Paul Hindemith's Philosophy of Music and the Role of [i]The Four Temperaments[/i]

01 October 2011 Paul Hindemith formulated his philosophy of music upon two "basic and unalterable musical values," the one, Augustinian, the other, Boethian. He defined the latter as the "power of music, its ethos . . . brought into action upon our mind"; the former,...

The Composers' Studio: An Alternative Model

01 October 2002 In most colleges and universities, composition instruction takes place in a manner similar to that of a private instrumental lesson: the student meets with a teacher for an hour, and he or she spends the next week working on what emerged in that...

Remixing Western Music History

01 May 2023 Abstract The problem faced by music historians of how (or whether) to impart reverence for music created through the institutions of imperialism, patriarchy, colonialism, and slavery is not a new one; nevertheless, as decolonizing initiatives take hold...

Women Orchestral Conductors in America: The Struggle for Acceptance—An Historical View from the Nineteenth Century to the Present

01 October 1998 Introduction Orchestral conducting has been the latest door of opportunity to open for women in the field of music. Although women have been actively involved in performance, composition, teaching, and patronage from the history of the ancient Greeks...

Music Education in Historical Perspective: Status, Non-Musicians, and the Role of Women

01 October 1992 In a fundamental sense, all musicians are educators, whether we acknowledge it or even intend it.1 It is our students and purposes that vary. Consequently, the music education profession traditionally refers to only those individuals who prepare music...