This landmark collection explores the origins and foundations of music education in Europe, The Americas, Africa and Asia-Pacific, and the Middle East, and considers the inclusion of music as part of the compulsory school curriculum in the context of the historical, social and political landscape. Within each chapter, the contributors explore the following key areas: - the aims, objectives and content of the music curriculum - teaching methods - the provision and training of teachers of music - the experiences of pupils This fully revised second edition includes new chapters on Brazil, Israel, Kosovo, Lithuania, and Turkey, along with questions to encourage reflection and discussion. A concluding chapter has been added to encourage readers to consider the evolution of music education globally. The Foreword for this new edition has been written by Sheila Woodward, President of the International Society for Music Education. Contributors have been carefully selected to represent countries that have incorporated music into compulsory schooling for a variety of reasons resulting in a diverse collection which will guide future actions and policy.

One of the landmark texts in music education reissued and brought up to date. From its first appearance, this volume has been considered a standard text in music education courses worldwide, tracing the development of music as an educational force from the dawn of European civilisation in ancient Crete, Sparta, and Athens to today. It is a fascinating exploration of the people involved in teaching music over the centuries and their whole way of life, providing a systematic survey of the educational, musical, religious, social and political factors that have led to what is now known as music education; substantial reference is made to trends and events in other lands as well as England. This second edition includes supplementary chapters investigating the recent history of music education, bringing the historical record up to date, and there is a foreword by Sir Peter Maxwell Davies, Master of the Queen's Music.

The composer Arthur Somervell was also an Inspector of Schools with special responsibility for the teaching of music. His collected writings set forth his philosophy of music education and cast light on musical life between the 1890s and his death in 1937. Sir Arthur Somervell (1863-1937), composer and educationist, influenced the musical and educational life of England over four decades. Remembered today principally as an accomplished composer of songs and choral works, he also worked for twenty-eight years as one of His Majesty's Inspectors of Schools (HMI), with special responsibility for the teaching of music. Towards the end of his life Somervell gathered together a number of his articles, in whichhe expounds a passionate philosophy of music education, makes candid remarks about musical life and musical education in England, and provides insights into the sometimes bitter debate with Cecil Sharp about folk song. These collected writings have now been prepared for publication by Gordon Cox, together with some unpublished speeches and letters, enabling musicologists and music educators to re-evaluate the significance of Somervell's contribution to the musical and educational life of his time. GORDON COX is senior lecturer in education at the University of Reading.

Our aim in writing this book is to try to show how igneous rocks can be persuaded to reveal some ofthe secrets of their origins. The data of igneous rocks consist of field relations, texture, mineralogy, and geochemistry. Additionally, experimental petrology tells us how igneous systems might be expected to behave. Working on this material we attempt to show how hypotheses concerning the origins and evolution of magmas are proposed and tested, and thus illuminate the interesting and fundamental problems of petrogenesis. The book assumes a modest knowledge of basic petro graphy, mineralogy, classification, and regional igneous geology. It has a role complementary to various established texts, several of which are descriptively good and give wide coverage and evaluation of petrogenetic ideas in various degrees of detail. Existing texts do not on the whole, however, deal with methodology, though this is one of the more important aspects of the subject. At first sight it may appear that the current work is a guidebook for the prospective research worker and thus has little relevance for the non-specialist student of geology. We hope this will prove to be far from the case. The methodological approach has an inherent interest because it can provide the reader with problems he can solve for himself, and as an almost incidental consequence he will acquire a satisfying understanding."

The Musical Salvationist frames the Salvation Army's contribution to British musical life through the life story of composer, arranger and musical editor Richard Slater (1854-1939), popularly known as the 'Father of SalvationArmy Music', drawing on his detailed hand-written diaries. The Musical Salvationist frames the musical history of the Salvation Army through the life story of Richard Slater, popularly known as the 'Father of Salvation Army Music'. This book focuses upon the significant contribution of the Salvation Army to British musical life from the late Victorian era until the outbreak of the Second World War in 1939. It demonstrates links between the Army's music-making and working class popular culture, education and religion. Richard Slater [1854-1939] worked in the Army's Musical Department from 1883 until his retirement in 1913. His detailed hand-written diaries reveal new information about his background before he became a Salvationist at the age of 28. He then worked as the principal Salvationist composer, arranger and musical editor of the period and had contact with William Booth, the Army's Founder, who rejoiced in 'robbing the devil of his choicetunes'; George Bernard Shaw who wrote a penetrating critique of a band festival in 1905; and Eric Ball who was to become one of the Army's finest composers. The book illuminates rarely explored aspects of a vibrant Britishmusical tradition, and its adaptation to international contexts. GORDON COX is a former Senior Lecturer in Music Education, University of Reading. Foreword by Dr Ray Steadman-Allen.

This landmark collection explores the origins and foundations of music education in Europe, The Americas, Africa and Asia-Pacific, and the Middle East, and considers the inclusion of music as part of the compulsory school curriculum in the context of the historical, social and political landscape. Within each chapter, the contributors explore the following key areas: - the aims, objectives and content of the music curriculum - teaching methods - the provision and training of teachers of music - the experiences of pupils This fully revised second edition includes new chapters on Brazil, Israel, Kosovo, Lithuania, and Turkey, along with questions to encourage reflection and discussion. A concluding chapter has been added to encourage readers to consider the evolution of music education globally. The Foreword for this new edition has been written by Sheila Woodward, President of the International Society for Music Education. Contributors have been carefully selected to represent countries that have incorporated music into compulsory schooling for a variety of reasons resulting in a diverse collection which will guide future actions and policy.