The MayDay Group is an international community of scholars and practitioners with a two-fold purpose:
[a] to apply critical theory and critical thinking to the purposes and practices of music education, and
[b] to affirm the central importance of musical participation in human life and, thus, the value of music in the general education of all people.
Our eColumns and resources sections provide much useful information, theoretical thinking, bibliographies, and links for music education researchers and for 'critical' music educators in general who are interested in change.
ACT is the MayDay Group's scholarly eJournal. ACT publishes refereed and invited critical, analytical, theoretical, and policy development articles of international interest that illuminate, extend or challenge the Action Ideals of the MayDay Group.
Membership in the MayDay Group is open to anyone interested in contributing to discourse that challenges unexamined assumptions about music and music-making, and who wishes as well to help address the MayDay Group's guiding ideals for music education practice.
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The MayDay Group was founded by Thomas A Regelski and J Terry Gates in the winter of 1993. They invited twenty music education theorists and methods experts in the northeastern USA, southeastern Canada and England to meet in Buffalo, New York on May 1-2, 1993 with the intention of critically reexamining the status of practice in music education. Since then, The MayDay Group has met yearly: June 1994, Toronto; May 1995, Buffalo; April 1996, Boston; April 1997, College Park, Maryland; June 1998, Dallas; October 1998, Toronto; April 1999, Seattle; October 1999, Boston; June 2000, Helsinki; October 2001, Edwardsville. Since then, the MDG has meet yearly in the US, Canada, Finland, and Norway.
The MayDay Group continues to function as an international think tank, connected through email, the Internet and by regular mail. They are concerned to identify, critique, and change taken-for-granted patterns of professional activity, polemical approaches to method, and social, musical and educational philosophies, educational politics and public pressures that have threatened effective practice and stifled critical and open communication among music educators. The ongoing debate about these matters resulted in a more formal two-fold purpose:
[a] to apply critical theory and critical thinking to the purposes and practices of music education, and
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[b] to affirm the central importance of musical participation in human life and, thus, the value of music in the general education of all people.
As of April 2006, MayDay Group members include musicians, music educators, social and cultural theorists from over twenty countries.
The name of the MayDay Group reveals something of the group's motivation:
First: The first meeting was on May 1, 1993.
Second: MayDay is the international distress signal, and we think that the profession is in distress, especially in the areas noted in the pamphlet, Action for Change in Music Education. The MayDay Group intended from the beginning to be international, partially as a way to lift the discussion above national politics, partially as a way to broaden the base of experience upon which each of its members can draw.
Third: MayDay is a springtime celebration of renewal and fertility in some cultures, but it is also a date that was used to commemorate revolutionary action in some countries. Renewal without action is a personal benefit. But renewal for the profession without action is unlikely. The MayDay Group intends to move its agenda forward.
MayDay Group colloquia start with an invitation to members to come to an intense, 36-hour philosophical discussion of music education issues. There's an agenda of sorts, usually a set of topics. Sometimes members discuss background papers, their recently issued books or presentations; but there is seldom the prediction that something definite will be accomplished or decided. They are colloquia in the true sense.
Assumptions and Questions Related to the
Action Ideals of the MayDay Group
The MayDay Group first met on May 1, 1993 with the intention of critically reexamining the status of practice in music education. This eclectic and varied group of thinkers, from a variety of disciplines and countries, continues to function as a think tank, concerned to identify, critique and change taken-for-granted patterns of professional activity, polemical approaches to method, and social, musical and educational philosophies, educational politics and public pressures that have threatened effective practice and stifled critical and open communication among music educators. This ongoing debate has resulted in a more formal two-fold purpose guiding future deliberations: [a] to apply critical theory and critical thinking to the purposes and practices of music education, and [b] to affirm the central importance of musical participation in human life and, thus, the value of music in the general education of all people.
The following regulative ideals have emerged. They are stated broadly as ideals for guiding dialogue and change, not as narrow or dogmatic conclusions. Each is followed by a brief rationale and a range of sample questions that point out directions for action. Because any consideration of ideals by diverse thinkers is a dynamic process, colloquy and reflection continue. Thus elaboration, refinement and qualification by members and other interested parties are expected and welcomed.
Despite the difficulty of formulating such ideals in precise yet brief form, members and other participants nonetheless agree that these ideals for guiding necessary change are sufficiently warranted that the signers [see the list at the end of this document] put them forth as bases for action in music education.
1. Musical action that is fully mindful of musical results is the necessary condition of music-making and, therefore, of an effective music education.
The indifferent application of concepts, information and technical skills taught for their own sakes leads to music-making that lacks musical integrity. Skilled music-making, instead, requires the purposeful and appropriate practice of musicianship. Expert musicians develop critical and reflective abilities that mindfully employ knowledge and skill in the service of musical results. Therefore, any formal education of musical skill, knowledge and insight must similarly involve critically reflective, rather than unthinking or superficial, music-making.
a. How can the profession focus less on teaching information and technical skills in isolation and for their own sakes, and more on the kind of critically reflective musicianship that results in individuals who can make thoughtful and appropriate musical choices independently of a teacher or conductor?
b. In what ways has inattention to the development of independent musicianship encouraged unthinking and therefore unmusical performance on the part of individuals?
c. How can all forms of music-making in educational contexts achieve musical integrity while advancing the critical and independent musical thinking of performers and audiences alike?
2. The social and cultural contexts of musical actions are integral to musical meaning and cannot be ignored or minimized in music education.
The social and cultural contexts of musical actions are integral to musical meaning and cannot be ignored or minimized in music education.
Aesthetic theories, with their claims that musical meaning and value transcend time, place, context and human purpose and usefulness, fail to account for the fullest range of meanings inherent in individual and collective musical actions. Such theories fall short of providing an adequate rationale for music-making or music teaching. Instead, all music must be seen as intimately tied to social and cultural contexts and conditions. The theory and practice of music education must account for this situatedness of music and music-making. Music educators must have, therefore, a theoretical foundation that unites the actions of producing music with the various contexts of those actions, so that musical meaning appropriately includes all of music's humanizing and concrete functions.
a. How can musical values be understood in terms of the human needs and contexts that bring them forth, while at the same time retaining appropriate standards of musicianship and musicality?
b. What standards of musicianship and musicality in music education can be guided by traditions associated with aesthetic theories, while still emphasizing the situatedness of the musical practices in question?
c. How can students be guided to advance their aspirations for identifying and serving the musicianship needs called forth by different musics and situations?
d. What tangible qualities of musicianship can replace hypothesized and ephemeral aesthetic qualities as a basis for teaching, learning and evaluating music-making that is appropriately situated?
3. Since human musical actions create, sustain and re-shape musical cultures, music educators can and should formally channel this cultural process, influencing the directions in which it develops and the individual and collective human values it serves.
Since human musical actions create, sustain and reshape musical cultures, music educators can and should formally channel this cultural process, influencing the directions in which it develops and the individual and collective human values it serves.
A musical culture is a living process, not a set of works or of given practices. It develops out of the special synergy of change and tradition unique to its people and conditions and cannot simply be passed on as a timeless, unchanging set of traditions. Music educators, thus, must not be satisfied simply to perpetuate any musical culture as a matter of received "fact." Rather, they should guide and expand the musical initiatives, alternatives and levels of musical excellence of their students, going beyond what is otherwise already available outside of school, helping musical cultures to continue their respective developments while building bridges for students to other musical expressions of culture.
a. How can music teachers be more accountable for increasing the likelihood that their students will value musical participation throughout their lives?
b. What can music teachers do to improve the individual, family and society through the musical alternatives, initiatives and choices made available and advanced through the school music curriculum?
c. What strategies can be developed to promote, improve and encourage the musical traditions of particular segments of society and, at the same time, help individuals become sensitive to and more successful within musical cultures other than the ones in which they grew up?
d. How can the profession undertake a sustained campaign to reenergize musical life in society, and thus to expand the contributions of music to life?
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4. The contributions made by schools, colleges and other musical institutions are important to musical culture, but these need to be systematically examined and evaluated in terms of the directions and extent of their influence.
The contributions made by schools, colleges and other musical institutions are important to musical culture, but these need to be systematically examined and evaluated in terms of the directions and extent of their influence.
Despite their good intentions and the high claims often made for institutions such as schools, colleges, professional ensembles, churches and mass media, institutionally-mediated expressions of musical culture are unpredictable and often self-destructing or self-limiting. Music and musical actions, when institutionalized, are transformed by a variety of ideological, ethical, economic and pedagogical motivations and agendas. Any theory and practice of music education must successfully account for these phenomena, shed light on ways to critique them, and set in motion means of minimizing negative effects of institutions at the individual or social levels.
a. In what ways do formal institutions of musical culture influence the actual musical life of a society and on what bases can these institutions be critiqued when the influences are ineffective, trifling or negative?
b. How can a theory of music education account for the effects of institutions on music, provide ways to assess the cultural good or harm that various institutions can do, and devise means by which such institutions can be used for cultural good rather than harm?
c. How can we influence institutions such as publishing companies and the mass media to improve their contribution to raising the musical quality of social and cultural life?
d. What can the institution of music education do to reestablish avocational music-making as the cultural norm for the general public, as opposed to mainly nurturing professional performers and the audiences that listen to them?
5. In order to be effective, music educators must establish and maintain contact with ideas and people from other disciplines.
In order to be effective, music educators must establish and maintain contact with ideas and people from other disciplines.
The dominant model of study and research in music and music education minimizes the relevance and applicability of influences from outside music. The intellectual and pragmatic narrowness and limitations of this model have led music teachers and musicians to an insularity that has isolated them from communication with others in the arts and sciences, from the other helping professions, and thus from the general public. Future teachers and musicians should apply valuable views from other fields to the problems that musicians and educators regularly face.
a. How can the range of professional and general knowledge of music teachers (and teachers of teachers) be broadened?
b. From what disciplines should such a broadened knowledge base for practice be drawn?
c. To what extent and how can we free music teachers from uncritically mimicking their own teachers' techniques and instead develop rational, reflective and effective personal teaching approaches based on new evidence, rather than on tradition alone?
d. What can accrediting, certifying and professional organizations change to improve the general education of musicians who will be school music teachers and professors?
6. The research and theoretical bases for music education must simultaneously be refined and radically broadened both in terms of their theoretical interest and practical relevance.
The research and theoretical bases for music education must simultaneously be refined and radically broadened both in terms of their theoretical interest and practical relevance.
A renewed search for insight in unraveling the problems and issues of teaching and learning music must replace the professional goals and rewards that motivate much current research which is, as a result, often uninteresting in its contribution to theory and irrelevant to practice. We support an approach to music education inquiry that draws its problems from and applies its conclusions to the authentic musical actions of people and thus from music that incorporates a rich diversity of musical meaning and experience. Furthermore, because such issues and questions in music education are inextricably wed to inquiry in other disciplines, music education research theories and practices must go well beyond the narrow paradigms and limitations traditionally accepted.
a. How can more adequate research criticism be developed for music education as a profession? And what theories and findings from other disciplines will support this criticism?
b. What items should be included on a profession-wide research agenda that will predictably lead to a more adequate research base for good practice? And how should items on this agenda be prioritized?
c. How can the profession encourage independent, critical researchers and, at the same time, reward innovative methods, collaborative action and results that contradict tradition?
d. What additional means can be devised to referee and disseminate research findings? How can both the methodological expertise and range of general knowledge of referees be improved?
7. An extensive and intensive consideration of curriculum for music education is needed as a foundation to greater professional unity and must be guided by a sound philosophical process.
An extensive and intensive consideration of curriculum for music education is needed as a foundation to greater professional unity and must be guided by a sound philosophical process.
Curriculum occupies a fundamental, central and defining place in any effort to improve music education and thus should precede considerations of teaching and research techniques, methods, materials and assessment. However, methods, materials, instruction, assessment and supervision are too often undertaken without specific curricular reference, or under the mistaken assumption that certain traditional means automatically guarantee worthwhile musical ends. In light of the six ideals stated above, it is clear that when desirable results remain unclear, then methods, materials and learning become haphazard at best and detrimental at worst. Thus a consensus on curricular standards -- the criteria of effective teaching and learning -- needs to be as strong a part of the preparation and practice of music educators as are the standards of musicianship.
a. What philosophical, curricular, psychological and social principles and criteria should guide curriculum development, evaluation and criticism?
b. Will curriculum be influenced best by standards developed and imposed by national or regional entities, such as music educators associations and central governments, or by specific attempts to make curriculum design a strong part of music teacher preparation? Can these interact effectively?
c. How can a greater consensus on desirable outcomes take into account the institutional priorities, local conditions and resources that relate to implementing curriculum?
d. To what extent and how can music education curriculums take broader educational and social concerns into account?
Signatories
The initial signatories of this document affirm their general agreement with the broad ideals contained here as a basis for action. In addition, they and others have expanded, elaborated, and commented on specific points. This commentary is found in the resources sections.
Irmgard Bontinck [Austria], Wayne Bowman [Canada], Rick Bunting [USA], Richard Colwell [USA], Robert Cutietta [USA], David Elliott [Canada], J Terry Gates [USA], Jere Humphreys [USA], John Kratus [USA], Desmond Mark [Austria], Marie McCarthy [USA], Gary McPherson [Australia], Patricia O'Toole [USA], Stephen J Paul [USA], Thomas A Regelski [USA], Brian Roberts [Canada], Keith Swanwick [England]
The Music Education in the Urban Context Ecolumn will present weekly discussions about music and education and their relation to subjects particularly pertinent to urban centers. Therefore, issues regarding educational reform, policy analysis and proposals, concerns about class and race, alternative community engagements, economics and education, among others will constantly appear in this ecolumn. Contributions and dialogue are welcomed! Come, see and engage in the dialogue.
Cathy Benedict will coordinate this column dealing with major issues and changes in curriculum and assessment facing music educators today. Theory and practice in these areas are especially central to the MDG Agenda (see Action Ideal 7) and can benefit from wider consideration by music educators.
Deborah Bradley hosts this column which, to date, has involved information, a bibliography, and lively dialog about race and gender as aspects of social justice in music education and its practices--another aspect relevant to an 'ethic' of music teaching.
Rural Music Education: This discussion explores the unique and often-times challenging experience of teaching and learning music in rural schools. Rural music teachers and music teacher educators are especially invited to participate--all views are welcome.
Carlos Xavier Rodriguez coordinates this column devoted to student-generated discussion. Students are encouraged to read and react to the Action Ideals and other topics they encounter in their degree programs and in the teaching profession. Students are also encouraged to share research ideas and expertise with one another.
Patrick M Jones coordinates this and dialogs dealing with policy in music education. Policy is at the core of decisions made regarding music education and all those engaged in the music education endeavor need to be familiar with both issues relating to policy and procedures for implementing and studying it. This column and related dialogs addresses both of them.
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Harold F Abeles [Department of Music and Arts Education; Teachers College, Columbia University; New York, NY 10027; USA -- hfa2@columbia.edu]
Daniel Abrahams [Omaha Bryan Senior High School; 4700 Giles Road; Omaha, NE 68157; USA -- abrahams.daniel01@gmail.com]
Frank Abrahams [Westminster Choir College of Rider University; 101 Walnut Lane; Princeton, NJ 08540; USA -- Abrahams@rider.edu]
Akosua Addo [School of Music; University of Minnesota; Minneapolis, MN; USA -- addox002@umn.edu]
Randall Allsup [525 W 120th Street; Box 139; Teachers College, Columbia University; New York, NY 10027; USA -- allsup@tc.columbia.edu]
Alan S Altman [Interdisciplinary Arts Program; Graduate Teacher Education Program; Nova Southeastern University; Kendall Student Center; 8585 SW 124th Avenue; Miami, FL 33183; USA -- aalan@nova.edu]
Robert Amchin [Division of Music Education and Music Therapy; School of Music; University of Louisville; Louisville, KY 40292; USA -- robamchin@insightbb.com]
Miguel Arambulo [Shibaura 4-18-30; Minato-ku 108-0023; Tokyo, Japan -- ]marambulo@tokyouis.com]
George Asamoah [Ghana Institute of Journalism; Box 9755 Airport; Accra; Ghana -- geoasam@yahoo.com]
Danny Bakan [210-6201 Cecil Green Park Road; Vancouver BC V6T 1Z1 Canada -- danny@dannybakan.com]]
Bill Baker [School of Education; University of Tasmania; Locked Bag 1307; Launceston, Tasmania, Australia; 7250 -- Bill.Baker@utas.edu.au]
David Barg [ArtsLab; 39 St Mary's Street #1; Brookline, MA 02446 USA -- davidbarg@artslab.org]
Janet R Barrett [Music Education Division; Northwestern University; 711 Elgin Road; Evanston, IL 60208-1200 -- j-barrett3@northwestern.edu]
Margaret Barrett [Faculty of Education; University of Tasmania; PO Box 1214; Launceston, Tasmania, Australia; 7250 -- Margaret.Barrett@utas.edu.au]
Vincent Bates [Northwest Missouri State University; 238 Fine Arts Building, 800 University Drive, Maryville MO, 64468-6001; USA -- bates@nwmissouri.edu]
William I Bauer [Department of Music; Case Western Reserve University; Cleveland, OH 44106-7105; USA -- wbauer@cwru.edu]
Julie Beauregard [16 Jordache Lane; Spencerport, NY 14559 USA -- ]juliebool@hotmail.com]
Nicole Becker [211 West 106th Street, Apt. 11C; New York, NY 10025 USA – nbecker@tc.columbia.edu]
Marc Beja [100 Maiden Lane, Apt. 1005, New York, NY 10038 USA -- ]beja@nyu.edu]
Adam Patrick Bell [221 Avenue B, Apt. 3; New York, NY 10009 USA -- apb297@nyu.edu]
John Bell [Music Department; Box 1771; Southern Illinois University-Edwardsville; Edwardsville, IL 62026; USA -- jbell@siue.edu]
Linda M Berger [Music Department; St Olaf College; Christiansen Hall 235; Northfield, MN 55057 -- berger@stolaf.edu]
Louis Bergonzi [School of Music; 1114 W Nevada St; Urbana, IL 61801; USA -- bergonzi@uiuc.edu]
Cara Bernard [514 E 81 Street, Apt 10; New York, NY 10028; USA -- carabernard@nyu.edu]
H. Christian Bernhard II [Music Education Department, School of Music; State University of New York at Fredonia; 3174 Mason Hall; Fredonia, NY 14063 USA -- Christian.Bernhard@fredonia.edu
Rhoda Bernard, [Boston Conservatory, Home Address: 121 Brayton Road, Brighton, MA 02135; USA -- rbernard@bostonconservatory.edu]
Jeannine Berube [Nassau Elementary School; Spackenkill Union Free School District; 7 Nassau Rd.;
Poughkeepsie, NY 12601 USA -- ]rubyjean9@gmail.com]
Michael Billingsley [Camden County College; P.O. Box 200, College Drive; Blackwood, NJ 08012 USA -- michaelbillingsley12@yahoo.com]
Evert H Bisschop Boele [Prince Claus Conservatoire; Veemarktstraat 76; 9724 GA Groningen; The Netherlands -- e.h.bisschop.boele@pl.hanze.nl]
Cecilia Björck [Academy of Music and Drama, University of Gothenburg; P.O. Box 210; SE–405 30 Göteborg, SWEDEN – cecilia.bjorck@hsm.gu.se]
Kathleen Bowerman [167 1st Ave. Apt. 5; New York, NY 10003 USA --katamana@gmail.com]
Wayne Bowman [Music Education Department; School of Music; Brandon University; Brandon, Manitoba; Canada R7A 6A9 -- bowmanwd@gmail.com]
Deborah Bradley [University of Toronto; Faculty of Music; Edward Johnson Building; 80 Queen's Park; Toronto, Ontario; M5S 2C5; Canada -- deborah.bradley@utoronto.ca]
Manny Brand [Department of Music & Fine Arts; Hong Kong Baptist University; Kowloon Tong, Hong Kong -- mbrand@hkbu.edu.hk]
Michael L Breaux Steinhardt School of Music; New York University; 35 West 4th Street, Suite 777; New York, NY 10012-1172 USA -- michael.breaux@nyu.edu]
David Breunger [School of Music; The Ohio State University; 1866 College Road North; Columbus, OH 43210-1122 USA -- ]bruenger.1@osu.edu]
Suzanne L Burton [Amy E DuPont Music Building; University of Delaware; Newark, DE 19716; USA -- slburton@udel.edu]
Jeffrey E Bush [School of Music, Arizona State University, Tempe, AZ 85287-0405; USA -- jeff.bush@asu.edu]
Daniela Butte [Don Wright Faculty of Music, Talbot College; The University of Western Ontario; 1151 Richmond St.; London, Ontario N6A 3K7 Canada -- daniela.butte@gmail.com]
Abby Butler [Department of Music; Wayne State University; 105 Shaver Building; Detroit, MI 48202; USA -- ag7752@wayne.edu]
Maria Calissendorff [�rebro university; School of Music; Vasagatan 9 SE-702 10 �REBRO; Sweden -- maria.calissendorff@musik.oru.se]
Patricia Campbell [School of Music; Box 353450; University of Washington; Seattle, WA 98195; USA -- pcamp@u.washington.edu]
Richard Cangro [143 Ardmore Road; West Hartford, CT 06119; USA -- cangro@hartford.edu]
Daniel Cavicchi [Rhode Island School of Design; 2 College Street; Providence, RI 02903; USA -- dcavicch@risd.edu]
Vincent Cee [950 N Pleasant St #7; Amherst, MA; 01002; USA -- VCbassman@aol.com]
I-Shan Cheng [250 Gorge Road Apt 9I; Cliffside Park, NJ 07010 USA --isc221@nyu.edu]
Kris Chesky [College of Music; University of North Texas Denton, TX; USA -- KCHESKY@music.cmm.unt.edu]
John Churchley [School District #73 [Kamloops/Thompson]; Henry Grube Education Centre; 245 Kitchener Crescent; Kamloops, British Columbia; Canada V2B 1B9 -- jchurchl@sd73.bc.ca]
Matt Clauhs [Temple University; Philadelphia, PA 19148 USA -- mclauhs@gmail.com]
Darryl Coan [Music Department; Box 1771; Southern Illinois University-Edwardsville; Edwardsville, IL 62026; USA -- dcoan@siue.edu]
Linda Cockey [Department of Music; Salisbury State University; Salisbury, MD 21801; USA -- LECOCKEY@salisbury.edu]
Mary L Cohen [11905 W. 100th Terrace; Lenexa, KS 66215; USA -- marylcohen@gmail.com]
Richard J Colwell [34 Cleveland Hill Road; Brookline, NH 03033-2108; USA -- toaster34@charter.net]
Paul Connors [108 Sagamore Rd #5J; Tuckahoe, NY 10707; USA -- pm_connors@yahoo.com]
Susan Wharton Conkling [Music Education Department; Eastman School of Music; 26 Gibbs Street; Rochester, NY 14604; USA -- drc@bu.edu]Matthew Cotton [Stern Math and Science School; 5151 State University Drive, Lot 2; Los Angeles CA 90032 USA -- MCOTTON@laalliance.org ]
James Criswell [6811 Lamp Post Lane; Alexandria, VA 22306 USA -- jcriswell@sssas.org]
Rob Cutietta [University of Southern California; Los Angeles, California; USA -- musdean@usc.edu]
Lori Custodero [Teachers College, Columbia University; Music and Music Education, Box 139; 525 West 120th Street; New York, NY 10027; USA -- Custodero@aol.com]
Will Dabback [James Madison University; 362 Monticello Ave.; Harrisonburg, VA 22801 USA -- dabbacwm@jmu.edu]
Lyle Davidson [New England Conservatory of Music; 290 Huntington Ave; Boston, MA 02115; USA --]
Susan A. Davis [9 Chelsea Drive; Smithtown, NY 11787 USA – sad317@nyu.edu]
Justin Dayhoff [The Family School PS 443X; 1116 Sheridan Ave.; Bronx, NY 10456 USA --jld356@gmail.com]
Joseph A DeLeo [Baldwin Union Free School District, Baldwin, NY; 11510; USA -- jadeleo@optonline.net]
Charlene Dell [University of Oklahoma; School of Music; 500 W Boyd St, Norman, OK; 73069; USA -- cdell@ou.edu]
Tobyn DeMarco [Philosophy Department; Hunter West 14th Floor; Hunter College, City University of New York; 695 Park Avenue; New York, NY 10021; USA -- tdemarco@email.gc.cuny.edu]
Beth Denisch [Berklee College of Music; 1140 Boylston Street, FB-106; Boston, MA 02215 USA -- ]bdenisch@berklee.edu]
Mark Dillon [3777 Cedar Springs Rd.; Randleman, NC 27317 USA – dillon525@gmail.com
Claire Detels [Department of Music; University of Arkansas; Fayetteville, AR 72701; USA -- cdetels@comp.uark.edu]
John Drummond [Department of Music; University of Otago; PO Box 56; Dunedin 9001; New Zealand -- drummond_john@yahoo.co.nz]
Marian Dura [[Lebanon Valley College; 101 N. College Avenue; Annville, PA 17003 USA]
-- dura@lvc.edu]
Kara Eaton [Ft Hamilton High School, 8301 Shore Road, Brooklyn, NY 11209 -- kara.eaton@gmail.com]
Brian D Ebie [The University of Arizona; School of Music and Dance; P.O. Box 210004; Tucson, AZ 85721-0004; USA --]
David J Elliott [Department of Music and Performing Arts: New York University; 35 West 4th Street, Suite 777; New York, NY, 10012; USA -- david.elliott@nyu.edu]
Carolyn Fulton [School of Music; 153A Wertheim Performing Arts Bldg; University Park Campus; Florida International University; Miami, FL 33199; USA -- globalmuse@comcast.net]
C. Victor Fung [Center for Music Education Research, School of Music, FAH 110, College of The Arts, University of South Florida, Tampa, FL 33620; USA � fung@usf.edu]
Brenda-Anne Gale [209 Taaffe Place, Apt. 4R; Brooklyn, NY 11205 USA -- ]bag304@nyu.edu]
J Terry Gates [9053 Saranac Drive; St Louis, MO 63117; USA -- JTGates@aol.com]
Kate Gee [Music Psychology Research; Psychology Department; University of Sheffield; Western Bank; Sheffield S10 2TN; UK -- K.Gee@sheffield.ac.uk]
Eva Georgii-Hemming [School of Music, �rebro University; Vasagatan 9; SE-702 10 �REBRO; Sweden -- eva.georgii-hemming@oru.se]
Robin Giebelhausen [College of Music; Michigan State University; East Lansing, MI 48824 USA -- rgiebelhausen@gmail.com
John V. Gilbert [NYU Steinhardt Music and Performing Arts Professions; 353 West 4th Street, 777; New York, NY 10012 USA[john.gilbert@nyu.edu]
J Scott Goble [Department of Curriculum and Pedagogy; Faculty of Education; University of British Columbia; 2125 Main Mall; Vancouver, BC; V6T 1Z4; Canada -- scott.goble@ubc.ca]
Jessica Goldberg [636 Greenwich Street, Apt. 101; New York, NY 10014 USA --jessgoldberg4@gmail.com]
Thomas W Goolsby [University of Victoria; Faculty of Education; Box 3010; Victoria, BC; V8W 2Y2; Canada -- tgoolsby@uvic.ca]
Jason Gossett [2468 Buchenhorst Road; State College, PA 16801 USA – jbg190@psu.edu
Elizabeth S Gould [University of Toronto; Faculty of Music; Edward Johnson Building; 80 Queen's Park; Toronto, Ontario; M5S 2C5; Canada -- e.gould@utoronto.ca]
Peter Gouzouasis [Department of Curriculum and Pedagogy; Faculty of Education; University of British Columbia; 2125 Main Mall; Vancouver, BC V6T 1Z4; Canada -- peter.gouzouasis@ubc.ca]
Lori Gray [6445 S Maple Avenue #2066; Tempe, AZ 85283 USA -- lorifgray@gmail.com]
Lucy Green [Professor of Music Education, Head; School of Arts and Humanities; Institute of Education; University of London, 20 Bedford Way; WC1H OAL; London; UK -- L.Green@ioe.ac.uk]
Sophie Grimmer [Trinity College of Music; 38 Noel Road; London N1 8HA; United Kingdom --sophiegrimmer@googlemail.com]
Eric Haltmeier [Westminster Choir College, Princeton, NJ & Lawrence High School, Lawrenceville, NJ; 34 Bentwood Drive; Westampton, NJ 08060; USA -- ehaltmeier@ltps.org]
Greg Handel [School of Creative and Performing Arts; Northwestern State University of Louisiana; Natchitoches, LA 71497 USA -- handelg@nsula.edu]
Keitha Lucas Hamann [University of Minnesota; School of Music; 100 Ferguson Hall; 2106 Fourth Street South; Minneapolis, MN 55455; USA -- haman011@umn.edu]
Jacob Hardesty [703 S. High Street; Bloomington, IN 47401 USA -- ]jawharde@indiana.edu]
David Hart [Eastman School of Music; 26 Gibbs St; Rochester NY 14604 USA -- david.hart@rochester.edu]
Juliet Hess University of Toronto; Faculty of Music; Edward Johnson Building; 80 Queen's Park; Toronto, Ontario; M5S 2C5; Canada -- juliet.hess@utoronto.ca]
Frank Heuser [Music Education, 2637 Schoenberg Hall; University of California at Los Angeles; Box 951616; Los Angeles, CA 90095-1616; USA -- fheuser@ucla.edu]
Michael Hewitt [School of Music; University of Maryland; College Park, MD 20742; USA -- mphewitt@Glue.umd.edu]
Kathy Hickey [Southern Illinois University - Carbondale; 879 Clark School Rd; Desoto, IL 62924; USA -- khickey@siu.edu]
Lee Higgins [The Liverpool Institute of Performing Arts; Mount Street; Liverpool; L1 9HF; UK -- L.Higgins@lipa.ac.uk]
Nichole Hodges-Abbasi [Roberto Clemente Middle School; 18808 Waring Station Rd.; Germantown, MD 20874 USA -- nichole_m_hodges-aggasi@mcpsmd.org]
Adria Hoffman [L Douglas Wilder Middle School 6900 Wilkinson Road, Richmond, VA 23227; USA -- adria.r.hoffman@gmail.com]
Jere Humphreys [School of Music; Arizona State University; Tempe, AZ 85287-0405; USA -- Jere.Humphreys@asu.edu]
James Imhoff [3723 SE Jackson St; Milwakie, OR 97222; USA -- jfimhoff@msn.com]
Christine Inserra [William T. Rogers Middle School; 97 Old Dock Road; Kings Park, NY 11754 --inserrac@KPCSD.ORG]
Louise Jackson [Music and Musical Theatre; University of Chichester; College Lane; Chichester, West Sussex PO19 6PE UK -- Louise.Jackson@chi.ac.uk]
Sheri E Jaffurs [P.O. Box 252383; West Bloomfield, MI 48324; USA -- sheri.jaffurs@gmail.com]
Werner Jank [University of Music and Performing Arts; Mannheim, N 7, 18; D-68161 Mannheim; Germany -- jank.werner@t-online.de]
Harriet Jarmon [8024 Fort Smith Road; Peyton, CO 80831; USA -- HarrietJarmon@msn.com]
Nick Jaworski [School of Music; University of Illinois at Urbana-Champaign; 1114 W. Nevada St.; Urbana, IL 61801 USA -
nicholasjaworski@gmail.com]
Neryl Jeanneret [Artistic and Creative Education; Faculty of Education; University of Melbourne 3010; Victoria; Australia -- nerylj@unimelb.edu.au]
Christopher Johnson [Music Education and Music Therapy [MEMT]; The University of Kansas; Murphy Hall; 1530 Naismith Dr., Rm. 448; Lawrence, KS 66045-3102; USA -- cmj@ku.edu]
Daniel Johnson [Department of Music; 601 S. College Avenue; UNC Wilmington; Wilmington, NC 28403; USA -- johnsond@uncw.edu]
Roger Johnson [38 West 106 Street; New York, NY 10025; USA -- rojohnso@bestweb.net]
Patrick M. Jones [Setnor School of Music; Syracuse University; 215 Crouse College; Syracuse, NY 13244 USA – pmjone01@syr.edu]
Dawn Joseph [School of Social and Cultural Studies in Education, Deakin University, 221 Burwood Highway, Burwood, Victoria 3125; Australia -- djoseph@deakin.edu.au]
Sharon Joy [School of Creative and Performing Arts; Northwestern State University of Louisiana; Natchitoches, LA 71497 USA -- joys@nsula.edu]
Jerry Kerlin [Manhattanville College; Department of Music; 2900 Purchase Street; Purchase, New York 10577; USA -- kerlinj@mville.edu]
Alexandra Kertz-Welzel [6315 NE Radford Dr #3404; Seattle, WA 98115-8715; USA -- akertz@u.washington.edu]
Sunmin Kim [1 West Palisades Blvd., Apt. B44; Palisades Park, NJ 07650 USA-- sk1952@nyu.edu]
Marsha Kindall-Smith [Music Department, Peck School of the Arts; University of Wisconsin-Milwaukee; PO Box 413; Milwaukee, WI 43201; USA -- marshaks@uwm.edu]
Patricia Costa Kim [5244 16th Ave SW; Seattle, WA 98106; USA -- pckim@comcast.net]
Mark H King [7 W Madison; Villa Grove, IL 61956 USA -- mhkband@mchsi.com]
David H. Knapp [Florida State University; 1342 Branch St, Tallahassee, FL 32303 USA -- dknapp@fsu.edu]
Alexander Koops [Music Department; Azusa Pacific University; 901 East Alosta Ave.; Azusa, CA 91702 -- akoops@apu.edu]
Ron Kos [Music Education Department; Boston University School of Music; 855 Commonwealth Ave.; Boston, MA 02215 USA -- rkos@bu.edu]
Janet Koza [449 Elliott Street; Beverly, MA 01915; USA -- j.koza@verizon.net]
Julia Eklund Koza [Department of Curriculum and Instruction; University of Wisconsin-Madison; 225 No. Mills St.; Madison, WI 53706; USA -- koza@education.wisc.edu]
Phillip M Kancianic [School of Music, University of Maryland; College Park, MD 20742; USA -- pkancianic@comcast.net]
John Kratus [School of Music; Michigan State University; East Lansing, MI 48824; USA -- Kratus@msu.edu]
Thorolf Kruger [Bergen University College; Faculty of Education; 5097 Bergen; Norway -- tkru@hib.no]
Adam Kruse [4707 Drummond Blvd. SE; Kentwood, MI 49508 USA – kruseaj@gmail.com]
Mark Lammers [35981 South Wind Crest Drive; Tucson, AZ 85739; USA -- LammersE@aol.com]
Diane M Lange [The University of Texas at Arlington; Department of Music; Box 19105; Arlington, TX 76019-0105; USA --
lange@uta.edu]
Stefani Langol [Music Education; Berklee College of Music; 1140 Boylston St. FB268; Boston, MA 02215 USA -- ]
slangol@berklee.edu]
Eleni Lapidaki [Department of Music Studies; Aristotle University of Thessaloniki; 51624 Thessaloniki,
Greece -- -- http://calm.web.auth.gr]
lapidaki@mus.auth.gr]
Karen V Lee [University of British Columbia; Department of Curriculum and Pedagogy; Faculty of Education; 2125 Main Mall; Vancouver, BC; Canada -- kvlee@interchange.ubc.ca]
Nancy Lee [Minneapolis Public Schools; Washburn High School; 201 W49th; Minneapolis, MN 55419 USA -- Nancy.Lee@mpls.k12.mn.us]
Al Legutki [2802 Chateau Drive; Saint Joseph, IL 61873 USA -- legutki2@illinois.edu]
Paul R Lehman [June-Dec: 2745 Bedford Road; Ann Arbor, MI 48104; USA -- Jan-June: 124 Warbler Way; Georgetown, TX 78628-4804; USA -- prlehman@umich.edu]
Chi Cheung Leung [Hong Kong Institute of Education; 10 Lo Ping Road; Tai Po, N.T.; Hong Kong; China -- ccleung@ied.edu.hk]
Joelle Lien [University of Utah School of Music; 316 David Gardner Hall; 1375 E Presidents Circle; Salt Lake City, Utah 84112-0030; USA -- Joelle.Lien@music.utah.edu]
Vicki R Lind [University of California Los Angeles; Department of Music; 445 East Charles Young Drive; 2539 Schoenberg Bldg; Los Angeles, CA; 90095-1616; USA -- vlind@arts.ucla.edu]
David Lines [School of Music; University of Auckland; Private Bag; 92109; Auckland 1020; New Zealand -- d.lines@auckland.ac.nz]
Liu Pei [Department of Music Education; China Conservatory of Music; Beijing, 100101; China -- lpddh@263.net]
Lisa Lutter [33 Elysian Avenue; 1st Floor; Nyack, NY 10960; USA -- LMLUTTER@aol.com]
Pentti Maattanen [University of Helsinki; Department of Philosophy; PO BOX 24 Unioninkatu 40; 00014 Univesity of Helsinky; Finland -- pentti.maattanen@helsinki.fi]
D. Scott MacLennan [Department of Curriculum and Pedagogy; Faculty of Education; University of British Columbia; Scarfe Building 2125 Main Mall; Vancouver BC V6T 1Z4 Canada -- ]dsmacl@interchange.ubc.ca]
; Un
James V. Maiello [Blair School of Music; Vanderbilt University; 2400 Blakemore Avenue; Nashville, TN 37212 USA -- ]jimmy.maiello@vanderbilt.edu]
Aileen Mahoney [c/o Cathy Benedict; Department of Music and Performing Arts; New York University; 35 West 4th Street, Suite 777; New York, NY, 10012 USA -- aem447@nyu.edu]
Peter Mak [Prince Claus Conservatoire (Hanze University of Applied Sciences), Veemarktstraat 7t, 9724 GA Groningen, The Netherlands -- p.h.m.mak@pl.hanze.nl]
Mary Jane Male [c/o Super Comm'l; Juan Luna St.; Calapan City, Oriental Mindoro 5200; Philippenes – jane_male@yahoo.com
Johanna Malone [120 Cowley Ave, East Lansing, MI 48823 USA -- jmalone@msu.edu]
Tom Malone [120 Cowley Ave, East Lansing, MI; 48823; USA -- malonet@mac.com]
Sean Ichiro Manes [School of Music, Box 353450iversity of Washington; Seattle, WA 98195; USA -- sim21@u.washington.edu]
Dwight Manning [Teachers College; 525 W. 120th St., Box 139; New York, NY 10027 USA – Dmanning@tc.edu]
Roger Mantie [School of Music; Boston University; 855 Commonwealth Ave.; Boston, MA 02215 USA --- ]rmantie@bu.edu]
Michael Mark [5505 Wexford Road; Baltimore, MD 21209; USA -- mlmark@comcast.net]
Nicholas Marchese [70 Washington Square S.; New York, NY 10011 USA -- ]nm1322@nyu.edu]
Frank Martignetti [University of Bridgeport; Dept. of Music; 126 Park Avenue; Bridgeport, CT 06604 USA --fmartign@bridgeport.edu]
Cedricia Maugars [R�sidence le Pr� vert; 169 rue Paul de choulot; 34080 Montpellier; France -- cmai@cmai.cc]
W Stephen Mayo [School of Music; State University of New York; College at Fredonia; Fredonia, NY 14063; USA -- mayo@fredonia.edu]
Peter A McAllister [School of Music; Ball State University; Muncie, IN 47306; USA -- pmcallis@email.arizona.edu]
Charles McAdams [Department of Music; Central Missouri State University; Utt 111; Warrensburg, MO 64093 - USA
mcadams@cmsu1.cmsu.edu]
Marie McCarthy [School of Music; Clarice Smith Performing Arts Center; University of Maryland; College Park, MD 20742; USA -- mfmcc@umich.edu]
Michelle McConkey [505 W Baseline Road #1063; Tempe, AZ 85283 USA -- mmcconkey@csuchico.edu]
Kimberly McCord [School of Music; Illinois State University; Normal, IL 61790; USA -- KIMBERL678@AOL.com]
Jennifer S. McDonel 4198 Wildwood Drive; Williamsville, NY 14221 USA JSMcDonel@pds4me.com]
Abigail McHugh [152 Alexander Street; Rochester, NY 14607 -- abigailmchugh@hotmail.comabigailmchugh@hotmail.com]
Kathleen McKeage [Music Education Division; Department of Music; University of Wyoming; Laramie, WY 82071 USA -- McKeage@uwyo.edu]
Gary E McPherson [Marilyn Pflederer Zimmerman Endowed Chair in Music Education; University of Illinois at Urbana-Champaign;
School of Music; 1114 W Nevada Street; Urbana, IL 61801; USA -- gem@uiuc.edu]
Brian D. Meyers [PAC Rm. 208; Adelphi University; Garden City, NY 11530 USA – bmeyers@adelphi.edu]
Margaux B. Millman [School of Music; University of Illinois at Urbana-Champaign; 1114 W. Nevada St.;
Urbana, IL 61801 USA -- ]margaux.millman@gmail.com]
Yiannis Miralis [Music Education; Department of Music; Cyprus College; Nicosia, Cyprus -- miralisy@cycollege.ac.cy]
Jennifer Mishra [236 Russell Hall; University of Northern Iowa; Cedar Falls, IA 50614; USA -- jennifer.mishra@uni.edu]
Sharon Morrow [2911 Northbrook Drive; Middleton, WI 53562; USA -- smorrow@me.com]
Charlene A Morton [Department of Curriculum Studies, University of British Columbia, 2125 Main Mall, Vancouver, BC; V6T 1Z4; Canada -- charlene.morton@ubc.ca]
Tadahiro Murao [Department of Music; Aichi University of Education; Igaya, Kariya City; Aichi-ken, 448; Japan -- tmurao@auecc.aichi-edu.ac.jp]
David E Myers [School of Music; Georgia State University; PO Box 4097; Atlanta, GA 30302-4097; USA -- dmyers@gsu.edu]
Kristen Myers [Department of Curriculum and Instruction; University of Wisconsin-Madison; 225 N. Mills St.; Madison, WI 53706 USA -- kamyers3@wisc.edu]
]
Richard P Nangle [School of Music; Boston University; Boston, MA; USA -- rnangle@bu.edu]
Christopher Naughton [School of Music; National Institute of Creative Arts and Industries; Auckland, New Zealand -- chrisnaughton@xtra.co.nz]
Luc Nijs [IPEM - Institute for Psychoacoustics and Electronic Music; Dept. of Musicology - Ghent University; Blandijnberg 2; B-9000 Ghent; Belgium --luc.nijs@ugent.be]
Bryan Nichols [School of Music; University of Washington; Seattle, WA 98195 USA -- n1@uw.edu]
Jason Noble [250 Mercer Street; Apt B-207; New York, NY 10012; USA -- JNobleBand@aol.com]
Elizabeth Oehrle [School of Music; University of Natal; Durban 4041; South Africa -- oehrle@ukza.ac.za]
Masafumi Ogawa [Faculty of the School of Education, Department of Music; Joetsu University of Education; 1 Yamayashiki, Joetsu-City; Niigata-ken 943-8512; Japan -- masafumi@ynu.ac.jp]
Ku Il Oh [2160 Center Ave #2S; Fort Lee, NJ 07024 USA -- -- www.kuiloh.com]yournameisku@yahoo.com]
Juha Ojala [Music Education; University of Oulu; PO Box 4400; FIN-90401 OULU; Finland -- Juha.Ojala@oulu.fi]
Clint Randles [Center for Music Education Research; School of Music, FAH 110; College of The Arts; University of South Florida; Tampa, FL 33620 USA -- ]randlesc@usf.edu]
James M. Reddan [Faculty of Music; Linn-Benton Community College; 6500 Pacific Boulevard SW; Albany, OR 97321 USA-- jdr71980@aol.com]
Mary J Reichling [Music Department; University of Southwestern Louisiana; Lafayette, LA 70504; USA -- mreichling@louisiana.edu]
Craig Resta [Hugh A Glauser School of Music; Kent State University; Kent, OH 44242 USA -- cresta@kent.edu]
Roger Rideout [Department of Music & Dance; University of Massachusetts; Amherst, MA 01003; USA -- rideout@music.umass.edu]
Chandelle Rimmer [Music Department; Grant MacEwan University; 10045 156th Street; Edmonton, Alberta T5P 2P7 Canada –- rimmercl@macewan.ca]
Brian Roberts [Music Education Department; Memorial University of Newfoundland; St. John's, Newfoundland; Canada; A1B 3X8 -- brianr@mun.ca]
Jeff Robinson [School of Music; University of KwaZulu-Natal; Durban 4041; South Africa -- robinsonj1@ukzn.ac.za]
Kathy Robinson [Department of Elementary Education; Faculty of Education; 534 Education South; University of Alberta; Edmonton, Alberta; Canada; T6G 2G5 -- kathy.robinson@ualberta.ca]
Mitchell Robinson [208 Music Practice Building; School of Music; Michigan State University; East Lansing, MI 48824-0143; USA -- mrob@msu.edu]
Nicole R. Robinson [University of Memphis; Scheidt School of Music; 3775 Central Avenue; Memphis TN 38152 USA -- ]nrrobnsn@memphis.edu]
Carlos Xavier Rodriguez [School of Music, Theater, and Dance; University of Michigan; Ann Arbor, MI 48109-2085 USA --cxr@umich.edu]
John Roebke [5694 Rhodes Road, Apt F; Kent, OH 44240; USA -- jroebke@kent.edu]
Guillermo Rosabal-Coto [Apdo 4778-1000, San Jose, Costa Rica; Central America -- grosabal@yahoo.es]
Andrea M Rose [Faculty of Education; MO Morgan Building; Memorial University of Newfoundland; St John's, Newfoundland; Canada A1C 5S7 -- arose@mun.ca]
Randall D Royer [Black Hills State University; USB 9105; Spearfish, SD 57799-9105; USA -- RandallRoyer@bhsu.edu]
Randy J Rumpf [7913 Edgewood Farm Road; Frederick, MD 21702; USA -- rjrumpf@comcast.net]
Joan Russell [McGill University; Faculty of Education, Department of Culture and Values; 3700 McTavish St; Montreal, Quebec H3A 1Y2; Canada -- cx2e@musica.mcgill.ca]
Alex Ruthmann [Oakland University; Department of Music, Theatre, and Dance; 237 Varner Hall; Rochester, MI 48309 USA -- sruthmann@indstate.edu]
Kris Ryskamp [3615-56th ST SW; Grandville, MI 49418; USA -- KRyskamp@msn.com]
Natalie Sarrazin [University of Virginia; 117 Mimosa Drive #101; Charlottesville, VA 22903; USA -- nataliesarrazin@hotmail.com]
Jonathan Savage [Music Education; Institute of Education; Manchester; M20 2RR; UK -- j.savage@mmu.ac.uk]
Bob Scannell [119 Pinion Circle; Lafayette, LA 70508; USA -- scanl@yahoo.com]
Patrick Schmidt [Department of Music Education; Westminster Choir College; 1 Britton Court Lawrence, NJ 08648; USA -- pschmidt@rider.edu]
Sheila Scott [School of Music; Brandon University; Brandon, MB; R7A 6A9; Canada -- scotts@brandonu.ca]
Carol Scott-Kassner [23105 Marine View Drive South; Des Moines, WA 98198; USA -- kassner@earthlink.net]
Larry Scripp [New England Conservatory of Music; 290 Huntington Ave; Boston, MA 02115; USA --]
Jacquelyn (Seaborg) Paglialonga[15 Eastmount Dr. Apt. 187; Slingerlands, NY 12159 USA USA -- jpaglialonga@hotmail.com]
Ira Shankman [Music and Performing Arts Professions; New York University; 35 West 4th Street Suite 777; New York, NY 10012; USA -- is37@nyu.edu]
Eric Shieh [500 Riverside Dr #827; New York, NY 10027 USA -- eys2108@columbia.edu]
Jaclyn Shepherd [223 Five Oaks Drive; San Antonio, TX 78209 -- jsshep@gradecom.net]
John Shepherd [Department of Music; Carleton University; Ottawa, Ontario; Canada KW 5B6 -- john_shepherd@carleton.ca]
Joe Shively [Department of Music, Theatre, and Dance; Oakland University; 308 Varner Hall; Rochester, MI 48309; USA -- shively@oakland.edu]
Marissa Silverman John J. Cali School of Music; Montclair State University; Montclair, NJ 07043 USA -- silvermanm@mail.montclair.edu]
Sheila Sim [Deptartment of Arts in Education; Faculty of Education; University of Victoria; PO Box 3010; Victoria, British Columbia V8W 3N4; Canada -- ssim@UVic.CA]
Bonnie Skolnik [Alhambra School District - Elementary Music Department; 15 West Alhambra Road; Alhambra, CA 91801; USA -- edmusiq@earthlink.net]
Jeremy Sleith [Stockport Music Service, Dialstone Centre, Lisburne Lane, Stockport; SK2 7LL; UK -- jeremysleith@aol.com]
Evan Tobias [Dept of Music Education; Herberger College School of Music; PO Box 870405; Arizona State University; Tempe, AZ 85287-0405 USA -- Evan.Tobias@asu.edu]
Knut Tonsberg [Faculty of Art; Agder University College; Servicebooks 42; 4606 Kristiansand; Norway -- Knut.Tonsberg@hia.no]
Cecilia A R Torres [Funda��o Municipal de Artes de Montenegro/Universidade Estadual do Rio Grande do Sul, Montenegro/RS; Brasil] -- ceciliatorres@brtubo.com.br]
Anne H Tortora [Mount St Mary's University; 163000 Old Emmitsburg Road; Emmitsburg, MD 21727; USA -- tortora@msmary.edu]
Paul Weissenborn [3516 Karnes Rd; Saint Joseph, Missouri 64506 USA -- kctuba@yahoo.com]
Graham Welch [Professor of Music Education, Head; School of Arts and Humanities; Institute of Education; University of London, 20 Bedford Way; WC1H OAL; London; UK -- g.welch@ioe.ac.uk]
Heidi Westerlund [Sibelius Academy; Music Education Department; PO Box 86; FIN-00251 Helsinki; Finland -- westerlu@siba.fi]
Mark White [2-10 Linden Ave Apt 402-B; Haddonfield, NJ 08033; USA -- whitewhitelight@aol.com]
Katherine Willow-Peterson [2685 Claythorne Road; Shaker Heights, OH 44122 USA -- willowharp@hotmail.com]
Rachel Wills [12099 Hanover Road; Silver Creek, NY 14136; USA -- rwills@slcr.wnyric.org]
Paul Woodford [Faculty of Music; University of Western Ontario; London, Ontario; Canada N6A 3K7 -- woodford@julian.uwo.ca]
Sheila C Woodward [Music Education Department; Thornton School of Music; University of Southern California; 3470 Trousdale Parkway, WPH 302b; Los Angeles, CA 90089-0851; USA -- swoodwar@usc.edu]
Iris M Yob [PO Box 6595; Bloomington, IN 47407; USA -- iyob@waldenu.edu]
Katherine Young [36 Revere Rd Apt 11; Drexel Hill, PA 19026; USA -- Singky@aol.com]
