In lieu of an abstract, here is a brief excerpt of the content:The Harmony Between Rousseau’s Musical Theory and his PhilosophyJohn T. ScottRousseau is best known as the author of philosophic works, but he was a musician and musical theorist before he burst onto the European literary scene with his First Discourse. While he earned celebrity as an anti-philosophical philosopher, he continued to consider music as his primary vocation and avocation throughout his life. Rousseau testifies to the harmony between (...) his musical work and his philosophy in his Dialogues, where he explains that his musical writings and compositions are animated by the same feelings and ideas as all of his works—that they too are based on the principle of his “system” that “man is good although men are wicked.” 1 His mature musical theory not only incorporates his philosophy of human nature and development but also extends it through an examination of the role of the passions in human communication. Rousseau’s musical theory is an important, yet often overlooked, facet of his philosophy.The relationship between Rousseau’s musical theory and his philosophy as a whole has seldom been extensively analyzed. 2 His only widely known writing relating to music is the Essay on the Origin of Languages, but even that work has in general not received a full accounting because it has rarely been interpreted in light of his other musical writings. The Essay emerged out of both the Second Discourse and the contemporaneous musical polemics of the mid-1750s. The simultaneous elaboration of his “system” and his continued work on music was the context in which Rousseau’s mature musical theory developed. After an account of Rousseau’s pre-systematic musical writings and [End Page 287] a discussion of the development of his musical theory, I will turn to an examination of the Essay. Finally, I will conclude by discussing Rousseau’s novel aesthetic theory and its impact.Rousseau’s Presystematic Musical Writings“Jean-Jacques was born for music.” 3 Rousseau’s musical writings might be characterized as his attempt to account for his native love for music. In his Confessions he speaks of “the taste or rather passion for music” that he had almost from birth and says that it was while in Italy, after running away from Geneva at age sixteen, that his passion began to declare itself. 4 Rousseau increasingly indulged his love for music over the next several years, although six months in a choir school at about the age of seventeen was almost the only formal musical instruction he received. He acquired and painstakingly mastered Rameau’s Treatise on Harmony, and studied informally with a young organist with Italian training, recalling how he compared his friend’s “principles” to those of “my Rameau.” 5 At least in retrospect, then, Rousseau noted the contrast between French and Italian music that would later bring him into conflict with his youthful hero.Rousseau soon took up the profession of a music teacher and copyist, a trade to which he would return after abandoning philosophy. Copying music acquainted him with the difficulty of the ordinary visual system of notating music, and he therefore devised a numerical system. It was with his system of notation and a play, Narcisse, that Rousseau set out for Paris in 1741. He gained an audience for his “Plan Regarding New Signs for Music” (1742) at the Academy of Sciences, and while it was favorably received, the report of a select committee concluded that his system was not entirely new and was less practical in most respects than the ordinary system. 6 Rousseau was nonetheless convinced of his system’s utility and published it as the Dissertation on Modern Music (1743). This work contains a digression on musical expression where he explains that we are not “touched” by sounds themselves but by the harmonic relationships they have among them. He sends his reader to Rameau’s writings, where the source of musical expression is “sufficiently explained.” 7 In his mature musical writings Rousseau expounds a theory explicitly opposed to Rameau’s theory of musical expression.Several incidents in the next decade before the discovery of his “system” seem to have contributed to Rousseau’s subsequent break with Rameau. [End... (shrink)

For many countries instrumental music tuition in secondary schools is a ubiquitous event that provides situated and personalized instruction in the learning of an instrument. Opportunities and methods through which teachers operate during the COVID-19 outbreak challenged music educators as to how they taught, engaged, and interacted with students across online platforms, with alarm over aerosol dispersement a major factor in maintaining online instrumental music tuition even as students returned to “normal” face to face classes. This (...) qualitative study investigated the practices employed by instrumental music educators in secondary schools in Melbourne, Australia, analyzing teacher perspectives to music tuition amidst the restriction of interaction with students remotely via online means. Thematic analysis of the interview transcripts revealed music educational approaches that fostered connection, empathy and receptiveness to relationship-building, guiding students in slower and deeper learner-centered approaches, asserting pedagogical practices that reinforced and promoted interpersonal connectedness in and through musical experience and discovery. These findings provide a framework for how music educators can facilitate connection, motivation and student autonomy generating personal meaning and commitment to music making and the learning relationship, which can translate to significant student learning and value in the learning music. Exploring teachers’ pedagogical practices and behaviors within this dyadic teacher-student relationship is a significant addition to the literature, enabling the consideration of the type of connective behaviors required to stimulate and develop long-term interest in music. (shrink)

Knowledge of pedagogy and social studies content influences a teacher's decision making and helps teachers conduct sound instructional practices despite the influence of high-stakes testing policies. Using national data from the Survey of the Status of Social Studies (S4), this study examined the associations of teachers’ professional characteristics, school environmental factors, and state testing policy on self-reported levels of authority that secondary level social studies teachers (grades 6–12) hold over key classroom tasks. Through hierarchical multiple regression analysis, key (...) findings from this study indicated that greater minority enrollments are associated with lower levels of instructional authority. Teachers who worked in states where a state-mandated social studies test was administered reported less freedom to choose what to teach and how to teach than those in non-testing states. Also, this study showed that in-field status, the type of licensure, and years of teaching experience are important factors in exercising social studies teachers’ instructional authority (e.g., their ability to balance effectively the demands of state-mandated reforms with teaching for meaningful student learning). This study recommends that schools with high minority enrollments, especially if these districts exist in a high stakes testing environment, should invest in teachers with high-quality social studies preparation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Reconception of Performance Study in the Philosophy of Music EducationValerie L. TrollingerThe actual place of performance in music education has been the subject of numerous debates over the years. Most debates have revolved within the paradigm of the performance ability of the teacher and consequently the performance ability of the students. Is the level to be attained that of a winning concert band/marching band/choir? Or, (...) is the level to be attained the level at which the students and teacher feel the most comfortable and pleased? Most of this debate, along with the development of various assessments (including the Watkins-Farnum Test) and various rubrics to score music performance competitions, has emphasized characteristics of performance pertaining to accuracy of notes, precision of rhythm, and attendance to musicianship, style, and interpretation. On the other hand, the aesthetic value of performance has also been questioned in that the value of music in the schools should not be assessed solely by the importance placed on the attainment of performance skills by the students, suggesting that it is only through performance that one may know music. For example, in a recent article in the Music Educator's Journal,1 Bennett Reimer promotes the [End Page 193] position that time spent in either performance studies and active performance in music education (both at the K-12 and college teacher training levels) is not vital to the reconception of the National Standards (USA) for music education and, by extension, the field of music education itself. In the MEJ article, Reimer wrote:there is no reason to believe that highly developed performers make the best general music teachers, just as there is no reason to believe the reverse. We must get over the outdated and unrealistic assumption that performance is the one, singular, royal road to being musical and being an effective music educator.... [T]eachers cannot be expected to do what performance specialists do, and their teacher education curriculum must reflect that fact.2This position has also been recently supported by sociological publications3 and the following statement—echoed by several colleagues of mine—by a music teacher-training specialist,There is one big misconception among many music education students. Many graduates view themselves as musicians who are going into teaching. I attribute my own success to the realization that I am a teacher at heart. My first responsibility is teaching children. The vehicle through which I connect to them is music.4It is likely within the previous paradigm in which these respected authors positioned their arguments for the place of performance in the music curriculum and in that regard these assertions are unquestionably valid. What this particular paradigm concerns is the quantity and quality of performance based on purely musical attributes. The omission is that it does not include the quality of performance in relationship to health-based music education, a growing area of concern in the performing arts medicine field and, by extension, music educators who are concerned about this particular aspect of performance.5 The reason for the concern and hence this paper calling to the philosophical community to re-think the place and quality of performance in music education is that these viewpoints have had a great impact upon the validity of music education, in that they ignore a growing body of research from the performance and medical fields. While it must be made clear for the purposes of this paper that the writers of the above quotes have framed their ideas gracefully within their individual philosophical structures of music education, it must be pointed out that current research and knowledge in performance arts, in its conception as a physical human activity, needs to be incorporated into a revised philosophy of music education and curriculum. Music performance in music education has traditionally been viewed as a cognitive and emotional experience. However, it [End Page 194] is also a psychomotor experience, involving all sorts of soft body tissues, bones, and cartilages, which can enhance or detract from the total musical experience. Many music educators do not get enough instruction in college on how to teach voice or instruments healthfully and this is the reason for the concern... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Reconception of Performance Study in the Philosophy of Music EducationValerie L. TrollingerThe actual place of performance in music education has been the subject of numerous debates over the years. Most debates have revolved within the paradigm of the performance ability of the teacher and consequently the performance ability of the students. Is the level to be attained that of a winning concert band/marching band/choir? Or, (...) is the level to be attained the level at which the students and teacher feel the most comfortable and pleased? Most of this debate, along with the development of various assessments (including the Watkins-Farnum Test) and various rubrics to score music performance competitions, has emphasized characteristics of performance pertaining to accuracy of notes, precision of rhythm, and attendance to musicianship, style, and interpretation. On the other hand, the aesthetic value of performance has also been questioned in that the value of music in the schools should not be assessed solely by the importance placed on the attainment of performance skills by the students, suggesting that it is only through performance that one may know music. For example, in a recent article in the Music Educator's Journal,1 Bennett Reimer promotes the [End Page 193] position that time spent in either performance studies and active performance in music education (both at the K-12 and college teacher training levels) is not vital to the reconception of the National Standards (USA) for music education and, by extension, the field of music education itself. In the MEJ article, Reimer wrote:there is no reason to believe that highly developed performers make the best general music teachers, just as there is no reason to believe the reverse. We must get over the outdated and unrealistic assumption that performance is the one, singular, royal road to being musical and being an effective music educator.... [T]eachers cannot be expected to do what performance specialists do, and their teacher education curriculum must reflect that fact.2This position has also been recently supported by sociological publications3 and the following statement—echoed by several colleagues of mine—by a music teacher-training specialist,There is one big misconception among many music education students. Many graduates view themselves as musicians who are going into teaching. I attribute my own success to the realization that I am a teacher at heart. My first responsibility is teaching children. The vehicle through which I connect to them is music.4It is likely within the previous paradigm in which these respected authors positioned their arguments for the place of performance in the music curriculum and in that regard these assertions are unquestionably valid. What this particular paradigm concerns is the quantity and quality of performance based on purely musical attributes. The omission is that it does not include the quality of performance in relationship to health-based music education, a growing area of concern in the performing arts medicine field and, by extension, music educators who are concerned about this particular aspect of performance.5 The reason for the concern and hence this paper calling to the philosophical community to re-think the place and quality of performance in music education is that these viewpoints have had a great impact upon the validity of music education, in that they ignore a growing body of research from the performance and medical fields. While it must be made clear for the purposes of this paper that the writers of the above quotes have framed their ideas gracefully within their individual philosophical structures of music education, it must be pointed out that current research and knowledge in performance arts, in its conception as a physical human activity, needs to be incorporated into a revised philosophy of music education and curriculum. Music performance in music education has traditionally been viewed as a cognitive and emotional experience. However, it [End Page 194] is also a psychomotor experience, involving all sorts of soft body tissues, bones, and cartilages, which can enhance or detract from the total musical experience. Many music educators do not get enough instruction in college on how to teach voice or instruments healthfully and this is the reason for the concern... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”Christine A. BrownI was recently asked to settle a friendly debate between two college graduates. The first, my daughter's boyfriend, argued that someone with talent and motivation could become as creative a composer without formal musical training as with it. The other, my daughter, vigorously countered that while someone might compose well on one's own, (...) the result would not be as versatile or thoughtfully developed as it could be with good formal instruction. I saw the musical educations of the debaters reflected in their arguments. My daughter had accumulated fourteen years of formal instruction in violin, cello, voice, and dance and took part in high school choral, theatrical, and orchestral performances. Her studies continued into college and from time to time she performs in community theater. Her boyfriend was the only musically trained member of his family. At his own request he studied piano for five years, later channeling his musical energies into a rock group. Though he did not study music in college, he continues to play keyboard and guitar. Both agree that the ongoing debate between them illustrates the strong connection between musical training and musical valuing. The life-world of their experiences shaped their judgments of musical quality and left imprints on their views of what matters more, talent or training. I will return to this scenario later.I find solid points of agreement with Eva Alerby and Cecilia Ferm starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works. Regarding extra-musical contexts, furthermore, recent evidence supporting the integration of subject areas at the elementary level appears to extend the boundaries of musical learning in a positive direction. Additionally, the authors' description of embodied musical learning holds great interest. Their argument that musical learning must be appropriated within the body resonates strongly within me as I reflect upon performing and teaching piano. Experience with beginning level adult pianists suggests to me that once the awkwardness of newly-learned movements fades with time and effort, students often discover a close interaction between their physical and conceptual knowledge of music. Of related interest is the authors' definition of musicality as taking embodied musical knowledge and making it one's own. This surpasses physical mastery of an instrument and describes a personal [End Page 208] and emotional investment in music. It is at this point in the essay that the recognizable link between mind, body, and emotion in music is most clear.Alongside these engaging ideas, however, are statements throughout the essay that invite further questions or comments. First among these is the statement that the knowledge resulting from learning is not always what was intended or planned. While this is often the case, elaboration upon modes of knowledge in question would help clarify the authors' ideas. Since knowledge takes a variety of forms, as the authors imply, these forms should be explored, defined, and applied to the process of teaching and learning music.Related to that suggestion is my response to the statement that the aim of music education is to produce musical knowledge. I am assuming that musical knowledge includes an age-appropriate blend of performance skill, reading ability, ear training, historical and cultural connections, basic theoretical and stylistic understanding, and acquaintance with creative processes. In many regions of our country, public arts education has been de-valued to the extent that we must convince administrators, parents, and sometimes students, of its importance. Until this situation improves, I must personally consider the aim of music education as producing, alongside musical knowledge, the desire for music as a lifelong pursuit, be it active or passive. Without this desire, musical knowledge gained often goes unused. Referring to my opening anecdote, my daughter is not participating in music while her less extensively trained boyfriend is. I know of several students like her who gained expertise on an instrument and who have now stopped playing for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Masafumi Ogawa, “Music Teacher Education in Japan: Structure, Problems, and Perspectives”Christina HornbachMasafumi Ogawa cares deeply about improving music teacher education and has grave concerns about Japan's current music education and teacher training system. He notes reduced instructional time, cuts in teaching positions, and classroom [End Page 201] management issues resulting in the devaluing of music education by administrators, students, and the general public. (...) He proposes that one solution to these problems involves changing curriculum requirements for music education and student teaching.Ogawa notes that in the Japanese teacher preparation system, performance requirements significantly outnumber music education class requirements, something he regards as a weakness in the system. According to his data, a similar survey of the American university system revealed that music education classes receive high priority in course requirements. Though the data sample was rather small in this instance (five major state universities) and may not truly reflect course requirements for the majority of music education majors nationwide, in my experience most of the undergraduate coursework does divide fairly equally between music education methods courses, history/theory, and performance requirements. Though the National Association of Schools of Music does have guidelines for professional and teaching competencies, the actual percentages for course requirements (basic musicianship and methods courses, 50%; general studies, 30% to 35%; professional education and student teaching, 15% to 20%) provide each individual school with discretion and leeway.1 Although the American music education system may be stronger in certain areas than the Japanese system, as Ogawa presents it, it is by no means perfect. Thus, the American system needs examination too, not necessarily for the quantity of courses, but rather to determine course content and quality. Due to time limitations, I will focus on only one aspect, but one that is of the utmost importance: classroom management.It can be argued that undergraduate music education majors in America just as in Japan need more time to discuss and experience the "real" world before they teach. Though some programs incorporate pre-student teaching practica into elementary and secondary methods courses, more instructional time should be devoted to discussing classroom management and behavior issues. Classroom management is usually touched upon briefly in methods courses, and perhaps even in philosophy or psychology classes, but not to the depth it should be. There are a myriad stressful conditions that may be associated with teacher attrition and burnout, including budgets, salaries, lack of administrative and parental support, and classroom discipline, to name a few.2 However, one of the leading causes of stress is student attitudes and behavior.3Some educators believe that teaching is a natural ability and a person either possesses the innate qualities to succeed or does not; others believe that anyone can be taught to teach. Perhaps it is a little bit of both. Bright, young teachers who have a drive to teach and care about the future of their students will be more successful if armed with classroom management skills and experience in a variety of teaching contexts; for instance, urban and rural. Without guidance and increased knowledge, most young teachers emulate mentors; they teach how they [End Page 202] were taught. Depending on the personality and/or skills of the novice teacher, these techniques may or may not work when he/she is faced with teaching in an unfamiliar context. Regardless, young educators need to be taught how to teach, not just what to teach.It is necessary for a course or courses to be added to college and university music education curricula that address classroom management, emotional concerns of students, and the teaching of special student populations. At best, these topics are covered in a cursory manner in methods courses, and a cooperating teacher may model and discuss classroom management during student teaching. Providing instructional strategies for dealing with emotionally volatile adolescents and discussing available resources, responsibilities, and rights of teachers are important for new teachers' professional growth. Music educators should have the skills to recognize and deal with inappropriate classroom behaviors in a manner that focuses the student and the class back on learning.Managing anger and resistance in the classroom can be a daunting task if one is... (shrink)

The article focuses on identifying differences in the locus of control and styles of coping with stress among young students who are artistically gifted within the fields of music and visual arts. The research group includes Polish students of both music and visual art schools who develop their artistic talents in schools placing particular emphasis on professional training of their artistic abilities and competences within the field of music or visual arts respectively. We make an assumption that (...) different types of difficult situations experienced by youth educated at music and visual art schools may generate differences in dominating personal traits as well as in their sphere of emotions. The results of crosssectional research in 2013 confirm the assumption regarding differences among music and visual art school students both with regard to the source of the locus of control, understood as the personality variable, and dominating styles of coping with stress. Moreover, a positive correlation between the tendency towards internal locus of control and a task-oriented style of coping with stress in difficult situations has been observed in music school students. (shrink)

In a context of high-stakes accountability in teacher education, concerns are emerging about challenges to the already tenuous position of elementary social studies teacher education. In this case study, the author administered a survey to elementary social studies teacher educators in Georgia and conducted follow-up interviews focusing on the impact of edTPA on elementary social studies teacher education and the ways in which they are navigating the new context of teaching elementary social studies methods. The findings reveal the possibility (...) of further decline of social studies in elementary teacher education programs due to elementary edTPA's singular focus on literacy and math content pedagogy along with the high-stakes nature of edTPA process. Implications for future research on edTPA and elementary social studies education are discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”Christine A. BrownI was recently asked to settle a friendly debate between two college graduates. The first, my daughter's boyfriend, argued that someone with talent and motivation could become as creative a composer without formal musical training as with it. The other, my daughter, vigorously countered that while someone might compose well on one's own, (...) the result would not be as versatile or thoughtfully developed as it could be with good formal instruction. I saw the musical educations of the debaters reflected in their arguments. My daughter had accumulated fourteen years of formal instruction in violin, cello, voice, and dance and took part in high school choral, theatrical, and orchestral performances. Her studies continued into college and from time to time she performs in community theater. Her boyfriend was the only musically trained member of his family. At his own request he studied piano for five years, later channeling his musical energies into a rock group. Though he did not study music in college, he continues to play keyboard and guitar. Both agree that the ongoing debate between them illustrates the strong connection between musical training and musical valuing. The life-world of their experiences shaped their judgments of musical quality and left imprints on their views of what matters more, talent or training. I will return to this scenario later.I find solid points of agreement with Eva Alerby and Cecilia Ferm starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works. Regarding extra-musical contexts, furthermore, recent evidence supporting the integration of subject areas at the elementary level appears to extend the boundaries of musical learning in a positive direction. Additionally, the authors' description of embodied musical learning holds great interest. Their argument that musical learning must be appropriated within the body resonates strongly within me as I reflect upon performing and teaching piano. Experience with beginning level adult pianists suggests to me that once the awkwardness of newly-learned movements fades with time and effort, students often discover a close interaction between their physical and conceptual knowledge of music. Of related interest is the authors' definition of musicality as taking embodied musical knowledge and making it one's own. This surpasses physical mastery of an instrument and describes a personal [End Page 208] and emotional investment in music. It is at this point in the essay that the recognizable link between mind, body, and emotion in music is most clear.Alongside these engaging ideas, however, are statements throughout the essay that invite further questions or comments. First among these is the statement that the knowledge resulting from learning is not always what was intended or planned. While this is often the case, elaboration upon modes of knowledge in question would help clarify the authors' ideas. Since knowledge takes a variety of forms, as the authors imply, these forms should be explored, defined, and applied to the process of teaching and learning music.Related to that suggestion is my response to the statement that the aim of music education is to produce musical knowledge. I am assuming that musical knowledge includes an age-appropriate blend of performance skill, reading ability, ear training, historical and cultural connections, basic theoretical and stylistic understanding, and acquaintance with creative processes. In many regions of our country, public arts education has been de-valued to the extent that we must convince administrators, parents, and sometimes students, of its importance. Until this situation improves, I must personally consider the aim of music education as producing, alongside musical knowledge, the desire for music as a lifelong pursuit, be it active or passive. Without this desire, musical knowledge gained often goes unused. Referring to my opening anecdote, my daughter is not participating in music while her less extensively trained boyfriend is. I know of several students like her who gained expertise on an instrument and who have now stopped playing for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy in the School Music ProgramBennett ReimerWho is philosophy of music education for? Several groups of people immediately spring to mind. First, it is for those of us in music education who produce it and consume it as a major or important responsibility in our work—people like members of our Special Research Interest Group at MENC. Second, teachers of music education courses at the (...) undergraduate and graduate levels who deal with it either in a full course or series of courses or seminars devoted to philosophy, or as one part of courses devoted to other topics (as I believe is most often the case.) Third, school music teachers, many of whom have taken or are taking such courses (and many who have not) who are expected to have some level of acquaintance, however rudimentary, with philosophical issues so as to be able to cope with them, as when writing curriculum guides, or explaining to other teachers, administrators, school boards, and parents why music education is valuable and deserves support. If we stretch it, we might include among those who need to be involved with philosophy of music and music education all educational professionals, since all, in one way or another, exert some sort of influence on the fortunes of music education. But that begins to strain a bit at the edges.No doubt there are other constituencies that can be identified. But one that has not been conceived as requiring substantive encounters with philosophical issues of music is that of students in schools, K-12. We all assume that philosophy can and should play a major role in determining what is most valuable for students to learn in their study of music. But seldom has it been argued, to my [End Page 132] knowledge, that philosophical issues should be addressed in all programs of music education intended to produce people who are, in any convincing sense, musically educated.My premise is that philosophical reflection relating to music and to the teaching and learning of music should be foundational in school music programs. Further, philosophy needs to be present in our programs in three distinctive ways, reflecting common practices of education in America and all over the world. That is, as integral in the general music education of all students, as a component of all elective offerings, and as one particular, focused offering among the electives available to all students.My position is that what we call "general music" (which, as we know, goes by a variety of names around the world including just "music") is not complete; in fact is invalid, if it does not provide philosophical challenges of the same level of complexity, and the same degree of authenticity, as everything else we believe all students should know and be able to do in music. What we call the "music elective program," or the "music specialization program," is incomplete, in fact is invalid, if philosophical matters are not addressed as they relate to the particularities of each elective offered. And, in addition, philosophy needs to be a standard elective offering, taught with the same level of expertise by specialist teachers as we now routinely make available in performance and in the meager smattering of other electives we manage to offer.What? Philosophical thinking for all children, even in the primary grades, and as electives starting perhaps at the middle school or high school level? Electives taught by music educators whose specialization is the teaching of philosophy of music to youngsters? Am I serious? After all, even those of us who are devoted to it as a major aspect of our professionalism are constantly at the edges of our competence given the deep challenges philosophy presents to our intellect. And I expect children—all children—to be able to deal with it authentically?Well, we could ask precisely the same questions about, say, mathematics, and science, and history, and social studies, all the ways of thinking which constitute the basic learnings in all grades of our schools. As educators we know better than to conceive the nature of those subjects as only apparent at the level of professional work in them. We recognize the obvious: while at... (shrink)

The study of a middle school social studies and literacy project this paper addresses occurred in the national capital region of the United States, where perceptions of “patriotism” and immigration policies were the subjects of frequent media reports. With this examination the authors considered one overarching research question: how do middle school students describe and illustrate citizenship when given access to multimodal texts and media (e.g., digital photography and slam poetry)? The authors called on young adolescents to (...) create slam poems with incorporated images to address the question “What does it mean to be a ‘citizen’?”. The authors examined products of this project, which included surveys and slam poems, to address this research question, identifying findings that might inform social studies educators’ practices and curricula. Employing alternative and multimodal texts motivated students to engage with this project and to more candidly share expansive perspectives about what they believe makes a “citizen”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy in the School Music ProgramBennett ReimerWho is philosophy of music education for? Several groups of people immediately spring to mind. First, it is for those of us in music education who produce it and consume it as a major or important responsibility in our work—people like members of our Special Research Interest Group at MENC. Second, teachers of music education courses at the (...) undergraduate and graduate levels who deal with it either in a full course or series of courses or seminars devoted to philosophy, or as one part of courses devoted to other topics (as I believe is most often the case.) Third, school music teachers, many of whom have taken or are taking such courses (and many who have not) who are expected to have some level of acquaintance, however rudimentary, with philosophical issues so as to be able to cope with them, as when writing curriculum guides, or explaining to other teachers, administrators, school boards, and parents why music education is valuable and deserves support. If we stretch it, we might include among those who need to be involved with philosophy of music and music education all educational professionals, since all, in one way or another, exert some sort of influence on the fortunes of music education. But that begins to strain a bit at the edges.No doubt there are other constituencies that can be identified. But one that has not been conceived as requiring substantive encounters with philosophical issues of music is that of students in schools, K-12. We all assume that philosophy can and should play a major role in determining what is most valuable for students to learn in their study of music. But seldom has it been argued, to my [End Page 132] knowledge, that philosophical issues should be addressed in all programs of music education intended to produce people who are, in any convincing sense, musically educated.My premise is that philosophical reflection relating to music and to the teaching and learning of music should be foundational in school music programs. Further, philosophy needs to be present in our programs in three distinctive ways, reflecting common practices of education in America and all over the world. That is, as integral in the general music education of all students, as a component of all elective offerings, and as one particular, focused offering among the electives available to all students.My position is that what we call "general music" (which, as we know, goes by a variety of names around the world including just "music") is not complete; in fact is invalid, if it does not provide philosophical challenges of the same level of complexity, and the same degree of authenticity, as everything else we believe all students should know and be able to do in music. What we call the "music elective program," or the "music specialization program," is incomplete, in fact is invalid, if philosophical matters are not addressed as they relate to the particularities of each elective offered. And, in addition, philosophy needs to be a standard elective offering, taught with the same level of expertise by specialist teachers as we now routinely make available in performance and in the meager smattering of other electives we manage to offer.What? Philosophical thinking for all children, even in the primary grades, and as electives starting perhaps at the middle school or high school level? Electives taught by music educators whose specialization is the teaching of philosophy of music to youngsters? Am I serious? After all, even those of us who are devoted to it as a major aspect of our professionalism are constantly at the edges of our competence given the deep challenges philosophy presents to our intellect. And I expect children—all children—to be able to deal with it authentically?Well, we could ask precisely the same questions about, say, mathematics, and science, and history, and social studies, all the ways of thinking which constitute the basic learnings in all grades of our schools. As educators we know better than to conceive the nature of those subjects as only apparent at the level of professional work in them. We recognize the obvious: while at... (shrink)

Brojni čimbenici koji utječu na oblikovanje glazbenih preferencija srednjoškolaca upućuju na zahtjevnu ulogu glazbenih pedagoga. Njihov je zadatak da kompetentnim i kreativnim glazbenim poučavanjem navedu učenike da s emocionalno konotacijskog pristupa započnu primjenjivati sintaktičku strategiju slušanja, s razvijenim analitičkim muzikološkim procesima, te postupno razviju glazbeni ukus s kvalitetnim estetskim sustavom vrijednosti. Istražujući odnos sociodemografskih varijabli i glazbenih preferencija učenika prvih i četvrtih razreda gimnazije i strukovne srednje škole potvrđene su razlike u poznavanju i preferencijama utvrđenih glazbenih stilova s obzirom na (...) spol, vrstu škole, dob i školski uspjeh. Kroz dobivene rezultate istraživanja aktualizirana je potreba za uvrštavanjem glazbene poduke u strukovnim školama, obrazovnim institucijama u kojima takvi sadržaji nisu zastupljeni, ali i potreba za programskim proširenjima kako bi mladi u svojoj formativnoj fazi uz izgradnju pozitivnog odnosa prema umjetničkoj glazbi razvijali i otvorenost te toleranciju prema različitim kulturama i supkulturnim fenomenima. The numerous factors affecting secondary school students’ musical preferences show how difficult the role of music educators is. Their task is to use competent, creative music teaching to lead students away from an emotional, connotative approach towards a syntactic strategy of listening, to develop analytical musicological processes, and to gradually develop their musical tastes with a highquality aesthetic value system. Research into the relationship between socio-demographic variables and musical preferences among students in year 1 and year 4 of gymnasiums and vocational schools has affirmed differences in knowledge of and preferences in attested musical styles according to sex, type of school, age, and academic performance. The results of this research indicate the need to include music instruction in vocational schools, educational institutions that lack music programmes, as well as the need to increase the breadth of existing music programmes so that young people in their formative years, in addition to building a positive relationship towards artistic music, develop openness and tolerance towards various cultures and subcultural phenomena. (shrink)

The notion and practice of critical thinking (CT) has moved from its speculative formation by John Dewey to a standard element in teacher education curricula and standards. In the process, CT has narrowed its focus to the analysis and articulation of logical thought, and lost transformative value. In this paper, we examine the conception and implementation of CT in three teacher education domains primarily in the United States–music, media and information literacy, and social studies–asking how CT has deformed education (...) in those domains, and how domain-specific approaches could reinvigorate CT. We further suggest refocusing the purpose of CT in teacher education on accomplishing transformative education for equity in school and society, by implementing a critically reflective, transformative praxis based on the insights of domain-specific approaches to CT. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Music, Spirituality, and EducationDavid Carr (bio)Recent Interest in Spiritual EducationFew concerned with educational theory and policy could have failed to notice the recent upsurge of interest—not least in such economically developed democracies as the United Kingdom and the United States—in the notion of spiritual development as a possible aim or goal of public or common schooling. Indeed, in addition to the enormous growth of academic literature on this (...) topic—including the recent emergence of specialist journals and handbooks1 — official educational policy makers have devoted much explicit attention to this issue in the form of positive educational proposals and prescriptions.2 Elsewhere,3 I have speculated on the possible reasons for such increased interest, which seems to include interrelated concerns about (1) the instrumental trends and tendencies of much state schooling in developed economies; (2) the rise of materialistic and selfish individualism in such contexts; (3) the apparent decline of public morality and the rise of anomic and nihilistic behavior—particularly among youth; and (4) the need to find some politically and publicly acceptable substitute for the educational role that religion has often formerly played (at any rate in older Western European cultures) in the cultivation of moral and spiritual attitudes and values.One may, of course, respond to such concerns—and/or to the attempts to address them in terms of some notion of spirituality or spiritual education—in a variety of less than enthusiastic ways. For one thing, one may hold that the picture of Western selfishness, instrumentalism, materialism, immorality, impiety, and so on is somewhat overstated (and in any case, this claim would require the sort of empirical support that is seldom provided for such sweeping claims). For another, it seems rather paradoxical to cast spiritual education in the instrumental role of halting the instrumental [End Page 16] trends to which spirituality is proposed as a noninstrumental solution. On the other hand, one might accept that while there may be something to such points, there is nevertheless some educational warrant for trying to cultivate (perhaps at least partly in schools) noninstrumental attitudes or qualities of human engagement with experience of roughly the sort that the theoretical and other literature has associated with spirituality. That said, we also need to bear in mind—especially in what follows—that different approaches to spiritual education have identified somewhat diverse (and perhaps not always obviously mutually consistent) human qualities and benefits with spirituality.A more presently pressing question, however, is that of the pedagogical means by which theorists of spiritual education might cultivate any supposed spiritual qualities or benefits. If we are to take the idea of promoting spirituality seriously, how might we set about it? On what sorts of curricular or other resources might we draw in order to help pupils become more spiritual, to acquire spiritual capacities, or to have spiritual experiences? Here there is evidence of substantial agreement—even on the part of those who would regard spiritual education as a cross-curricular matter—that certain fields of knowledge or areas of the school curriculum are better placed than others to assist the cultivation of spiritual virtues, values, and attitudes. Of these, perhaps unsurprisingly, religious and/or moral education has often been regarded (rightly or wrongly) as synonymous with spirituality and spiritual education. That said, such identification is obviously—especially in culturally pluralist liberal democracies—rather educationally problematic. However, an area of the school curriculum that seems to be a close runner-up to religious education (RE) in the spiritual education stakes—notwithstanding any and all claims that various kinds of scientific study may conduce to environmental or nature-conscious spirituality—is that of the arts. Moreover, if it is widely assumed that exposure to various arts can have real spiritual benefits, it has often also seemed natural to associate music, of all the different arts on offer, with spiritual experience or growth.4 It might therefore be held to follow, if spiritual education is indeed a proper aim of schooling, that music education is a prime vehicle of spiritual education, and that music teachers might include the promotion of spiritual qualities among their educational aims.Clearly, however, none of these alleged conceptual... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Communities of Musical Practice by Ailbhe KennyFrank HeuserAilbhe Kenny Communities of Musical Practice ( New York: Routledge, 2016)When struggling in the confines of a practice room to overcome a technical difficulty on an instrument or explore different ways to shape a phrase, music learning can be a solitary and seemingly lonely enterprise. In such settings it is easy to assume that personal effort is the primary contributor (...) to an individual's musical expertise. Cognitive scientists steven sloman and Philip Fernbach1 argue against this view of human learning and suggest that much of what we know and accomplish results from working and living with others in a rich community of socially generated knowledge rather than by relying only on own efforts. This implies that the ability to develop sophisticated understandings in a discipline depends more on working collectively with others with whom we can share the labors of our cognitive efforts than on individual processes. This lends credence to the concept of learning in "communities of practice" that emerged during the 1990s.2Researchers have embraced this concept in music education and investigated the learning and relationships that develop in musical communities. June Countryman3 and N. Whitaker4 both examined how such communities impact learners in school-based music instructional settings. Deborah V. Blair developed [End Page 214] a professional development program for novice music educators that evolved into a community of practice.5 such communities offer members a place for identity formation and facilitate the acquisition of new knowledge in the discipline that is refined through active participation in meaningful learning experiences. In her book, Communities of Musical Practice, Ailbhe Kenny examines three music learning communities based in Limerick, Ireland and develops a model for community of practice that is specific to musical settings. This model can inform researchers investigating the fields of music education and community music. although it was not designed as a study in music education philosophy, the book is an example of excellent philosophical practices. as Wayne Bowman and ana Lucia Frega have suggested, if philosophy seeks to make "action more intelligent, more informed, more congruent with responsibly held beliefs,"6 Communities of Musical Practice offers a case study of the kind of reflective thinking that is central to philosophical practice. It is an example of how applying a reflective process to research data might provide the profession with both practical and philosophical insights.The book consists of seven chapters which are divided into three major sections. Part I, a Place for Communities of Musical Practice, defines communities of musical practice and describes the methodologies employed in the study. Part II, Illustrations of Communities of Musical Practices, offers case studies of three communities of musical practice that provide readers with examples of how the paradigm can be applied to investigate contrasting settings. Part III, Insights from Communities of Musical Practice, which summarizes the communities of musical practice framework, presents a model of how collective knowledge through common experiences contributes to senses of belonging, identity, and meaning-making and offers suggestions for nurturing these communities and developing policies that might contribute to increasing group music-making opportunities in communities. Following a review of these chapters, examples are given of how philosophical insights might be derived from this type of research.The central research question informing the work presented in the book is: How are communities of musical practice developed and sustained in practice?"7 This fundamental issue is refined through a series of sub-questions relating to the actual practices taking place within these communities of musical practices, the variety of relationships, actions, behaviors and experiences that are present within them, and the ways musical identities are created within and informed through participation in them. In Part I, Kenny develops a theoretical framework for examining communities of music practice by drawing from philosophy of practice, socio-cultural studies, and research in both education and music education which is based primarily on the writings of Bourdieu, Blacking, and Wenger. In particular, she employs etienne Wenger's framework of mutual engagement, [End Page 215] joint enterprise, and shared repertoire (or practices)8 as a scaffold to analyze and interpret "'situated' and collaborative musical... (shrink)

Adding instructional time and holding teachers accountable for teaching social studies are touted as practical, logical steps toward reforming the age-old tradition of marginalization. This qualitative case study of an urban elementary school, examines how nine teachers and one administrator enacted district reforms that added 45 min to the instructional day and implemented a series of formative and summative assessments. Through classroom observations, interviews, time journals, and official school documents, this article describes underlying perceptions and priorities that (...) were barriers to any positive impact time or testing might have afforded social studies. Two recommendations emerge from results: 1) time structures need to provide space for the teaching of and planning for social studies; and 2) testing can have positive outcomes, but these are limited when assessments structures are hierarchical, misaligned, and poorly communicated. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Susan Laird, “Musical Hunger: A Philosophical Testimonial of Miseducation”Heidi WesterlundCan hunger and satisfaction, which according to John Dewey form “the arsis and thesis of a child’s life,”1 create the rhythm and heartbeat of music education? Susan Laird shows us through her autobiographical experiences how this heartbeat was missed in her case, while the undertone of her narrative and testimonial begs a wider self-reflection upon the (...) culture of music education. Indeed, Laird’s testimonial assumes that musical hunger has something to do with professional music educators; that musical hunger and satisfaction while setting the beat for a person’s musical life are not simply biological functions—something that exists and stays no matter how and what the person is fed or where and with whom the person eats. As Dewey wrote,[t]he very tendency of the child, while hungry, to recall his previous satisfaction, and to anticipate the coming one, is the beginning of the recognition of time. It grows more definite and accurate just in the degree in which all experiences are related to each other as members of one whole.2The imaginative musical dinner table that Laird’s testimonial lays out calls for music educators to reflect upon what kind of meal is served, not only from their own perspective but also from that of their students. Yet, reconstructing the menu is demanding in a profession that struggles with the pros and cons of a tradition in which teachers have learnt to teach in the same way that they themselves have been taught, also teaching using the same order in which they have learned—only hoping to do it more effectively.Quite recently, when visiting the recording studio at the Sibelius Academy department of music education to listen to one of my student’s work with her own rock band, I was reminded by my own remembrances of the difficulty, as well as the necessity, of reconstructing traditions in music teacher education. My thoughts led me fleetingly back to the ‘70s when making arrangements, improvisations, or working in recording studios were part of my musical life, until they were overwhelmed by the then-prevalent diet of professional music studies. Although my experiences of general music education were similar to those of Laird, teachers in the specialized music school fed me with goal-directed instruction in more than one instrument, in music theory, solfege, and the history of Western [End Page 81] art music. Looking back, however, I was lucky in more ways than one: my adolescent leisure time was blessed with numerous choirs, orchestras, and gigging bands—bringing a self-organized satisfaction and motivation to all kinds of music and musical activities. Multiple diets were feeding my musical life: I obtained the strengthening vitamin drops and enjoyed my self-made smorgasbord with family and friends, none of which had been enough by themselves to lead me into the profession. Yet, when entering the university to pursue my professional music studies, I experienced events in reverse order to that which Lucy Green describes in How Popular Musicians Learn.3 As I then did not have a piano of my own, I only had the opportunity to practice what was necessary for exams and so I practically stopped playing for fun. I also realized that not all flute teachers were able to accompany their students as did my first teacher, and so I had to play my flute repertoire for most of the year only imagining how the pieces would sound as a whole with no community with whom to share the joy of music making. While watching my student working in front of the studio desk searching for the right bass sound for her own song—a song that she was performing with friends and fellow students—to give the song the final touch for her work for the pedagogy of African-American music (popular music) course, to my own surprise I suddenly felt a long-forgotten hunger and desire. I was reminded of the challenges facing teacher education in exemplifying by its own practices a music education that does not take for granted that particular subject content or official... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Teaching General Music in Grades 4–8: A Musicianship ApproachKatherine StrandThomas Regelski, Teaching General Music in Grades 4–8: A Musicianship Approach ( Oxford: Oxford University Press 2004)In this recent addition to the world of texts for secondary methods classes, Teaching General Music in Grades 4–8: A Musicianship Approach, Thomas Regelski takes a new look at the challenging task of teaching the pre-adolescent and adolescent age group. (...) This text brings together many of Regelski's earlier writing on topics such as the professionalism of music teaching practice, music education as praxial education, and the operationalization of critical theory in music education. His thoughtful work offers insights and challenges to pre-service and in-service teachers.In the Introduction, Regelski provides a brief history of critical theory in education and describes how he applies critical theory to the profession of music teaching and the experience of musical learning. In this "new view" of education, teachers should seek to be transformative rather than simply transmitting a cultural status quo through status quo methods of teaching. Critical theory in teaching criticizes both the methods and the content in the light of context, student learning needs, praxis, and the situatedness of learning. He argues, as in earlier articles, against what he calls methodolotry: the tendency to adopt a method and follow that method unquestioningly. Rather, he proposes that teachers [End Page 121] should adopt a stance of reflective practitioner, becoming informal action researchers by questioning the value and effectiveness of instructional strategy and curricular content. (Sadly, once introduced, there is no more information about how to engage in action research, nor any encouragement to learn more about the subject.)Educational content should be based on critical theory which, as Regelski argues:... seeks to study the past, but in terms of its implications–positive or negative–for the present and, especially, as a basis for improving society and the individuals who constitute society.... [T]he past is evoked "critically" and selectively and new practices that will become traditions of the future will be initiated.1The job of the teacher is to help students make critical judgments regarding music and the "good time" the musical experience contributes to the students' lives.2 Music classrooms should be considered music laboratories in which children learn through thoughtful, investigatory experiences. Music education should promote life-skills relevant to the student's world, teach functional musical skills, incite interest in unfamiliar musical experiences, and address the pre-adolescent and adolescent student's "need to achieve."3In the first chapter, Regelski argues for "action learning," or learning in which the student is the principal actor. To support his argument, he cites findings in cognitive psychology, philosophical trends of pragmatism, utilitarianism, and humanism, transfer of learning theory, authentic learning and assessment, and constructivist learning theories. This myriad of ideas combine to form the essence of his argument: children in this age group need to develop intentionality in music-making to have a "good time" and instruction should always connect in-school musical learning with a student's real-world musical experiences. The value of action learning lies in the transfer of learning from the classroom to life after school:It advances the skills predictably useful to typical adults throughout life: for example, recreational singing, music reading sufficient to church and community choirs, "making sense" of music and enjoyment through listening, and the like. It is not a survey of disconnected musical generalities, a superficial sampling of music "in general"; boiled down theory, history, appreciation: or the introduction to the "discipline" of music as a "subject" of study for its own sake. Instead, it promotes the broad musicianship skills and positive attitudes for "breaking 100" [as in bowling, the level at which one calls oneself a "musician"] that enable students to be musically independent and active outside of class and after graduation, and to want to be musically active as part of the life well lived [italics added].4 [End Page 122]In the second chapter, Regelski provides an excellent summary of the physical, cognitive, and social development of children from age 9 to 14. Age categories are broken into upper elementary grades 4–6... (shrink)

Is musical practice 'real' - and how is it connected with everyday life? Eva-Maria Houben shows that making music changes as soon as its meaning is not sought in a purpose-oriented production of results, but in performing music as an activity - indeed, as play. Musical practice, Eva-Maria Houben contends, should be understood as open and never finished. Such an emphasis on repetition can free us from perfection, productivity, and purpose, allowing meaning to unfold in specific situations, places, (...) and relationships. Thus understood, musical practice can become a form of life and a reality in its own right. (shrink)

I would like to begin with the fact that the process of education, which comprises a form of intellectual productive activity, represents a cycle of very long duration. This cycle is such that seven-year-old children entering school today will attain the age of most active yield only in the next millennium. In the year 2000 they will be 32 or 33. Therefore, while giving maximum attention to analysis of the conditions of today, our discussion has to be long-range, i.e., (...) it must have that near historical future in mind and project into it. (shrink)

This study investigates the influences of action research on primary school English instruction from five dimensions in the classroom, viz., types of questions, language errors, gestures, facial expressions, and interpersonal distance. Four English teachers’ 9 real classroom teaching videos before and after action research are collected and annotated by using ELAN software. The results show that primary school English teachers in Chinese rural areas prefer closed questions to open questions; They make some language errors; Deictic gestures (...) are the most common gestures used, while metaphoric gestures, beat gestures and iconic gestures are rare; Teachers have the same preference for three types of facial expressions, and teachers’ serious expressions accounts for most of the time; They seldom keep an intimate distance or personal distance from their students. Second, Action research is effective to motivate teachers in rural areas, who make great progress in all five dimensions after AR: more open questions are asked; pragmatic errors and grammatical errors are reduced; deictic gestures increase; apathetic decrease, and more intimate distance is exhibited in the interpersonal distance dimension. Third, teacher’s English teaching competence is partly transferrable to her future professional development, and this is also the long-lasting effect of AR. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Alexandra Kertz-Welzel’s “Two Souls, Alas, Reside within My Breast”: Reflections on German and American Music Education Regarding the Internationalization of Music EducationPhilosophy of Music Education Review, 21, no.1 (Spring 2013): 52–65Leonard TanAs a Singaporean who, like Kertz-Welzel, spent four years residing in the United States, I read the article with great interest. Born to traditional Chinese parents, I was raised steeped in Confucian values, (...) savored Chinese operas, and spoke Mandarin as a child. When I went to school in postcolonial Singapore, however, the medium of instruction was primarily English. I read Enid Blyton in primary school, Shakespeare in secondary school, and Chaucer in Junior College. My university studies in music were Western-centric. All seemed fine until my doctoral studies in the United States when I was inspired by my music education professor to revisit my cultural roots and to read Chinese philosophy. It was [End Page 113] no easy task reading the original texts—they were written on bamboo slips more than two thousand years ago in classical Chinese, and I needed tuition from my mother. Nevertheless, as I worked my way slowly but surely through each character, one thing became unmistakably clear: although I had read more Western than Asian philosophy, many ideas in the ancient Chinese texts resonate with the innermost recesses of my being and are unmistakably a part of who I am as a Chinese Singaporean, albeit one schooled in Western ways.Two souls, alas, have been residing within my breast! Like Kertz-Welzel, I had to find a way to reconcile my two scholarly identities. How may one negotiate the seeming chasm between the Chinese and Western philosophical worlds? In this paper, I sketch some insights gleaned from my journey into the world of comparative philosophy, specifically, classical Chinese philosophy and American pragmatism. In particular, I address two obstacles to the internationalization of music education identified by Kertz-Welzel, namely, the tendency for researchers to know only one scholarly tradition well, and the use of English as an international language. I then proffer Dewey’s metaphor of “friendship” as a way of charting a new “silk road”—one that blends Eastern and Western ideas—for the philosophy of music education.As noted by Kertz-Welzel, many researchers only know one scholarly tradition well. Dangers lurk when scholars have limited knowledge of foreign philosophical enterprises. To begin with, one may fall into the trap of stereotypical preconceptions. For example, I have been asked if it were methodologically sound to juxtapose Chinese philosophical aphorisms with the closely argued texts of the American pragmatists. The basis of this critique is understandable: think Confucius and aphoristic phrases that teach humans how to lead moral lives immediately spring to mind; think Dewey and one is reminded of the depth and breadth of his philosophical arguments. Chinese philosophical texts, however, are by no means mere aphorisms. While the Analects of Confucius may, prima facie, appear as if it were a random collection of brief sayings, many passages relate to one another and cohere as a philosophy. The rich commentarial tradition that spans over two thousand years further augment the range of insights embedded in the Analects. Post Confucius, Xunzi, the philosopher best known for his argument that human nature is evil and ought to be cultivated through ritual (li 禮) and music (yue 乐), articulated his philosophy through thirty-two books that rival Dewey in richness and complexity.1 For two souls to reside within one breast, one has to remain vigilant against potential stereotypes.The tendency to know only one scholarly tradition well may also inadvertently cause one to judge a foreign philosophical tradition using the standards of the familiar one. When encountering Confucius for the first time, scholars schooled in European philosophy may, as Hegel did, criticize him for being a [End Page 114] shallow moralizer obsessed with rituals (li 禮) rather than a speculative philosopher concerned with theoretical matters.2 Such a judgment is misguided as it ignores the fact that the Chinese philosophical tradition was founded on a set of metaphysical assumptions that differed from its Greek counterpart. Seeing the cosmos in discrete, quantitative, and unchanging terms, the ancient... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 4-16 [Access article in PDF] Once More With Feeling Reconciling Discrepant Accounts of Musical Affect Bennett Reimer Northwestern University When I was sixteen, a junior in high school in Brooklyn, I auditioned for the All-City High School Band of New York and was placed as first chair clarinet. At the first rehearsal, a piece we played (I don't remember (...) what it was except that it was new to me) had a long, melodic clarinet solo, with accompaniment. When I finished playing it the director stopped the band and said, "Very nice, first clarinet. Let's do it again, this time with more feeling." Then he said, "Letter C," and we started again.I could not have known, then, that I was to spend much of my life in pursuit of some sort of clarification of what transpired in that episode, as in this paper, where I deal once more with feeling. I had no idea that his apparently simple instruction to me raised issues so complex that many of humankind's most important thinkers had struggled with them in search of a resolution, as I, infinitely more modestly, was also to do. I was unaware that philosophical blood, sweat, and tears had been spilled through the centuries in various contentions as to the relation, if any, of musical feeling to feeling outside musical experience. I knew nothing of metaphor, [End Page 4] of effability and ineffability, of embodiment and designation, of issues of authenticity of feeling, and semantic density, significant form, semiotics, the relation of feeling to emotion, to gender, to meaning, and on and on with seemingly endless and intractable debates centered on how and why and when music is related to feeling.Being unencumbered with any of this (how one longs, sometimes, to return to one's philosophical Garden of Eden), and having to play that solo again immediately, I did what my novice performer's instincts told me to do-the only thing I knew how to do-I placed more emphasis on what the notes of that melody seemed to want to do, where they seemed to want to go and how they got there. Feeling their melodic tendencies more concentratedly and making them more apparent by the way I sounded them, I felt in myself a deeper sense of union-of the music as part of my undergoing-than I had the first time. When I finished the director stopped the band again, looked at me for several seconds, and said, "Lovely, first clarinet. Very musical. Let's go on."I would not have been able at the time that event occurred to describe, as I just did, what I did and how I felt. I did not have the conceptual apparatus to do so, although I did have, luckily for me, enough intuitive musicianship to have survived that test. My description, or perhaps interpretation, of how I reacted and how I experienced it can only reflect who I am now, with the cognitive structure allowing me to understand what happened as I reflect about it. Nevertheless I believe that several important matters relating to musical feeling can be clarified in relation to how I now interpret what I experienced as a youth in that band.I am aware now that I did what I did in ignorance of the fact that I was not the first to have played that solo. If I had known about and studied previous performances by a variety of clarinetists I would have, without doubt, been influenced by their solutions to the challenge of expressive interpretation it presented. Especially if I had been guided by a sensitive teacher, I would have reflected those influences in my own sounding. Perhaps I would have imitated what seemed to me the most musical rendition. If I had done so, I am now aware, that would have been regarded, in my culture at any rate, as a sign of my novice status, a more mature stage of musicianship requiring that I both reflect... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 4-16 [Access article in PDF] Once More With Feeling Reconciling Discrepant Accounts of Musical Affect Bennett Reimer Northwestern University When I was sixteen, a junior in high school in Brooklyn, I auditioned for the All-City High School Band of New York and was placed as first chair clarinet. At the first rehearsal, a piece we played (I don't remember (...) what it was except that it was new to me) had a long, melodic clarinet solo, with accompaniment. When I finished playing it the director stopped the band and said, "Very nice, first clarinet. Let's do it again, this time with more feeling." Then he said, "Letter C," and we started again.I could not have known, then, that I was to spend much of my life in pursuit of some sort of clarification of what transpired in that episode, as in this paper, where I deal once more with feeling. I had no idea that his apparently simple instruction to me raised issues so complex that many of humankind's most important thinkers had struggled with them in search of a resolution, as I, infinitely more modestly, was also to do. I was unaware that philosophical blood, sweat, and tears had been spilled through the centuries in various contentions as to the relation, if any, of musical feeling to feeling outside musical experience. I knew nothing of metaphor, [End Page 4] of effability and ineffability, of embodiment and designation, of issues of authenticity of feeling, and semantic density, significant form, semiotics, the relation of feeling to emotion, to gender, to meaning, and on and on with seemingly endless and intractable debates centered on how and why and when music is related to feeling.Being unencumbered with any of this (how one longs, sometimes, to return to one's philosophical Garden of Eden), and having to play that solo again immediately, I did what my novice performer's instincts told me to do-the only thing I knew how to do-I placed more emphasis on what the notes of that melody seemed to want to do, where they seemed to want to go and how they got there. Feeling their melodic tendencies more concentratedly and making them more apparent by the way I sounded them, I felt in myself a deeper sense of union-of the music as part of my undergoing-than I had the first time. When I finished the director stopped the band again, looked at me for several seconds, and said, "Lovely, first clarinet. Very musical. Let's go on."I would not have been able at the time that event occurred to describe, as I just did, what I did and how I felt. I did not have the conceptual apparatus to do so, although I did have, luckily for me, enough intuitive musicianship to have survived that test. My description, or perhaps interpretation, of how I reacted and how I experienced it can only reflect who I am now, with the cognitive structure allowing me to understand what happened as I reflect about it. Nevertheless I believe that several important matters relating to musical feeling can be clarified in relation to how I now interpret what I experienced as a youth in that band.I am aware now that I did what I did in ignorance of the fact that I was not the first to have played that solo. If I had known about and studied previous performances by a variety of clarinetists I would have, without doubt, been influenced by their solutions to the challenge of expressive interpretation it presented. Especially if I had been guided by a sensitive teacher, I would have reflected those influences in my own sounding. Perhaps I would have imitated what seemed to me the most musical rendition. If I had done so, I am now aware, that would have been regarded, in my culture at any rate, as a sign of my novice status, a more mature stage of musicianship requiring that I both reflect... (shrink)

In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels of (...) automation and his ability to respond to emerging hazard or assessing driver’s ability to monitor the vehicle performing operational tasks in higher levels of automation. Unfitted DFS (e.g., drowsiness) may impact the driver ability respond to taking over abilities. This paper reviews the most appropriate psychophysiological indices in naturalistic driving while considering the DFS through exogenous sensors, providing the more efficient trade-off between reliability and intrusiveness. The DFS also originates from kinematic data of the vehicle, thus providing information that indirectly relates to drivers behaviour. The whole data should be synchronously processed, providing a diagnosis on the DFS, and bringing it to the attention of the decision maker in real time. Next, making the information available can be permanent or intermittent (or even undelivered), and may also depend on the automation level. Such interface can include recommendations for decision support or simply give neutral instruction. Mapping of relevant psychophysiological and behavioural indicators for DFS will enable practitioners and researchers provide reliable estimates, fitted to the level of automation. (shrink)

This article examines the social development of Hong Kong's cultural and national identity since its return from the UK to the People's Republic of China nearly six years ago, focusing on the extent to which Hong Kong students are now inculcated in traditional Chinese music and express their devotion to the PRC through singing the national anthem. Hong Kong music teachers experience conflicts concerning their roles as music teachers and as purveyors of values education. These observations raise (...) fundamental questions concerning the sociopolitical function of values education in the music classroom. (shrink)

(1982). Sex‐ and Age‐Related Differences in the Musical Behaviour, Interests and Attitudes Towards Music of 232 Secondary School Students. Educational Studies: Vol. 8, No. 2, pp. 131-139.

Managing a company or organization in today’s market is a challenge that each leader has to face. Companies have to adapt and embrace challenges, or they will be left behind by the competitors in the market. The leadership of a company has to be creative in order to fulfill the needs of the customers, the market, and its employees. The same rules apply for language teaching organizations, which have to follow the rapid changes in the field of education, technology and (...) marketing all the same. Therefore, the purpose of this paper is to acquire knowledge of key aspects of instructional leadership in private and public schools, to find the parameters that make an organization successful, and to compare key management decisions taken by organizations over the years. In focus of this paper is a case study with two primary schools in Kosovo, one public and one private, how they operate, how are they managed and the possible ways of further development. Interviews with the leaders of the schools have been conducted, and the findings have been compared and supported with contemporary literature review. The paper starts provides an introduction, the literature review, the framework used, an interpretation and critical discussion of the data collected, and it ends with the conclusion on instructional leadership. (shrink)

This study examined changes in the structural relationship among learner-centred classes perceived by Korean junior high school students, attitudes during class and academic achievement. A linear change model was identified as optimal, showing a steady increase over time for each parameter. The higher the initial value for learner-centred classes, the higher both the initial value and rate of change was for attitudes during class and academic achievement. The initial values for attitudes during class also had a significant effect (...) on initial values of academic achievement, suggesting that attitudes are important in increasing academic achievement. The rate of change of both learner-centred classes and attitudes during class significantly influenced the rate of change of academic achievement. (shrink)

Using data from the Survey of the Status of Social Studies ( S4), this article describes the instructional decisions and practices of elementary teachers in two neighboring states, one where social studies is tested and another where it is not. We define students’ opportunity to learn within these states as a composite of three variables: time allocations for social studies (teacher reported instructional time), methods for teaching social studies (teacher reported instructional strategies), and content focus (teacher reported content emphases and (...) state-mandated curriculum standards). Our guiding research question for this study was: To what extent do teachers’ perceptions of elementary school social studies instructional practices and content vary between two states with different testing policies for social studies? Initial findings revealed notable differences that could not be explained by testing policies alone. Therefore, we conducted an exploratory content analysis of the elementary social studies curricula in these neighboring states. We uncovered curricular differences that suggest that state standards influence teachers’ decisions in both what and how they choose to teach social studies. However, there were curriculum differences that did not align with S4 instructional methods and content focus output. Thus, we concluded that other factors apart from the curriculum guide teachers’ decision-making. Results provided evidence that students have different opportunities to learn based on (1) state testing policies in social studies, (2) curriculum content, (3) how social studies is delivered (e.g., stand-alone versus integration), and (4) time allocated to social studies. We concluded that these variables constrict or expand students’ opportunity to learn social studies and may influence teachers’ pedagogical and content choices in elementary social studies. (shrink)

This study tested to what extent young listeners metaphorically conceptualize basic musical relations. Ninety children aged 11 (30 attending a music school and 30 Serbian and 30 Romani children with no musical education) were played 5 stimuli with mutually opposed musical elements and asked to respond what the first and what the second one was like. Their answers were classified into metaphors according to the tenets of the conceptual metaphor theory. The results suggest an overwhelming dominance of (...) metaphorical replies, in which most mappings were based on image schemas within a predominantly visual–spatial modality. There were some differences in conceptualizations, however, with “high and low” tones also perceived as “big and small,” or “upward” musical motion seen as “forward.” This article analyzes the possibility of finding a common denominator for seemingly disparate replies, where the study of musical conceptualization might be instrumental in the cognitive semantic quest for metaphorical universals. (shrink)

We would like to open some questions here about the institutional and cultural conditions of anything that might be called cultural studies or multiculturalism. By introducing cultural studies and multiculturalism many intellectuals aim at a more democratic culture. We share this aim. In this essay, however, we would like to argue that the projects of cultural studies and multiculturalism require: a more international model of cultural studies than the dominant Anglo-American versions; renewed attention to the institutional environments of cultural studies; (...) and a questioning of the relations between multiculturalism and identity politics. We seek less to “fix” these problems than to provide a critical analysis of the languages, the methods of criticism, and the assumptions about identity, culture, and politics that present the problems to us. Because the thickets entangling what our group calls cultural studies are so deeply rooted in Western academia, which to a large degree constitutes our own group, the counterexample of cultural criticism in other contexts can be more than usually instructive. We begin by considering the position of cultural studies in China, since our group includes a number of Chinese intellectuals, on whose experience the following section is largely based. The Chicago Cultural Studies Group began meeting in June 1990. It includes Lauren Berlant, David Bunn, Vinay Dharwadker, Norma Field, Dilip Gaonkar, Marilyn Ivy, Benjamin Lee, Leo Ou-fan Lee, Xinmin Liu, Mathew Roberts, Sharon Stephens, Katie Trumpener, Greg Urban, Michael Warner, Jianyang Zha, and Jueliang Zhou. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Teaching General Music in Grades 4–8: A Musicianship ApproachKatherine StrandThomas Regelski, Teaching General Music in Grades 4–8: A Musicianship Approach ( Oxford: Oxford University Press 2004)In this recent addition to the world of texts for secondary methods classes, Teaching General Music in Grades 4–8: A Musicianship Approach, Thomas Regelski takes a new look at the challenging task of teaching the pre-adolescent and adolescent age group. (...) This text brings together many of Regelski's earlier writing on topics such as the professionalism of music teaching practice, music education as praxial education, and the operationalization of critical theory in music education. His thoughtful work offers insights and challenges to pre-service and in-service teachers.In the Introduction, Regelski provides a brief history of critical theory in education and describes how he applies critical theory to the profession of music teaching and the experience of musical learning. In this "new view" of education, teachers should seek to be transformative rather than simply transmitting a cultural status quo through status quo methods of teaching. Critical theory in teaching criticizes both the methods and the content in the light of context, student learning needs, praxis, and the situatedness of learning. He argues, as in earlier articles, against what he calls methodolotry: the tendency to adopt a method and follow that method unquestioningly. Rather, he proposes that teachers [End Page 121] should adopt a stance of reflective practitioner, becoming informal action researchers by questioning the value and effectiveness of instructional strategy and curricular content. (Sadly, once introduced, there is no more information about how to engage in action research, nor any encouragement to learn more about the subject.)Educational content should be based on critical theory which, as Regelski argues:... seeks to study the past, but in terms of its implications–positive or negative–for the present and, especially, as a basis for improving society and the individuals who constitute society.... [T]he past is evoked "critically" and selectively and new practices that will become traditions of the future will be initiated.1The job of the teacher is to help students make critical judgments regarding music and the "good time" the musical experience contributes to the students' lives.2 Music classrooms should be considered music laboratories in which children learn through thoughtful, investigatory experiences. Music education should promote life-skills relevant to the student's world, teach functional musical skills, incite interest in unfamiliar musical experiences, and address the pre-adolescent and adolescent student's "need to achieve."3In the first chapter, Regelski argues for "action learning," or learning in which the student is the principal actor. To support his argument, he cites findings in cognitive psychology, philosophical trends of pragmatism, utilitarianism, and humanism, transfer of learning theory, authentic learning and assessment, and constructivist learning theories. This myriad of ideas combine to form the essence of his argument: children in this age group need to develop intentionality in music-making to have a "good time" and instruction should always connect in-school musical learning with a student's real-world musical experiences. The value of action learning lies in the transfer of learning from the classroom to life after school:It advances the skills predictably useful to typical adults throughout life: for example, recreational singing, music reading sufficient to church and community choirs, "making sense" of music and enjoyment through listening, and the like. It is not a survey of disconnected musical generalities, a superficial sampling of music "in general"; boiled down theory, history, appreciation: or the introduction to the "discipline" of music as a "subject" of study for its own sake. Instead, it promotes the broad musicianship skills and positive attitudes for "breaking 100" [as in bowling, the level at which one calls oneself a "musician"] that enable students to be musically independent and active outside of class and after graduation, and to want to be musically active as part of the life well lived [italics added].4 [End Page 122]In the second chapter, Regelski provides an excellent summary of the physical, cognitive, and social development of children from age 9 to 14. Age categories are broken into upper elementary grades 4–6... (shrink)

School administrators are mandated to take the instructional leadership roles. On this premise, a study assessed the extent of instructional leadership practices of public elementary school administrators in El Salvador City Division, Philippines. Also, it explored their actual practices, challenges encountered, and the ways they overcome the challenges in practicing instructional leadership. It employed a mixed-method research design. It administered the adopted assessment tool on instructional leadership to 15 school administrators and 12 of them were involved (...) in the individual interviews. This was conducted between the last quarter of 2019 and the first quarter of 2020. Descriptive statistics were used to describe the extent of instructional leadership practices. Also, it analyzed the actual practices, the challenges encountered, and the ways of overcoming these challenges using thematic narrative analysis. Results revealed that public school administrators have always practiced the four domains or strands of instructional leadership to a very high extent. Providing the technical assistance, conducting clinical supervision, and innovating teaching and learning emerged as themes of their actual practices. These administrators had encountered challenges in dealing with teachers’ attitudes, conflicting schedules and activities, and teachers’ resistance to changes. They overcome the challenges by trying to meet the competency standards, adapting and modifying the existing programs, contextualizing teaching and learning, and inculcating the value and benefits of class observation. Looking at the findings from the lens of deliberate practice theory, it was concluded that school administrators have indicated they have acquired knowledge and a high level of understanding of their instructional leadership roles. But despite of this, they still met challenges and have tried their best to manage them. This study presented some doable and practical recommendations to the Department of Education (DepEd) and concerned offices which may benefit both the internal and external stakeholders of the schools. (shrink)

In 1997 the Tenth Circuit U.S. Court of Appeals ruled that school officials at West High School did not violate Rachel Bauchman's constitutional rights by including Christian religious music as part of its curriculum, or by staging school performances at religious sites. Three philosophical questions are investigated in this paper: whether the performance of religious text constitutes a religious practice, the ways in which instructional and performance context can affect the performance of sacred music, and (...) how music teachers can avoid coercion when teaching religious music. Conclusions suggest that music educators must carefully consider the historical and cultural context of texts utilized in choral music. Certain contemporary devotional texts intended primarily for worship may prove problematic in a classroom setting. In addition, the instructional context in which religious music is presented can greatly impact how students understand the music's significance. Music educators should carefully articulate clear pedagogical reasons for staging performances in houses of worship to avoid the appearance of endorsement, and should refrain from asking students to participate in organized worship services. Finally, music educators should be sensitive to the problems religious texts present to individual students, taking responsibility for facilitating a classroom environment that respects a diversity of viewpoints. (shrink)

With the outbreak of the pandemic, general and music education shifted completely to remote learning as the only possible form. The research looks into didactic approaches using digital technology adopted by active teachers and students in the Slovenian music school in asynchronous distance learning. On a sample of 9 active teachers and 16 students, the research study examined 31 interactive learning materials in order to identify innovative didactic approaches using digital tools which were applied to achieve (...) learning objectives within musical activities of the Music Theory and Solfeggio. Based on qualitative-quantitative approach, the research showed a low presence of didactic approaches using digital tools. Even though the results show a higher level of use of digital technology among students, the research focused much more on the presence of e-learning materials as well as predominantly traditional teaching approaches, similar to the classical type of classroom teaching. Opće i glazbeno obrazovanje u situaciji pandemije u potpunosti je prešlo na model učenja na daljinu. Istraživanjem se željelo ustanoviti koje su didaktičke pristupe primjenjivali učitelji i učenici u slovenskim glazbenim školama tijekom asinkronog učenja na daljinu. Na uzorku od 9 aktivnih učitelja i 16 učenika analiziran je 31 interaktivni nastavni materijal kako bi se odredili inovativni didaktički pristupi u korištenju digitalne tehnologije s ciljem ostvarenja ishoda učenja na nastavi Glazbene teorije i Solfeggia. Primjenom kvalitativnih i kvantitativnih metoda došlo se do rezultata koji ukazuju na nisku zastupljenost didaktičkih pristupa koji koriste digitalne tehnologije. Iako su rezultati pokazali visoku učestalost korištenja digitalne tehnologije među učenicima, istaknuta je i prisutnost materijala za e-učenje te tradicionalnih nastavnih pristupa, poput onih korištenih u klasičnom tipu učioničke nastave. (shrink)

An experimental study was designed to analyze the effect of school-based training in self-regulation learning strategies on academic performance. Class-level variables were considered and the effects of the intervention were measured at the end of the intervention and 3 months later. A sample of 761 students from 3rd and 4th grades, from 14 schools, participated in the study. Data were analyzed using three-level analysis with within-student measurements at level 1, between-students within-classes at level 2, and between-classes at (...) level 3. Data showed a positive effect of the intervention on student performance, both at post-test and at follow-up considering the four school subjects together. However, the effect was significant just at follow-up when subjects were considered separately. Student performance was significantly related to the students’ variables and the context. Finally, students’ gender and level of reading comprehension, as well as the teacher’s gender, were found to moderate the effect of the intervention on students’ academic performance. Two conclusions were highlighted: first, data emphasize the importance of considering time while conducting intervention studies. Second, more teaching experience does not necessarily translate into improvements in the quality of students’ instruction. (shrink)

Music expertise is known to be beneficial for cognitive function and development. In this study, we conducted 1-year music training for school children in China. The children were assigned to music or second-language after-class training groups. A passive control group was included. We aimed to investigate whether music training could facilitate working memory development compared to second-language training and no training. Before and after the training, auditory WM was measured via a digit span task, (...) together with the vocabulary and block tests of the Wechsler Intelligence Scale for Child IV. The results of the DS task revealed superior development in the music group compared to the other groups. However, further analysis of DS forward and backward tasks indicated that the performance of the three training/non-training groups only differed significantly in DS backward scores, but not in the DS forward scores. We conclude that music training may benefit the central executive system of WM, as reflected by the DS backward task. (shrink)

Previous studies have suggested that musical training in childhood is beneficial for sociability. However, it remains unclear how age of onset of group music lessons is associated with the late sociability of children from a long-term perspective. This study investigated associations between group music lessons conducted at a music school and children’s levels of sociability by focusing on the age of onset of the lessons. We conducted a survey of 276 children aged 4–5 years (M (...) = 58.5 months) and 6–7 years (M = 82.7 months) who commenced music lessons at ages 1, 2, 4, and 6 years. We found that (1) the empathy scores of children aged 6–7 years who began lessons when 1-year-old were greater than those who began lessons when 4-years-old, (2) the communication scores of children aged 4–5 years who began lessons when 1-year-old were greater than those who began lessons when older than 1 year, and (3) the empathy and extraversion scores were high in those aged 6–7 years who began lessons in that age range. The results suggest that early onset of music lessons could positively influence children’s sociability; in contrast, after about age 7 years, children who already had high sociability may be more inclined to select group music lessons. By focusing on the impact of regular group music lessons from a very young age on later levels of sociability, these results further elucidate the effects of musical lessons. In sum, participation in group music lessons 2–4 times per month can be effective social training for very young children and foster their later sociability. (shrink)