Counterpoints: Music and Education – serie

In a delightfully self-conscious philosophical "mash-up," Randall Everett Allsup provides alternatives for the traditional master-apprentice teaching model that has characterized music education. By providing examples across the arts and humanities, Allsup promotes a vision of education that is open, changing, and adventurous at heart. He contends that the imperative of growth at the core of all teaching and learning relationships is made richer, though less certain, when it is fused with a student's self-initiated quest. In this way, the formal study of music turns from an education in teacher-directed craft and moves into much larger and more complicated fields of exploration. Through vivid stories and evocative prose, Randall Everett Allsup advocates for an open, quest-driven teaching model that has repercussions for music education and the humanities more generally.

In a delightfully self-conscious philosophical "mash-up," Randall Everett Allsup provides alternatives for the traditional master-apprentice teaching model that has characterized music education. By providing examples across the arts and humanities, Allsup promotes a vision of education that is open, changing, and adventurous at heart. He contends that the imperative of growth at the core of all teaching and learning relationships is made richer, though less certain, when it is fused with a student's self-initiated quest. In this way, the formal study of music turns from an education in teacher-directed craft and moves into much larger and more complicated fields of exploration. Through vivid stories and evocative prose, Randall Everett Allsup advocates for an open, quest-driven teaching model that has repercussions for music education and the humanities more generally.

This book offers a fresh and diverse perspective on home musical activities of young children from a variety of countries, including; Brazil, Denmark, Greece, Israel, Kenya, the Netherlands, Singapore, Spain, South Africa,Taiwan, the UK, and the United States. Narrowing their study to seven-year-olds from middle-class families, the articles in this volume argue that home musical experiences provide new and important windows into musical childhoods as they relate to issues of identity, family life, gender, culture, social class and schooling. Though childhood musical engagement differs considerably, it has direct implications for a better understanding of music education and childhood development. Using a wiki to share data and research across time and space, this volume is a model for collaborative cross-cultural research and is centered on the home as a primary research site for children's musical engagement.

This book offers a fresh and diverse perspective on home musical activities of young children from a variety of countries, including; Brazil, Denmark, Greece, Israel, Kenya, the Netherlands, Singapore, Spain, South Africa,Taiwan, the UK, and the United States. Narrowing their study to seven-year-olds from middle-class families, the articles in this volume argue that home musical experiences provide new and important windows into musical childhoods as they relate to issues of identity, family life, gender, culture, social class and schooling. Though childhood musical engagement differs considerably, it has direct implications for a better understanding of music education and childhood development. Using a wiki to share data and research across time and space, this volume is a model for collaborative cross-cultural research and is centered on the home as a primary research site for children's musical engagement.

This book offers a fresh and diverse perspective on home musical activities of young children from a variety of countries, including; Brazil, Denmark, Greece, Israel, Kenya, the Netherlands, Singapore, Spain, South Africa,Taiwan, the UK, and the United States. Narrowing their study to seven-year-olds from middle-class families, the articles in this volume argue that home musical experiences provide new and important windows into musical childhoods as they relate to issues of identity, family life, gender, culture, social class and schooling. Though childhood musical engagement differs considerably, it has direct implications for a better understanding of music education and childhood development. Using a wiki to share data and research across time and space, this volume is a model for collaborative cross-cultural research and is centered on the home as a primary research site for children's musical engagement.

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.

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.

The late 1930s and early 1940s were the peak of progressive education in the United States, and Elisabeth Irwin's Little Red School House in New York City was iconic in that movement. For the first time, stories and recollections from students who attended Little Red during this era have been collected by author Jane Roland Martin. Now in their late eighties, these classmates can still sing the songs they learned in elementary school and credit the progressive education they loved with shaping their outlooks and life trajectories. Martin frames these stories from the former students "tell it like it was" point of view with philosophical commentary, bringing to light the underpinnings of the kind of progressive education employed at Little Red and commenting critically on the endeavor. In a time when the role of the arts in education and public schooling itself are under attack in the United States, Martin makes a case for a different style of education designed for the defense of democracy and expresses hope that an education like hers can become an opportunity for all.

The late 1930s and early 1940s were the peak of progressive education in the United States, and Elisabeth Irwin's Little Red School House in New York City was iconic in that movement. For the first time, stories and recollections from students who attended Little Red during this era have been collected by author Jane Roland Martin. Now in their late eighties, these classmates can still sing the songs they learned in elementary school and credit the progressive education they loved with shaping their outlooks and life trajectories. Martin frames these stories from the former students "tell it like it was" point of view with philosophical commentary, bringing to light the underpinnings of the kind of progressive education employed at Little Red and commenting critically on the endeavor. In a time when the role of the arts in education and public schooling itself are under attack in the United States, Martin makes a case for a different style of education designed for the defense of democracy and expresses hope that an education like hers can become an opportunity for all.

The late 1930s and early 1940s were the peak of progressive education in the United States, and Elisabeth Irwin's Little Red School House in New York City was iconic in that movement. For the first time, stories and recollections from students who attended Little Red during this era have been collected by author Jane Roland Martin. Now in their late eighties, these classmates can still sing the songs they learned in elementary school and credit the progressive education they loved with shaping their outlooks and life trajectories. Martin frames these stories from the former students "tell it like it was" point of view with philosophical commentary, bringing to light the underpinnings of the kind of progressive education employed at Little Red and commenting critically on the endeavor. In a time when the role of the arts in education and public schooling itself are under attack in the United States, Martin makes a case for a different style of education designed for the defense of democracy and expresses hope that an education like hers can become an opportunity for all.

The late 1930s and early 1940s were the peak of progressive education in the United States, and Elisabeth Irwin's Little Red School House in New York City was iconic in that movement. For the first time, stories and recollections from students who attended Little Red during this era have been collected by author Jane Roland Martin. Now in their late eighties, these classmates can still sing the songs they learned in elementary school and credit the progressive education they loved with shaping their outlooks and life trajectories. Martin frames these stories from the former students "tell it like it was" point of view with philosophical commentary, bringing to light the underpinnings of the kind of progressive education employed at Little Red and commenting critically on the endeavor. In a time when the role of the arts in education and public schooling itself are under attack in the United States, Martin makes a case for a different style of education designed for the defense of democracy and expresses hope that an education like hers can become an opportunity for all.

Music, Education, and Religion: Intersections and Entanglements explores the critical role that religion can play in formal and informal music education. As in broader educational studies, research in music education has tended to sidestep the religious dimensions of teaching and learning, often reflecting common assumptions of secularity in contemporary schooling in many parts of the world. This book considers the ways in which the forces of religion and belief construct and complicate the values and practices of music education—including teacher education, curriculum texts, and teaching repertoires. The contributors to this volume embrace a range of perspectives from a variety of disciplines, examining religious, agnostic, skeptical, and atheistic points of view. Music, Education, and Religion is a valuable resource for all music teachers and scholars in related fields, interrogating the sociocultural and epistemological underpinnings of music repertoires and global educational practices.

Music, Education, and Religion: Intersections and Entanglements explores the critical role that religion can play in formal and informal music education. As in broader educational studies, research in music education has tended to sidestep the religious dimensions of teaching and learning, often reflecting common assumptions of secularity in contemporary schooling in many parts of the world. This book considers the ways in which the forces of religion and belief construct and complicate the values and practices of music education—including teacher education, curriculum texts, and teaching repertoires. The contributors to this volume embrace a range of perspectives from a variety of disciplines, examining religious, agnostic, skeptical, and atheistic points of view. Music, Education, and Religion is a valuable resource for all music teachers and scholars in related fields, interrogating the sociocultural and epistemological underpinnings of music repertoires and global educational practices.

Why teach music? Who deserves a music education? Can making and learning about music contribute to the common good? In Humane Music Education for the Common Good, scholars and educators from around the world offer unique responses to the recent UNESCO report titled Rethinking Education: Toward the Common Good. This report suggests how, through purpose, policy, and pedagogy, education can and must respond to the challenges of our day in ways that respect and nurture all members of the human family. The contributors to this volume use this report as a framework to explore the implications and complexities that it raises. The book begins with analytical reflections on the report and then explores pedagogical case studies and practical models of music education that address social justice, inclusion, individual nurturance, and active involvement in the greater public welfare. The collection concludes by looking to the future, asking what more should be considered, and exploring how these ideals can be even more fully realized. The contributors to this volume boldly expand the boundaries of the UNESCO report to reveal new ways to think about, be invested in, and use music education as a center for social change both today and going forward.

Why teach music? Who deserves a music education? Can making and learning about music contribute to the common good? In Humane Music Education for the Common Good, scholars and educators from around the world offer unique responses to the recent UNESCO report titled Rethinking Education: Toward the Common Good. This report suggests how, through purpose, policy, and pedagogy, education can and must respond to the challenges of our day in ways that respect and nurture all members of the human family. The contributors to this volume use this report as a framework to explore the implications and complexities that it raises. The book begins with analytical reflections on the report and then explores pedagogical case studies and practical models of music education that address social justice, inclusion, individual nurturance, and active involvement in the greater public welfare. The collection concludes by looking to the future, asking what more should be considered, and exploring how these ideals can be even more fully realized. The contributors to this volume boldly expand the boundaries of the UNESCO report to reveal new ways to think about, be invested in, and use music education as a center for social change both today and going forward.

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.

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.

What values should form the foundation of music education? And once we decide on those values, how do we ensure we are acting on them?In Values and Music Education, esteemed author Estelle R. Jorgensen explores how values apply to the practice of music education. We may declare values, but they can be hard to see in action. Jorgensen examines nine quartets of related values and offers readers a roadmap for thinking constructively and critically about the values they hold. In doing so, she takes a broad view of both music and education while drawing on a wide sweep of multidisciplinary literature. Not only does Jorgensen demonstrate an analytical and dialectical philosophical approach to examining values, but she also seeks to show how theoretical and practical issues are interconnected.An important addition to the field of music education, Values and Music Education highlights values that have been forgotten or marginalized, underscores those that seem perennial, and illustrates how values can be double-edged swords.

What values should form the foundation of music education? And once we decide on those values, how do we ensure we are acting on them?In Values and Music Education, esteemed author Estelle R. Jorgensen explores how values apply to the practice of music education. We may declare values, but they can be hard to see in action. Jorgensen examines nine quartets of related values and offers readers a roadmap for thinking constructively and critically about the values they hold. In doing so, she takes a broad view of both music and education while drawing on a wide sweep of multidisciplinary literature. Not only does Jorgensen demonstrate an analytical and dialectical philosophical approach to examining values, but she also seeks to show how theoretical and practical issues are interconnected.An important addition to the field of music education, Values and Music Education highlights values that have been forgotten or marginalized, underscores those that seem perennial, and illustrates how values can be double-edged swords.

In today's globalized landscapes, both traditional and progressive K–12 music education practices, including those associated with popular music, can further capitalism-related inequities. In this context, music educators and students might consider how they position themselves and their music-making practices in relation to capitalist aims and processes and confront the more unethical aspects of capitalism.Popular Music Will Not Save Us challenges music educators to rethink their philosophical stances in the face of contemporary capitalist values and explores the intersection of music education and globalized capitalism, unveiling how certain practices exacerbate material inequities and erode social responsibility. As author Lauren Kapalka Richerme unravels the complexities of music education, her analysis sheds light on how prevalent practices can inadvertently uphold capitalist ideals and reinforce individualism, unceasing accumulation, and precarity in the workforce. Given that no musical genre inherently challenges problematic aspects of capitalism, Richerme proposes that music educators instead focus on affective flows, or the circulation of sensations within pedagogical spaces, and consider four alternative positionalities: thriving within, surviving under, resisting, and challenging capitalism.Popular Music Will Not Save Us advocates for a shift away from capitalistic individualism and inequities and toward a more equitable, affective pedagogical mode. Now is the time to transcend traditional boundaries and embrace a new paradigm that prioritizes social impact over commercial gain.

In today's globalized landscapes, both traditional and progressive K–12 music education practices, including those associated with popular music, can further capitalism-related inequities. In this context, music educators and students might consider how they position themselves and their music-making practices in relation to capitalist aims and processes and confront the more unethical aspects of capitalism.Popular Music Will Not Save Us challenges music educators to rethink their philosophical stances in the face of contemporary capitalist values and explores the intersection of music education and globalized capitalism, unveiling how certain practices exacerbate material inequities and erode social responsibility. As author Lauren Kapalka Richerme unravels the complexities of music education, her analysis sheds light on how prevalent practices can inadvertently uphold capitalist ideals and reinforce individualism, unceasing accumulation, and precarity in the workforce. Given that no musical genre inherently challenges problematic aspects of capitalism, Richerme proposes that music educators instead focus on affective flows, or the circulation of sensations within pedagogical spaces, and consider four alternative positionalities: thriving within, surviving under, resisting, and challenging capitalism.Popular Music Will Not Save Us advocates for a shift away from capitalistic individualism and inequities and toward a more equitable, affective pedagogical mode. Now is the time to transcend traditional boundaries and embrace a new paradigm that prioritizes social impact over commercial gain.

"Remixing the Classroom" In Practice engages directly with Randall Allsup's groundbreaking Remixing the Classroom: Toward an Open Philosophy of Music Education by sharing what democratic, creative, and student-centered approaches to music education look like when applied in the field.Through narrative essays covering a spectrum of contexts, including piano studios, choir ensembles, pre-service teacher education, and digital music spaces, "Remixing the Classroom" in Practice explores how issues of music teacher quality are intertwined with ethical and moral considerations that are central to educational practice in any setting. The authors share a wide array of examples and stories of educators striving toward pluralistic understandings of open forms of music education practice and beginning to teach outside the frames offered by traditional institutions and approaches: moving away from the teacher-centered craft, breaking the master/apprenticeship cycle, and drawing from student-initiated approaches. These stories touch on matters ranging from identity construction to patriotism and decolonization, analyzing and reframing implications for elementary and secondary schools, higher education, and other educational contexts within a diverse and ever-changing society.An imaginative collection aimed at furthering Allsup's philosophy, "Remixing the Classroom" in Practice narrates the experiences and stories of music educators who continue to strive for openness within contemporary music education.

"Remixing the Classroom" In Practice engages directly with Randall Allsup's groundbreaking Remixing the Classroom: Toward an Open Philosophy of Music Education by sharing what democratic, creative, and student-centered approaches to music education look like when applied in the field.Through narrative essays covering a spectrum of contexts, including piano studios, choir ensembles, pre-service teacher education, and digital music spaces, "Remixing the Classroom" in Practice explores how issues of music teacher quality are intertwined with ethical and moral considerations that are central to educational practice in any setting. The authors share a wide array of examples and stories of educators striving toward pluralistic understandings of open forms of music education practice and beginning to teach outside the frames offered by traditional institutions and approaches: moving away from the teacher-centered craft, breaking the master/apprenticeship cycle, and drawing from student-initiated approaches. These stories touch on matters ranging from identity construction to patriotism and decolonization, analyzing and reframing implications for elementary and secondary schools, higher education, and other educational contexts within a diverse and ever-changing society.An imaginative collection aimed at furthering Allsup's philosophy, "Remixing the Classroom" in Practice narrates the experiences and stories of music educators who continue to strive for openness within contemporary music education.

In a time in which too many musicians, teachers, and students experience exploitation and overwork, a tyranny of ideologies that often opposes their values and leaves them feeling powerless, animosity toward and disrespect of education, women, and people of color, a digital environment that spreads misinformation, and an increasingly polarized public, Music Education Sins Redeemed offers a vision of humane music education that points toward freedom and common good.Revisiting her previous analysis of values in music education, author Estelle R. Jorgensen describes seven sins – sloth, exclusion, forgetting, rage, discomfort, liberalism, and conservatism – to examine the notion of evil in contemporary music education and its possible redemption. With this new analysis, Music Education Sins Redeemed stands as an invitation to take a broad view of the values grounding ideas and practices in music education – as well as a warning to avoid letting views become too narrow. Exemplifying an approach whereby educators can rethink what counts as values, defend their views, and determine the implications for music education policy and practice, this book is essential reading for music educators.Through the metaphors of "sin" and "redemption," Music Education Sins Redeemed examines those qualities that many well-meaning music teachers regard as evil to find the implicit values each can afford for a vision of education that is humane, generous, transformative, and liberatory.

In a time in which too many musicians, teachers, and students experience exploitation and overwork, a tyranny of ideologies that often opposes their values and leaves them feeling powerless, animosity toward and disrespect of education, women, and people of color, a digital environment that spreads misinformation, and an increasingly polarized public, Music Education Sins Redeemed offers a vision of humane music education that points toward freedom and common good.Revisiting her previous analysis of values in music education, author Estelle R. Jorgensen describes seven sins – sloth, exclusion, forgetting, rage, discomfort, liberalism, and conservatism – to examine the notion of evil in contemporary music education and its possible redemption. With this new analysis, Music Education Sins Redeemed stands as an invitation to take a broad view of the values grounding ideas and practices in music education – as well as a warning to avoid letting views become too narrow. Exemplifying an approach whereby educators can rethink what counts as values, defend their views, and determine the implications for music education policy and practice, this book is essential reading for music educators.Through the metaphors of "sin" and "redemption," Music Education Sins Redeemed examines those qualities that many well-meaning music teachers regard as evil to find the implicit values each can afford for a vision of education that is humane, generous, transformative, and liberatory.

This quintet of essays examines the reasons why music education should be transformed, investigates the nature of education and musical transformation, and suggests alternative educational models and strategies. Estelle Jorgensen frames her argument for new approaches against the backdrop of historical musical and educational practice and draws on literature from various fields. Transforming Music Education is addressed to current and future music teachers, those who train them, and all who are interested in revolutionizing music education.

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

The Art of Teaching Music takes up important aspects of the art of music teaching ranging from organization to serving as conductor to dealing with the disconnect between the ideal of university teaching and the reality in the classroom. Writing for both established teachers and instructors on the rise, Estelle R. Jorgensen opens a conversation about the life and work of the music teacher. The author regards music teaching as interrelated with the rest of lived life, and her themes encompass pedagogical skills as well as matters of character, disposition, value, personality, and musicality. She reflects on musicianship and practical aspects of teaching while drawing on a broad base of theory, research, and personal experience. Although grounded in the practical realities of music teaching, Jorgensen urges music teachers to think and act artfully, imaginatively, hopefully, and courageously toward creating a better world.

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.