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Volume 54

Boston, 30 December 2013. At about noontime, a service van stopped near an office building in busy Bedford Street. Two gentlemen stepped out of the vehicle and, without much ado, affixed a plaque to the façade of the building as tourists and locals on their lunch break paused to read…
The CMS series "Latin American Music and Musicians in Higher Education” included six webiars.  The series is part of the CMS Initiative Latin American Connections. Music, Education, and Culture in Cuba: Past, Present and Future This is the fifth webinar in the series.  Thomas H. Cook serves as host and moderator…
The CMS Webinar series "Public Speaking for Musicians” will include three webinars.  Astrid Baumgardner serves as webinar presenter.  Thomas H. Cook serves as host and moderator. Public Speaking for Musicians: How to Hook Your Audiences into the Wonderful World of Music This webinar focuses on how to write a compelling speech…
These webinars serve as an introduction to the aims and processes of the CMS Task Force on the Undergraduate Music Major.  The task force is in the process of a critical examination of teaching and learning in applied music and academic courses in colleges, universities, and conservatories. Seeking Studies of…
Colleges and universities are known worldwide as centers for formal research as well as for informal thought about “what is” and “what is not.” They don’t always fulfill this mission with precision, but the search persists. Unfortunately, although inconsistent with empirically based research, popular topics can stay alive for decades.…
I’ve had two careers in my lifetime: as a symphony orchestra clarinetist and as a technology executive. One of the advantages these dual careers have given me has been the ability to apply my business experiences to my love of music. I enjoy my business activities and I love being…
The CMS Task Force on the Undergraduate Music Major, convened in 2013 by Patricia Shehan Campbell (University of Washington) and chaired by David Meyers (University of Minnesota), is engaged in a two-year examination of undergraduate music programs.1 Specifically, the Task Force is considering how to design undergraduate music programs that…
It is through historically strong programs of music in higher education that many fine performers, composers, scholars, and teachers of music are educated and then “released” every year to the world. Our music majors (and music minors, and all sorts of majors who gravitate to our courses) are—in the best…
The American songbook repertoire of our musical past—the 1930s through the 1950s—is not where one usually seeks abstruse metric and rhythmic details. The very nature of that repertoire— and especially its demands on performers—deems complications undesirable. A song in 4/4 bears accents on beats one and three; divisions of those…
Imagine two different scenarios. In the first one, “Jane,” a non-music major in college, must take a music history course for her general education requirement. She has no musical background whatsoever, and from the first day of class, she finds herself listening to a professor drone on endlessly about dead…
Additional Arthors:  David Aarons, Claire Anderson, Ne Myo Aung, Maren Haynes, Christina Kowalski-Holien, Kait LaPorte, Jocelyn Moon, Subhash Prajapahti, Julia Vilharlahti, and Patricia Shehan Campbell The musical world is not flat. Diversity is a foundation around which music teaching and learning can be designed at the tertiary level, as well…