702 research outputs found
Reading Difficulty Levels of Selected Articles in the Journal of Research in Music Education and Journal of Historical Research in Music Education
No full textabstract: Readability formulas are used widely in education, and increasingly in business and government. Over
30 years of research on more than 200 readability formulas has demonstrated moderate to strong predictive correlations with reading comprehension. In this study, five well-known readability formulas
correlated highly with each other when applied to selected recent historical articles (N = 22) from two
music education research journals. The mean level of difficulty (readability) for all 22 articles was grade
14.04, near the beginning of the second year of college. Since research shows that most people read
below their highest completed school grade and also prefer easier materials, this is probably an
appropriate level of difficulty for the presumptive readers of these two journals (i.e., holders of
undergraduate and graduate degrees). Professors, librarians, and others responsible for guiding
students toward reading material at appropriate levels of readability could benefit from these results.abstract: 中文摘要
《音樂教育研究期刊》與《音樂教育歷史研究期刊》中部分文章的閱讀難度水準
Alexandra H. Humphreys
Arizona State University—Phoenix, U.S.A.
Jere T. Humphreys
Arizona State University—Tempe, U.S.A.
可讀性估算公式被廣泛運用在教育領域，而且在商業和政府部門的使用頻率與日俱增。在過去的30 年裏，
研究人員共研發了200 多種可讀性估算公式，這些公式所估算的可讀性指標與實際閱讀理解程度具有中度
或很強的相關性。本文使用了五種著名的可讀性估算公式來評估最近發表的22 篇音樂教育史文章，發現這
五種公式的計算結果有很強的相關性。這22 篇文章的平均閱讀難度水準是14.04， 接近大學二年級初期的
閱讀水準。由於先前的研究结果显示大部分人喜歡閱讀難度水準低於本人學歷水準的文章以及比較容易理
解的文章，這兩種期刊中文章的閱讀難度水準非常適合預計的閱讀對象（有學士學位和研究生學位的人）。
本文研究結果可能會對那些大學教授，圖書館員和其他負責指導學生閱讀的人員有所幫助。Abstracts in English and Chines
A letter sent to the late Lord Balmerino, during the time he lay under sentence of death, in the Tower. By the Reverend Mr. Humphreys, One of the Clergymen appointed to attend him [electronic resource].
No full textAn 'Address to Lord Balmerino from Mr. Gordon, and Mr. Humphreys the author', concerning the published letter, precedes the titlepage.Price from imprint: price Four-Pence.Electronic reproduction.English Short Title Catalog,Reproduction of original from British Library
PFF Professoriate Careers: Music
No full textabstract: The P[reparing]F[uture]F[aculty] Speakers Series, sponsored by the Arizona State University Graduate College, brings faculty to campus to speak about their careers. These two speakers, Paul Lehman, from the University of Michigan, and Jere Humphreys, from Arizona State University, are well-known experts in their respective fields. Both and university music faculty and spoke at ASU on April 21, 1995.
Professor Lehman begins by discussing teaching in general, then talks about the role of technology in teaching, discusses the relationship between higher education and K-12 education, and ends with some observations on teaching in higher education.
Professor Humphreys then offers some practical tips on securing a faculty position in music at a college. He outlines the process colleges use to select new faculty members, what colleges look for in candidates, and what steps applicants should take in applying for a position.Copyright Arizona Board of Regents (1995)
Music Mainstreaming: Practices in Arizona, by James Frisque, Loretta Niebur, and Jere T. Humphreys
No full textabstract: This study examined mainstreaming in music via a survey of a sample of Arizona music educators. Among the respondents (n - 107), the vast majority are or have been responsible for teaching students with disabilities, although most have received little or no training in special education. Emotionally/behaviorally disordered students are perceived as the most difficult to mainstream, and physically handicapped and speech-impaired students the least difficult. Among disabled students, "learning disabled" was the category most frequently encountered. In most schools, mainstreaming is the only music placement option, and regular music faculty members are the sold providers of music instruction for special learners. Musical ability to rarely the primary reason for mainstreaming students, few respondents have access to special education consultants or adequate time to individualize programs, and most respondents rarely or never participate in placement decisions. The respondents' goals for special learners in music center on student participation and classroom management, with little demarcation between musical and nonmusical goals or objectives. We concluded that effective mainstreaming in music, as implied by the Education for Handicapped Children Act of 1975 and recommended by the Music Educators National Conference, does not exist in Arizona
Opening Minds to Open Access: Best Practices at Arizona State University
No full textabstract: Increasingly, information seekers can utilize “open access” (OA) resources, primarily scholarly research
journals, at no cost to themselves. However, many who could benefit from free access to research do not know about it. This presentation will present resources and outreach activities related to Open Access from the Arizona State University library system. The purpose is to encourage greater understanding of and participation in OA practices. Examples include: (a) library guides on scholarly communication and open access resources; (b) resources for Open Access Week, Open Education Week, and other events; (c) participation in open access through outreach to our user communities; (d) institutional memberships in OA organizations and other efforts such as ASU’s digital repository and a resolution passed by the librarians’ governance committee. This presentation will benefit librarians who seek ideas and tools to engage colleagues and promote Open Access to their user communities
Cubo-Futurism in Russia, 1912-1922 : the transformation of a painterly style
No full textCubo-Futurlsm is defined both in terms of the development of
Cubist and Futurist styles of painting by the Russian avant-garde
artists Liubov Popova, Nadezhda Udaltsova, Olga Rozanova and Ivan
Puni between 1912 and 1915, and in terms of the reworking and
transformation of' these two movements against the unique Russian
cultural background into a new non-objective art after 1915.
The Russian artistic and cultural context, including Ouspensky
and the fourth dimension and the linguistic theories of the
Futurist poets Alexei Kruchenykh and Vellmlr Khlebnikov concerning
a transratlona]. language (zaum), played a vital role for a number
of artists in their move into non-objective painting and
construction. Zaum influenced the reworking of Cubist collage by
Malevich, Puni and Rozanova, and the abstract collages and reliefs
of Rozanova and Puni are defined as visual equivalents to the new
logic "broader than sense" envisaged by zaum. As part of the
Russian cultural context, indigenous art forms also acted as
possible stimuli for the development of a non-objective painterly
style. The abstract potential which artists saw in the icon was
exploited by Puni in his non-objective reliefs of 1915-c1919, and
the principles of decoration in Islamic Architecture may be seen as
an important source for Popova's painterly architectonics of
19 16-18.
After 1916, the principles of non-objective painting,
established fran an examination of Cubism and Futurism, were
applied to tasks of design and the theatre. Puni, Rozanova and
Udaitsova designed household and fashion items, and Alexandra Exter
and Alexandr Vesnin completed set and costume designs for several
productions in the Moscow Kamerny Theatre between 1916 and 1922.
In their attempt to articulate a dynamic spatial environment, the
principles for these designs derived from earlier Cubo-Futurist
experiments in painting
Instrumental Music in American Education: In Service of Many Masters
No full textabstract: A discussion of instrumental music in American educational institutions during the last 100 years, a century that has encompassed virtually the entire history of tax-supported instrumental music education in this country. The essay deals with the entry of instrumental music into the school and college curriculum, the evolution of instrumental music education, reasons for success disparities between instructional modes, the "masters" and "world-be masters" that instrumental music education attempts to serve, and some speculations about the future. Instrumental music ensembles share with choral ensembles the following characteristics, as opposed to the (far) less successful instructional modes in schools: they are single medium, generally do not deal with controversial materials, and involve large numbers of students in a single ensemble. These ensembles owe their entry and continuing success in schools largely to popularity with students and the public.One of five addresses that constituted a symposium commemorating the centennial of the Ithaca College School of Music, organized by Mark Fonder and held at Ithaca College in Ithaca, New York in October 1992. The speakers and their topics were: Michael L. Mark, overview; George N. Heller, general music, Jere T. Humphreys, instrumental music; Colleen Kirk, choral music; and Richard Colwell, the future
Review of Hierarchy, History, and HumanNature: The Social Origins of Historical Consciousness, by Donald E. Brown
No full textabstract: In this book the author, an anthropologist, traces the history of historiography through numerous past literature cultures. He tested and rejected several hypotheses, but retained on that historiography was strongest in societies in which leadership was not determined by hereditary--relatively speaking
The Impeachment and Removal of Tennessee Judge West Humphreys: John Bingham\u27s Prologue to the Johnson Impeachment Trial
No full textAt the beginning of the Civil War many individuals who held positions under the United States government submitted resignations which, in their minds, allowed them to assume positions with the so-called government of the Confederate States of America. One of the few individuals who did not do so, but nevertheless assumed a position under the Confederate States of America was U.S. District Judge West H. Humphreys. After the Confederacy was formed, he continued to hold court in the same courtroom but under the guise of a Confederate States Judge.
This presented two problems for President Lincoln and the Unionists. First, without even the thin reed of resignation to attempt to protect him, this made Humphreys a visible and active traitor. Second, though one could argue that Humphreys had functionally vacated the U.S. District Court judgeship, others could make arguments that as long as Humphreys had not resigned there was no vacancy for President Lincoln to fill.
Apparently with pressure from the Unionists of Tennessee, a decision was made to pursue impeachment proceedings against Judge Humphreys. The House voted for impeachment and elected as one of the managers future 14th Amendment author John A. Bingham. (R-OH.) He was the principle lawyer examining witnesses in the trial before the U.S. Senate. While it was a relatively short trial, it gave Bingham experience that no doubt proved useful later in the impeachment proceeding against Andrew Johnson.
Judge Humphreys was ultimately convicted and removed from office, thus creating an opening for Unionist Connolly F. Trigg to be appointed judge in his place. Moreover, Judge Humphreys unintentionally earned a footnote in history as the first official who was not only convicted, but also permanently barred from holding any office under the United States government. This article tells the story of Congressman Bingham\u27s prosecution of the trial to a successful conclusion
Relationships between Popular Music and Democracy: Implications for Popular Music Pedagogy
No full textabstract: Strong relationships exist between modern popular
music and the democratic societies that produce and
consume it. Some of the music may sound
revolutionary, and much of it does advocate changes
in the status quo. Nevertheless, it is the music of the
masses, the music of democracy, music that could not
and did not exist in anything like its modern forms
prior to: (1) the evolution of democratic societies, (2)
massive capitalism-driven economic improvements
for the proletariat, and (3) the invention and
evolution of electronic technology. It is the music of,
by, and for the great masses of us. Music educators
should persist in teaching this music in all its
contexts, some of which are not easily accessible
through performance alone. This article cites
numerous examples of social and political meanings
of popular music in democracies.abstract: CHINESE ABSTRACT
中文摘要
流行音樂與民主的關係：對流行音樂教學法的啟示
Jere T. Humphreys
Arizona State University—Tempe, U.S.A.
現代流行音樂與生產消費流行音樂的民主社會之間有著緊密的聯繫。有些音樂可能聽起來具有革命性的特
點，事實上很多音樂確實對現實社會的變化與發展起到了推動作用。可以說大眾的音樂以及民主的音樂在
以下的幾個條件成熟之前是不可能存在的：1、民主社會的進步與變遷；2、大規模的資本運行模式所帶來
的基層人民的經濟水準的提高；3、電子科技的出現和發展。流行音樂被大眾創造並服務於大眾。音樂教育
工作者們應該在音樂所存在的社會背景中教音樂，這些音樂中有的是不能單單通過表演而獲得的。本文引
用了很多事例來闡釋流行音樂在民主制度下的社會意義以及政治意義。Abstracts in English and Chines
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