Videos from MIE Pi Day!

Download the MIE Pi Day 3-14-2013 Poster and put it on your wall!

For those of you who were unable to attend our 2nd annual Music-in-Education Department Concert (this year held on Pi Day — March 14, 2013), please enjoy the following videos!

This year’s inquiry question:

How do numbers empower musical understanding? Celebrating the Role of Mathematics and Music in Education

And our Program Notes (PDF): MIE Pi Day Concert 3-14-13 Program Notes
Larry’s piece, ‘Phone Number Myelination Music’:
Devin’s piece, ‘Oobleck Serial’:
Nick Kitchen’s piece ’36, 45, 378 and 64: Bach’s St. Anne Fugue and the Ciaconna for Solo Violin’:
Henrique’s piece, ‘Madruga’:
Katarina’s piece, ‘Sierpinski Triangle in 43 steps’:
Rob’s piece, ‘Wondrous Numbers’:
Warren’s piece, ‘Thought Experiment’:

The Artist-Teacher-Scholar: An Evolving Framework for Music-in-Education

The Artist-Teacher-Scholar framework has been around for over a decade. As far as I know, the term was first coined when during the years I served as the Founding Director of Research at the Leonard Bernstein Center for the Arts in Nashville (along with Eric Booth, Teaching Artist Director, David Steiner, former Head of the National Endowment for the Arts, and Alexander Bernstein) where the term was used to understand the Leonard Bernstein’s persona and his life’s work as a synthesis of his artistry, teaching, and scholarly publications and lectures.

Nine years ago at NEC, I worked with Alan Fletcher (now CEO and President of the Aspen School of Music and Festival) to establish the Artist-Teacher-Scholar (ATS) Framework as the conceptual framework for NEC new Music-in-Education Program. It was the ATS framework – employed as an educational model for MIE students at NEC – that attracted years of federal funding to help NEC establish its Music-in-Education Program and the Research Center, representing the two key components of the Center for Music in Education.

Today I understand that the success of both NEC programs is aligned with the inter-related principles of the ATS framework. That is to say, as many students develop musically over time, they become increasingly interested in both the ‘teaching of the musical arts’ and the ‘artistry of teaching’ in schools or in outreach programs regardless of what career path they choose. And eventually it is not unusual for these musicians to recognize the importance of building both a personal ‘scholarship of artistry’ and a ‘scholarship of teaching’ as they develop career paths.

As evidence of this ongoing progression, NEC faculty whose courses count toward the MIE program – all highly trained and experienced musicians – engage in scholarship that takes the form of publishing, lectures, research, advocacy, community leadership, curriculum development, outreach programs, assessment, social action and policy shaping through our local programs and national collaborations relevant to music in education and our society. I believe that the ATS model helps to explain the genisis and effectiveness of these faculty initiatives.

Further evidence of the impact of this framework can be understood through changes in institutional policy. Nine years after the creation of NEC MIE programs and its research center, there are now guided intern programs, concentration programs in Music in Education, and even new research institutes in our partnering organizations nationally. Googiing on the internet I discovered there are now Music-in-Education programs established internationally independent of our work. I think these events have not occurred in absentia of an evolving conception of the artist’s developing persona as an artist-teacher-scholar.

Personally, the conception of the ATS clarifies the need for research and assessment in music-in-education practices. For me, artistry and education have limited impact on public policy, practices or leadership without ongoing research that is both rigorously conducted and aimed at practical significance for musicians, teachers, parents, administrators and students. Without having to arrive at a lock-step view of the ATS framework as a model for NEC faculty or students, I think it is fair to say that Patrick Keppel, Randy Wong, Lyle Davidson, Warren Senders, and Paul Burdick and our many other colleagues at NEC and in our partnering schools, see this framework as a driving force behind NEC’s national or local initiatives, Journal publications and the presentation of student portfolio work coming out of the NEC MIE and outreach programs.

I look forward to seeing more alums presenting their work on the website and blogs. I hope everyone reading our new Journal in May will be stimulated through seeing the work of fellow MIE interns in other institutions. Nonetheless, it is my fondest hope that anyone investigating the publications, student, and alum work will appreciate the evolving forms of artistry, teaching and scholarship represented by NEC faculty and students as a resource and inspiration for advancing music in education and our society.

– Larry Scripp

Larry Scripp is Director of NEC’s Center for Music-In-Education and Executive Director of the MIE National Consortium. Scripp is also on NEC’s Music Theory and Music Education faculties, and is a professor at the Harvard Graduate School of Education.