The Birth of Internationalism in Music Education 1899–1938

Abstract

Long, troublesome and difficult were the preparations for the first International Congress for Music Education in Prague in the year 1936, that is, 25 years ago. Even in those days I had to struggle hard against the contradictions implicit in the divergencies between an exaggerated nationalism on the one hand and internationalism on the other…. You all know that the world has been possessed and dominated, ever since the Old and New Testament, Pythagoras, Plato and Aristoteles by the conflict between national and international thought and sentiment. (Leo Kestenberg, 1961)

Ubuntu: A metaphor for the origins, role and development of the International Society for Music Education

“…The story of international cooperation in music education prior to the foundation of ISME has been documented by the author in two articles published in the IJME (McCarthy, 1993(McCarthy, , 1995. Motivation to establish international networks of cooperation was stimulated and heightened by the occurrence and aftermath events of two world wars in the first half of this century.…”

Research-to-Resource: Instructional Strategies for Teaching Culturally Diverse Musics in Ensembles

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Music educators reference these symposia and standards as catalysts for the movement to include diverse music cultures in school music curricula. Additionally, scholars have reported that integrating culturally diverse musics into school music curricula is valuable because it can positively affect students' cultural awareness (Southcott & Joseph, 2010), nurture intercultural competence (Crawford, 2020), expand music and cultural experiences (Cash, 2012(Cash, , 2019, reduce prejudice (Miranda & Gaudreau, 2020), open students' minds to unfamiliar music (Hess, 2010), and help them understand their own cultural heritage and respect other cultures (Nethsinghe, 2012). To help students effectively receive these benefits, it is important to honor the music traditions of each country that is studied and allow students to experience culturally diverse musics in traditional ways (Cash, 2012;Nethsinghe, 2012;Robinson et al, 2016).

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Corporal Artistic Training Influences Attention: A Pilot Study

“…Jaques-Dalcroze's Eurhythmics is an example of the proposed body practice, i.e., continuously evaluated by systematic observations related to cognitive demands. It is a combination of exercises of rhythmic music education experienced in the moving body created at the beginning of the 20 th century ( Jaques- Dalcroze, 1921 ;McCarthy, 1993 ). Its promoter believed that musical rhythm should be thought of in terms of body movement, to reduce the distance between conception and motor response to musical stimuli.…”