folk and/or Popular Music
- Music technology, recording, and/or production
- Participatory music-making beyond the Western European Classical Music Tradition
This two-year, full-time faculty appointment is renewable and includes benefits. When the North Carolina state legislature approves cost-of-living increases for state employees, professional-track faculty receive the same cost-of-living increases as tenure-track faculty. Professional-track faculty at UNCG can stand for promotion from Academic Professional: Assistant Professor to Academic Professional: Associate Professor after five years of service and then from Academic Professional: Associate Professor to Academic Professional: Full Professor after another five years of service. Each promotion comes with a base salary increase. Professional-Track Faculty can request, at the time of hire, that years of service in comparable appointments at one or more external institutions be recognized as service time at UNCG for purposes of meeting the five-year minimum period for promotion.
Minimum Qualifications
- Doctoral degree in Music Education completed by the time of appointment
- Three years of successful P-12 music teaching experience
- Expertise in one or more approaches to elementary and general music teaching
Preferred Qualifications
- At least five years of successful P-12 music teaching experience
- Expertise in traditional and contemporary approaches to elementary and general music teaching
- Experience supervising field experiences and student teaching
- Experience with teacher performance assessments such as edTPA
- Demonstrated successful teaching experience at the College/University level
- Emerging record of scholarly activity that may include workshops, presentations, publications, and other appropriate professional activity
- Experience successfully working with populations demographically and socioeconomically similar to the UNCG student body
Application Deadline:
November 10, 2023
For more information, please click here.
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Assistant Professor of Music Education/Director of the MM Music Education Teaching Artistry Online Program
Bowling Green State University
Bowling Green, Ohio
Assistant Professor of Music Education and Director of the MM Music Education Teaching Artistry online degree program. Nine-month contract, tenure-track. Summer teaching and administrative duties are contracted separately in negotiation with the department chair. Appointment to begin in August 2024.
The successful candidate will:
• Manage recruitment, enrollment and advising in the online MM Teaching Artistry degree program and guide future direction of the degree in consultation with the Department of Music Education and the Dean of the College.
• Teach undergraduate and graduate courses in music education in area of expertise, as assigned by the Music Education Department chair.
• Maintain affiliations with appropriate state and national professional associations.
• Participate in department, school, and university committees and initiatives, as assigned.
• Have a demonstrated established or emerging scholarly research agenda.
Minimum Qualifications
• Completed Doctorate in Music Education, or closely related field.
• ABD candidates will be considered with completion of the degree within one year of hire.
• A minimum of 3 years of documented success in teaching music at the K – 12 level.
• Demonstrated teaching experience at the collegiate level.
• Previous documented experience and/or strong interest and technical proficiency in the area of online teaching in music education courses.
Preferred Qualifications
• Completed Doctorate in Music Education, or closely related field, with a minimum of 3 years of full time college teaching experience.
• Five or more years of experience in teaching music at the K – 12 level.
Application Deadline:
December 8, 2023
For more information, please click here.
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