Report on Sound Education in North America: A Gathering of Voices

Joi Freed-Garrod
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Abstract

Until fairly recently, the voice of R. Murray Schafer calling upon music educators to explore sound and investigate the acoustic ecology or our world as components of North American music education was barely audible in school policy and curriculum documents. There were sporadic bursts of sound education in schools, post-secondary arts coursework and teacher education programs, usually initiated by energetic individuals. Primarily, however, the norms for music education were constructed around instrumental and/or vocal performance skills. Any programs that were sustained were found, for the most part, in post-secondary institutions with innovative arts programs or departments. Recently, there seems to be a dynamic change in which sound as a component of music education is being heard in a widening context. In this brief report, I will look at some of these offerings in schools and post-secondary institutions in North America. Since the publication of Schafer’s music education books (beginning with Ear Cleaning in 1969), the influence of this Canadian composer and music educator has been felt around the world. In North America, his ideas about sound exploration and acoustic ecology have found their way into the academy (as part of the training of musicians, architects and other professionals) and more recently have begun to emerge in school education documents. The influence of people like Schafer, Barry Truax, Hildegard Westerkamp and Gary Ferrington among others, is beginning to be reflected in music experiences of many school children through school curricula and artist/school partnerships in the arts. Not surprisingly, in North America, their influence has been most strongly felt in Canada as all four are Canadian or Canadian educated. So too, is Tadahiko Imada, whose translation of Schafer’s book, A Little Sound Education (1996), and his use of soundscape and sound education methods in music education (2006), have had an influence on music education in Japan.
北美健全教育报告:声音的聚集
直到最近,R. Murray Schafer呼吁音乐教育家探索声音和调查声音生态或我们的世界作为北美音乐教育的组成部分的声音在学校政策和课程文件中几乎听不到。在学校里偶尔会有良好的教育,高等艺术课程和教师教育计划,通常是由精力充沛的个人发起的。然而,音乐教育的规范主要是围绕器乐和/或声乐表演技能构建的。在大多数情况下,任何得以维持的项目都是在具有创新艺术项目或部门的高等教育机构中发现的。最近,似乎有一个动态的变化,声音作为音乐教育的一个组成部分,正在扩大的背景下被听到。在这篇简短的报告中,我将介绍北美学校和高等教育机构提供的一些此类课程。自从谢弗的音乐教育书籍出版以来(从1969年的《耳朵清洁》开始),这位加拿大作曲家和音乐教育家的影响已经遍及世界各地。在北美,他关于声音探索和声学生态学的想法已经进入了学院(作为音乐家、建筑师和其他专业人士培训的一部分),最近开始出现在学校教育文件中。谢弗、巴里·特鲁克斯、希尔德加德·韦斯特坎普和加里·费林顿等人的影响开始通过学校课程和艺术家/学校在艺术方面的合作关系反映在许多学生的音乐经历中。毫不奇怪,在北美,他们的影响在加拿大最为强烈,因为这四个人都是加拿大人或在加拿大接受教育。同样,Tadahiko Imada翻译了Schafer的书《A Little Sound Education》(1996),并在音乐教育中使用了音景和声音教育方法(2006),对日本的音乐教育产生了影响。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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