Nearly all of Patricia Shehan Campbell’s scholarship has featured the primary importance of singing as a natural human behavior. From her early work collecting children’s songs and singing games from around the world to a focus on singing as a critical part of her World Music Pedagogy framework and her approach to general music education, vocal music making has played a central role in Campbell’s scholarly contribution to the field. The purpose of this chapter is to examine Campbell’s philosophy of singing as a core human activity and the manifestation of that philosophy in her song collections, her general music methods resources, and her scholarship related to World Music Pedagogy. Drawing on theoretical, philosophical, and practical scholarship, and weaving in conversation with the scholar herself, this chapter provides an overview of Patricia Shehan Campbell’s evolving approach to vocal music education over her more than fifty years in the field. The chapter ends with a Brief Response by Shannon Dudley.

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“If It’s Got a Melody, It Can Be Sung!”: Singing in the Life and Scholarship of Patricia Shehan Campbell

  • Sarah J. Bartolome

摘要

Nearly all of Patricia Shehan Campbell’s scholarship has featured the primary importance of singing as a natural human behavior. From her early work collecting children’s songs and singing games from around the world to a focus on singing as a critical part of her World Music Pedagogy framework and her approach to general music education, vocal music making has played a central role in Campbell’s scholarly contribution to the field. The purpose of this chapter is to examine Campbell’s philosophy of singing as a core human activity and the manifestation of that philosophy in her song collections, her general music methods resources, and her scholarship related to World Music Pedagogy. Drawing on theoretical, philosophical, and practical scholarship, and weaving in conversation with the scholar herself, this chapter provides an overview of Patricia Shehan Campbell’s evolving approach to vocal music education over her more than fifty years in the field. The chapter ends with a Brief Response by Shannon Dudley.