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Session 3-46 (AMIS-AMS-CMS-HBS)
Early Music in the Curriculum

Thomas Kelly, Past President EMA, Moderator:

"Early Music in the Curriculum" takes as its starting point the changing array of courses that comprise education for North American baccalaureate students in music. Compared to twenty-five years ago, the study of European music before 1750 has a reduced presence among non-studio music courses offered to music majors, competing for attention with courses largely in twentieth-century musics (composition, jazz, popular and non-European musics) and digital technologies. At the same time, the training of early music performers has attained a high level of achievement in specialized niches. In the 1980s and 90s, such curricular changes affected the hiring of faculty in early music areas; the number and nature of courses offered in early music and approaches to teaching it; as well as, concomitantly, budgetary support for print and audio-visual materials, for playable instruments, and for concerts offered by resident ensembles.


Early Music in U.S. and Canadian Higher Education

Anne McLucas, Dean, School of Music (University of Oregon)
James Grier (University of Western Ontario)
Jeffery Kite-Powell, President, EMA (Florida State University)
Gerald Hoekstra (St. Olaf College)
Cecil Adkins, Past President, AMIS (University of North Texas)

The first panel reports on the present state of early music in college and university programs by addressing curricula in the U.S. and Canada; the status of early music degree programs (with special reference to the new guidelines adopted this year by NASM); issues facing early music performing ensembles that are not in early-music degree granting programs; and the instrument collections such ensembles must have in order to perform.


Teaching Early Music in the Curriculum

Margaret Sarkissian (Smith College)
Kate van Orden (University of California, Berkeley)
John Wallace, O.B.E.; Director, The Wallace Collection (Royal Academy of Music)
Ross Duffin (Case Western Reserve University)

The second half of the session presents a selection of approaches to the teaching of early music, focusing on areas presently of general interest in music curricula: on the one hand, the desirability for music students to experience the processes of improvisation and to gain flexibility in performance styles and techniques; on the other, ethnographic and cross-cultural viewpoints being explored in the humanities, as well as some of the now more familiar areas in cultural studies. A general discussion with all panelists closes the session.

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