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This book challenges simplified claims of racial, national, and ethnic belonging in music education by presenting diaspora as a new paradigm for teaching music, departing from the standard multicultural guides and offering the idea of unfinished identities for musical creations. While multiculturalism--the term most commonly used in music education--had promised a theoretical framework that puts classical, folk, and popular music around the world on equal footing, it has perpetuated the values of Western aesthetics and their singular historical development. Breaking away from this standard, the book illuminates a diasporic web of music's historical pathways, avoiding the fragmentation of music by categories of presumed origins whether racial, ethnic, or national.
In Complicating, Considering, and Connecting Music Education, Lauren Kapalka Richerme proposes a poststructuralist-inspired philosophy of music education. Complicating current conceptions of self, other, and place, Richerme emphasizes the embodied, emotional, and social aspects of humanity. She also examines intersections between local and global music making. Next, Richerme explores the ethical implications of considering multiple viewpoints and imagining who music makers might become. Ultimately, she offers that music education is good for facilitating differing connections with one's self and multiple environments. Throughout the text, she also integrates the writings of Gilles Deleuze and Félix Guattari with narrative philosophy and personal narratives. By highlighting the processes of complicating, considering, and connecting, Richerme challenges the standardization and career-centric rationales that ground contemporary music education policy and practice to better welcome diversity.
This volume offers chapters written by some of the most respected narrative and qualitative inquiry writers in the field of music education. The authorship and scope are international, and the chapters advance the philosophical, theoretical, and methodological bases of narrative inquiry in music education and the arts. The book contains two sections, each with a specific aim. The first is to continue and expand upon dialogue regarding narrative inquiry in music education, emphasizing how narrative involves the art of listening to and hearing others whose voices are often unheard. The chapters invite music teachers and scholars to experience and confront music education stories from multiple perspectives and worldviews, inviting an international readership to engage in critical dialogue with and about marginalized voices in music. The second section focuses on ways in which narrative might be represented beyond the printed page, such as with music, film, photography, and performative pieces. This section includes philosophical discussions about arts-based and aesthetic inquiry, as well as examples of such work.
This volume examines pluralism in light of recent music education research history and pluralistic approaches in practice. Pluralistic research holds the potential to blend frameworks, foundations, methods, and analysis protocols, and leads to a sophisticated understanding of music teaching and learning. This blending could take place in a range of contexts that may span an individual study to a lifelong research agenda. Additionally, pluralistic ideals would guide the addressing of questions as a community. The volume also illuminates the work of innovative music education researchers who are constructing pluralistic research studies and agendas, and advocate for the music education profession to embrace such an approach in order to advance shared research goals. The ramifications of this transformation in music education research are a subject of discussion, including the implications for researcher education and the challenges inherent in conducting and disseminating such research.
Winding it Back: Teaching to Individual Differences in Music Classroom and Ensemble Settings is a collaborative effort written by practicing music educators, teacher educators, pedagogy experts, researchers, and inclusion enthusiasts with a combined one hundred plus years in the field of musiceducation. The framework of this text is centered on three core principles: Honoring the individual learning needs of all students; providing multiple access points and learning levels; and providing adequate learning conditions for all students within the music classroom. Topics include earlychildhood music, creative movement, older beginners, rhythm, and tonal development as well as secondary choral and instrumental music. All chapters focus on meeting the needs of all students and all learning levels within the music classroom.This book is ideal for practicing music educators, teacher educators, and arts integration specialists and enthusiasts alike. It provides specific musical examples both within the text and on the extended companion website including musical examples, lesson ideas, videos, assessment tools andsequencing ideas that work. The aim of this book is to provide one resource that can be used by music educators for all students in the music classroom both for classroom music education and music teacher preparation.Visit the companion website at www.oup.com/us/windingitback
How do globalization and internationalization impact music education around the world? By acknowledging different cultural values and priorities, Alexandra Kertz-Welzel's vision challenges the current state of international music education and higher education, which has been dominated by English-language scholarship. Her framework utilizes an interdisciplinary approach and emphasizes the need for developing a pluralistic mode of thinking, while underlining shared foundations and goals. She explores issues of educational transfer, differences in academic discourses worldwide, and the concept of the global mindset to help facilitate much-needed transformations in global music education. This thinking and research, she argues, provides a means for better understanding global transfers of knowledge and ways to avoid culturally and linguistically hegemonic standards. Globalizing Music Education: A Framework is a timely call to action for a more conscious internationalization of music education in which everyone can play a part.
Music education has historically had a tense relationship with social justice. One the one hand, educators concerned with music practices have long preoccupied themselves with ideas of open participation and the potentially transformative capacity that musical interaction fosters. On the otherhand, they have often done so while promoting and privileging a particular set of musical practices, traditions, and forms of musical knowledge, which has in turn alienated and even excluded many children from music education opportunities. The Oxford Handbook of Social Justice in Music Educationprovides a comprehensive overview and scholarly analyses of the major themes and issues relating to social justice in musical and educational practice worldwide.The first section of the handbook conceptualizes social justice while framing its pursuit within broader contexts and concerns. Authors in the succeeding sections of the handbook fill out what social justice entails for music teaching and learning in the home, school, university, and wider communityas they grapple with cycles of injustice that might be perpetuated by music pedagogy. The concluding section of the handbook offers specific practical examples of social justice in action through a variety of educational and social projects and pedagogical practices that will inspire and guide thosewishing to confront and attempt to ameliorate musical or other inequity and injustice. Consisting of 42 chapters by authors from across the globe, the handbook will be of interest to anyone who wishes to better understand what social justice is and why its pursuit in and through music educationmatters.
This book examines the inter-relationship between music learning and teaching, and culture and society: a relationship that is crucial to comprehend in today's classrooms. The author presents case studies from diverse music learning and teaching contexts - including South India and Australia and online learning environments - to compare the modes of transmission teachers use to share their music knowledge and skills. It is imperative to understand the ways in which culture and society can in fact influence music teachers' beliefs and experiences: and in understanding, there is potential to improve intercultural approaches to music education more generally. In increasingly diverse schools, the author highlights the need for culturally appropriate approaches to music planning, assessment and curricula. Thus, music teachers and learners will be able to understand the diversity of music education, and be encouraged to embrace a variety of methods and approaches in their own teaching. This inspiring book will be of interest and value to all those involved in teaching and learning music in various contexts.
Music is a powerful means for educating citizens in a multicultural society and meeting many challenges shared by teachers across all subjects and grade levels. By celebrating heritage and promoting intercultural understandings, music can break down barriers among various ethnic, racial, cultural, and language groups within elementary and secondary schools. This book provides important insights for educators in music, the arts, and other subjects on the role that music can play in the curriculum as a powerful bridge to cultural understanding. The author documents key ideas and practices that have influenced current music education, particularly through efforts of ethnomusicologists in collaboration with educators, and examines some of the promises and pitfalls in shaping multicultural education through music. The text highlights World Music Pedagogy as a gateway to studying other cultures as well as the importance of including local music and musicians in the classroom. Book Features: Chronicles the historical movements and contemporary issues that relate to music education, ethnomusicology, and cultural diversity. Offers recommendations for the integration of music into specific classes, as well as throughout school culture. Examines performance, composition, and listening analysis of art (folk/traditional and popular) as avenues for understanding local and global communities. Documents music's potential to advance dimensions of multicultural education, such as the knowledge-construction process, prejudice reduction, and an equity pedagogy.
The Palgrave Handbook of Race and the Arts in Education is the first edited volume to examine how race operates in and through the arts in education. Until now, no single source has brought together such an expansive and interdisciplinary collection in exploration of the ways in which music, visual art, theater, dance, and popular culture intertwine with racist ideologies and race-making. Drawing on Critical Race Theory, contributing authors bring an international perspective to questions of racism and anti-racist interventions in the arts in education. The book's introduction provides a guiding framework for understanding the arts as white property in schools, museums, and informal education spaces. Each section is organized thematically around historical, discursive, empirical, and personal dimensions of the arts in education. This handbook is essential reading for students, educators, artists, and researchers across the fields of visual and performing arts education, educational foundations, multicultural education, and curriculum and instruction.
Teaching the Postsecondary Music Student with Disabilities provides valuable information and practical strategies for teaching the college music student. With rising numbers of students with disabilities in university music schools, professors are being asked to accommodate students in theirstudios, classes, and ensembles. Most professors have little training or experience in teaching students with disabilities. This book provides a resource for creating an inclusive music education for students who audition and enter music school. Teaching the Postsecondary Music Student withDisabilities covers all of the topics that all readers need to know including law, assistive technology, high-incidence and low-incidence disabilities, providing specific details on the disability and how it impacts the learning of the music student.
Teaching Music Differently explores what music teachers do and why. It offers insightful analysis of eight in-depth studies of teachers in a range of settings ¿ the early years, a special school, primary and secondary schools, a college, a prison, a conservatoire and a community choir ¿ and demonstrates that pedagogy is not simply the delivery of a curriculum or an enactment of a teaching plan. Rather, a teacher¿s pedagogy is complex, nuanced and influenced by a multitude of factors. Exploring the theories teachers hold about their own teaching, it reveals that, even when teachers are engaged with the same subject, their teaching varies substantially. It analyses the differences in terms of agency ¿ the knowledge and skills that teachers bring to teaching, their expectations shaped by their life histories, the ways in which they relate to their students and the subject and their ideas about the content they teach ¿ what is important, what is interesting, what is difficult for students to grasp. It also explores the constraints that are imposed upon the teachers ¿ by curriculum, policy, institutions, society and the students themselves. Together with discussion of key ideas for understanding the case studies, historical influences on music pedagogy and the main discourses around music teaching, Teaching Music Differently invites all music education professionals to consider their own responses to pedagogical discourses and to use these discourses to further the development of the profession as a whole.
Marginalized Voices in Music Education explores the American culture of music teachers by looking at marginalization and privilege in music education as a means to critique prevailing assumptions and paradigms. In fifteen contributed essays, authors set out to expand notions of who we believe we are as music educators -- and who we want to become. This book is a collection of perspectives by some of the leading and emerging thinkers in the profession, and identifies cases of individuals or groups who had experienced marginalization. It shares the diverse stories in a struggle for inclusion, with the goal to begin or expand conversation in undergraduate and graduate courses in music teacher education. Through the telling of these stores, authors hope to recast music education as fertile ground for transformation, experimentation and renewal.
This volume of essays references traditional and contemporary thought on theory and practice in music education for all age groups, from the very young to the elderly. The material spans a broad range of subject areas from history and philosophy to art and music, and addresses issues such as curriculum, pedagogy, assessment and evaluation, as well as current issues in technology and performance standards. Written by leading researchers and educators from diverse countries and cultures, this selection of previously published articles, research studies and book chapters is representative of the most frequently discussed and debated topics in the profession. This volume, which documents the importance of lifelong learning, is an indispensable reference work for specialists in the field of music education.
Policy and the Political Life of Music Education is the first book of its kind in the field of Music Education. It offers a far-reaching and innovative outlook, bringing together expert voices who provide a multifaceted and global set of insights into a critical arena for action today: policy.On one hand, the book helps the novice to make sense of what policy is, how it functions, and how it is discussed in various parts of the world; while on the other, it offers the experienced educator a set of critically written analyses that outline the state of the play of music education policythinking.As policy participation remains largely underexplored in music education, the book helps to clarify to teachers how policy thinking does shape educational action and directly influences the nature, extent, and impact of our programs. The goal is to help readers understand the complexities of policyand to become better skilled in how to think, speak, and act in policy terms. The book provides new ways to understand and therefore imagine policy, approximating it to the lives of educators and highlighting its importance and impact. This is an essential read for anyone interested in change andhow to better understand decision-making within music and education. Finally, this book, while aimed at the growth of music educators' knowledge-base regarding policy, also fosters "open thinking" regarding policy as subject, helping educators straddling arts and education to recognize that policythinking can offer creative designs for educational change.
Music Education for Children with Autism Spectrum Disorder: A Resource for Teachers provides foundational information about autism spectrum disorder and strategies for engaging students with ASD in music-based activities such as singing, listening, moving, and playing instruments. This practical resource supplies invaluable frameworks for teachers who work with early-years students. The book first provides readers with background information about ASD and how students with this condition manage their behaviors in school environments. It then progresses to provide teachers with information about planning music-based instruction for students on the spectrum. In the book's midsection, readers learn how students with ASD perceive, remember, and articulate pitch perception. Following chapters present a series of practical ideas for engaging students with ASD though songs and singing and concentrate on skills in music listening, most notably on activities that motivate students with ASD to interact with others through joint attention. Challenges that individuals with ASD experience in motor processing are examined, including difficulties with gait and coordination, motor planning, object control, and imitation. This is followed by practical teaching suggestions for engaging students with activities in which movement is mediated through sound (e.g., drum beats) and music. Closing chapters introduce non-pitched percussion instruments along with activities in which children engage in multisensory experiences by playing instruments--musical activities described in preceding chapters are combined with stories and drama to create musical narratives. Music Education for Children with Autism Spectrum Disorder is accompanied by a companion website that supplies helpful supplemental materials including audio of songs notated in the book for easy access.
This accessible and compelling collection of faculty reflections examines the tensions between the arts and academics and offers interdisciplinary alternatives for higher education. With an eye to teacher training, these artist scholars share insights, models, and personal experience that will engage and inspire educators in a range of post-secondary settings. The authors represent a variety of art forms, perspectives, and purposes for arts inclusive learning ranging from studio work to classroom teaching to urban settings in which the subject is equity and social justice. From the struggles of an arts concentrator at an Ivy League college to the challenge of reconciling the dual identities as artists and arts educators, the issues at hand are candid and compelling. The examples of discourse ranging from the broad stage of arts advocacy to an individual course or program give testimony to the power and promise of the arts in higher education.
With Multicultural Perspectives in Music Education, you can explore musics from around the world with your students in a meaningful way. Broadly based and practically oriented, the book will help you develop curriculum for an increasingly multicultural society. Ready-to-use lesson plans make it easy to bring many different but equally logical musical systems into your classroom. The authors-a variety of music educators and ethnomusicologists-provide plans and resources to broaden your students' perspectives on music as an important aspect of culture both within the United States and globally.
Musical identity raises complex, multifarious, and fascinating questions. Discussions in this new study consider how individuals construct their musical identities in relation to their experiences of formal and informal music teaching and learning. Each chapter features a different case study situated in a specific national or local socio-musical context, spanning 20 regions across the world. Subjects range from Ghanaian or Balinese villagers, festival-goers in Lapland, and children in a South African township to North American and British students, adults and children in a Cretan brass band, and Gujerati barbers in the Indian diaspora.
Sociology and Music Education addresses a pressing need to provide a sociological foundation for understanding music education. The music education community, academic and professional, has become increasingly aware of the need to locate the issues facing music educators within a broader sociological context. This is required both as a means to deeper understanding of the issues themselves and as a means to raising professional consciousness of the macro issues of power and politics by which education is often constrained. The book outlines some introductory concepts in sociology and music education and then draws together seminal theoretical insights with examples from practice with innovative applications of sociological theory to the field of music education. The editor has taken great care to select an international community of experienced researchers and practitioners as contributors who reflect current trends in the sociology of music education in Europe and the UK. The book concludes with an Afterword by Christopher Small.
In four sections, this volume offers contemporary views from scholars, educationalists, classroom practitioners and experts in specific disciplines. From this diversity of perspectives, the challenges posed by music travelling through time, place and contexts are being addressed for what they are: fascinating studies in the dynamic life of music, education and culture.
On the basis of Dewey's principles, Paul G. Woodford explores the social foundation of current music education practices in the context of democratic values of freedom, creativity, and contribution to society. He then critiques the means by which this ideal is learned by teachers and taught to students. Woodford concludes with recommendations for acknowledging democratic and non-democratic values in music teaching, teacher training, and performance, and suggests steps toward a "liberal" music education. Counterpoints: Music and Education--Estelle R. Jorgensen, editor