Estelle Jorgensen Research Collection
Permanent link for this collectionhttps://hdl.handle.net/2022/25842
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Item A Critical analysis of selected aspects of music education([Calgary, Alberta] : University of Calgary, 1976-07) Jorgensen, Estelle Ruth; Koch, Edward L.Music educators currently face five major problem areas in the determination of appropriate administrative, pedagogical and research policies and approaches, namely, problems respecting the nature of the musical symbol itself ; socio-cultural issues; problems respecting the pedagogical process and its nature; problems in music education research; and the lack of a theoretical base in musical pedagogy. The writer, therefore, develops three logically distinguishable areas of focus in the analysis, i . e., structural or musical, sociocultural, and pedagogical. Each of these areas is composed of several assumptive sets. In each case a review of the extant relevant research and/or theoretical formulations precedes an attempt to evaluate these, and where feasible, to offer alternate assumptions, which hopefully will prove more desirable. Resultant from the analysis are twenty propositions which in turn address the five problem areas in music education which have been identified by the writer. The study constitutes an attempt to re-evaluate "the present state of the art" of music education. In so doing, it represents a first step in the development of a theoretical formulation which is not only consistent with the evidence from extant research but tends to be internally and logically consistent. Further it is illustrative of attempts to explicate the crucial role of assumptions, for in the explication of assumptions, the roots of action, the logical premises of behaviour are examined and evaluated.Item The Academic and Professional Preparation of School Music Supervisors in Canada(Canadian Music Educator, 1979) Jorgensen, EstelleThis article is the first of a series of three which will appear in the three numbers of Volume 21. We believe that there is value in having an extended look at a given topic in this fashion, and in the present instance the issue of music supervision is particularly timely. The cut-backs and budgetary prunings to which supervisory personnel are increasingly subjected make it imperative that we carefully examine our evaluative criteria.Item Some Observations on the Methodology of Research in Music Education(Canadian Music Educator, 1979) Jorgensen, EstelleItem The Scope and Nature of the School Music Supervisor Role in Canada(Canadian Music Educator, 1980) Jorgensen, EstelleIn a survey of school music supervisors in Canada (Jorgensen, 1979), three aspects of the scope and nature of the school music supervisor role were examined, namely: music supervisor tasks; attitudes to aspects of the music supervisor role, communication with teachers, teacher visitation and planning of future activities; and problems faced by music supervisors. The findings will now be described.Item The Preparation of School Music Supervisors in Canada(Canadian Music Educator, 1980) Jorgensen, EstelleThe following findings respecting the preparation of music supervisors in Canada are based on a survey conducted in January, 1977 (Jorgensen, 1979). Several aspects of the academic and professional preparation of music supervisors will be described, namely: academic qualifications, preparation in administrative theory, teaching experience, mobility (or movement from one jurisdiction to another) and membership in professional associations.Item On Excellence in Music Education(McGill Journal of Education, 1980-01-01) Jorgensen, EstelleThe standards of performance in music that we have become accustomed to expect in our day are extraordinarily high. Considering that these are achieved by professionals only after intensive and prolonged training, why should music teachers, dealing with amateurs, aspire to an excellence that is so far out of reach? Would it not be realistic to settle for more modest results? Jorgensen first examines the problem of standards, finding that on each of four considerations of standard there can be both an absolutist and a relativist position, a state of affairs that leaves one with a somewhat general definition of what it is that must be excelled in order to achieve excellence. She then evolves five principles concerning the working of excellence in music education, and points to the strongly inspirational effect it has both on student and on teacher - an effect that is peculiarly achievable in music, but that clearly is equally desirable in any subject.Item William Channing Woodbridge's Lecture, 'On Vocal Music as a Branch of Common Education' Revisited(Studies in Music, 1984) Jorgensen, EstelleItem On the Recruitment Process in Amateur Ensembles(Canadian University Music Review, 1985) Jorgensen, EstelleItem On the Recruitment Process in Amateur Ensembles(Canadian University Music Review, 1985-11-06) Jorgensen, EstelleItem Developmental Phases in Selected British Choirs(Canadian University Music Review, 1986) Jorgensen, EstelleItem Music and International Relations(Praeger, 1990) Jorgensen, EstelleMy purpose in this chapter is twofold. First, I shall outline several social processes illustrative of the important role music plays in international relations and cite examples of each drawn from the literature in the history and sociology of music. Second, I shall sketch a theoretical framework in which the interface of music and international relations can be analyzed and suggest considerations for melding aspects of music and international relations in the future. The list of social processes developed by the sociologist Henry Zentner provides a useful perspective from which to view music and international relations. In particular, seven processes are of interest, namely, image preservation, loyalty maintenance, personification, socialization, information exchange, cooperation and competition. While there is no claim for exhaustiveness in this list, it does illustrate the variety of ways in which music contributes to, and is affected by, international relations.Item Religious Music in Education(Philosophy of Music Education Review, 1993) Jorgensen, EstelleItem Women, Music, and the Church: An Historical Approach(Andrews University Press, 1995) Jorgensen, EstelleWhere do women stand in relation to the music of the church? What have been their past roles in, and contributions to, the music of the Christian church, and more specifically Adventism? How have they been constrained and enabled as music-makers within the church? In coming to terms with these questions, three points should be made at the outset. First, the role and contributions of women to church music must be seen in the context of a mutually reinforcing interrelationship between music, society, and religion. It is important to recognize that religious belief not only shapes sacred music but is shaped by it, society both impacts on music and is impacted by it, and religious belief and practice influence society and are also influenced by it. Not only is music an important element of religious ritual and a central vehicle for it, without which ritual might lose its power, but the nature of musical symbolism demonstrates a close affinity to religious symbolism. Thus, music remains "a highly theological concern" and a "profoundly religious" art. Second, the world, as males have constituted it, is visually construed. Male metaphors are primarily of sight rather than sound. In the Western classical tradition in music, devised largely by males, music has become primarily visual. The musical score has attained a primacy that it has never been accorded in oral musical traditions that comprise the vast majority of the world's music and in which women's contributions have been, and remain, especially important. That the female world is aurally rather than visually construed constitutes a major challenge to the supremacy of male hegemony.4 Notice that Paul's interdiction against women - the keynote for nearly two millennia of Christian belief and practice with respect to women's participation in the church - is spelled out in aural terms: "Let women keep silence in the churches." Likewise, music as an aural art constitutes a potentially subversive element to male power structures. In particular, those music that are primarily oral rather than literate traditions require the most control because they pose the greatest threat to male supremacy and undermine patriarchy. As a result, many churchmen have sought to control music strictly. Third, the story of women in the music of the church needs to be understood in its historical and global context, not only within the Christian church, but beyond, in the music of the ancient world and those comprising the plethora of sacred musical traditions today. Despite the efforts by churchmen to impede, suppress, and control their work, and thereby marginalize them within the church, we see illustrative examples of important contributions women have made to sacred music. Specifically, within Adventism, the present state of affairs with respect to women in sacred music can be understood in the context of the wider Christian community.Item Justifying Music in General Education: Belief in Search of Reason(Philosophy of Education Society, 1996) Jorgensen, EstelleItem What Does it Mean to Transform Education?(Philosophy of Education Society, 2000) Jorgensen, EstelleItem Western Classical Music and General Education(Philosophy of Music Education Review, 2002) Jorgensen, EstelleItem Philosophical Issues in Curriculum(Oxford University Press, 2002) Jorgensen, EstelleItem What Philosophy Can Bring to Music Education: Musicianship as a Case in Point(British Journal of Music Education, 2003) Jorgensen, EstelleMy response to the question "What can philosophy bring to music education?" is to offer a case in point. Three important tasks that philosophers can fulfil - clarifying ideas, interrogating commonplaces, and suggesting applications to practice - are illustrated through an analysis of musicianship. Doing philosophy is inseparable from the content of philosophy, and how the idea of musicianship is clarified, interrogated, and applied is of central interest to music education, as is the task of music education philosophy itself. The article highlights the crucial importance of teachers as participants in this work.Item Four Philosophical Models of the Relation between Theory and Practice(Philosophy of Music Education Review, 2005) Jorgensen, EstelleItem Towards a Social Theory of Musical Identities(Universitetsbiblioteket, 2006) Jorgensen, EstelleIn this article I address three questions: What is meant by the notion of 'musical identity'?, How are musical identities formed?, and What are the responsibilities of music educators in terms of shaping musical identities? Throughout, my purpose is to show the social nature and complexity of musical identity and the crucial role that music teachers can play in intervening in the process of identity formation. This argument is prefaced on assumptions that musical identities are multiple rather than singular and no particular identity is the most desirable. In a world of ''multiplicities and pluralities'' in which people from many different ethnic, religious, linguistic, and other cultural backgrounds dwell together, sharing common beliefs and practices and diverging from different others, some way needs to be found to enable a civil society in which humankind can dwell in peace and happiness. It presupposes societies that, in our time at least, are often diverse, and cultures in which there is a need to cope with barriers, suspicions, and hostilities between individuals and groups that can readily arise without the means to negotiate them peacefully. In Seyla Benhabid's view, following Vaclav Havel, rather than an ''epidermis'' that overlays often deeply held differences, cultures need to be negotiated in ways that support civil discourse and the freedom to disagree with others. As one important site of this struggle, education is at the center of cultural transformation as it also needs to prefigure the society that is desirable. To this end, music teachers, especially those in publicly supported schools, cannot avoid, indeed need to embrace, their political and cultural as well as musical roles of transmitting, shaping and re-shaping beliefs and practices from the past. My theoretical observations are necessarily philosophical in that they ask questions about how things ought to be.
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