This volume offers chapters written by some of the most respected narrative and qualitative inquiry writers in the field of music education. The authorship and scope are international, and the chapters advance the philosophical, theoretical, and methodological bases of narrative inquiry in music education and the arts. The book contains two sections, each with a specific aim. The first is to continue and expand upon dialogue regarding narrative inquiry in music education, emphasizing how narrative involves the art of listening to and hearing others whose voices are often unheard. The chapters invite music teachers and scholars to experience and confront music education stories from multiple perspectives and worldviews, inviting an international readership to engage in critical dialogue with and about marginalized voices in music. The second section focuses on ways in which narrative might be represented beyond the printed page, such as with music, film, photography, and performative pieces. This section includes philosophical discussions about arts-based and aesthetic inquiry, as well as examples of such work.

The best way to learn any instrument is to have lessons from a good, experienced teacher. Although the number of such teachers is constantly growing, the recorder is still frequently taught by enthusiastic but inexperienced teachers and many players start by teaching themselves. This series of books sets out to help learners of all ages in all three situations. Experienced teachers, who may choose to disregard much of the text as personal demonstration is always clearer than the written word, will find exercises and fine tunes a-plenty to support their own mathod at each stage. The less experienced will benefit from many valuable teaching hints culled from long experience and may rely on the books to lead to a sound playing technique and a mastery of simple notation.

A Key Stage 3 book designed for pupils who find music theory difficult to understand and remember. The content is differentiated at three levels to cater for differing abilities and experience, and a corresponding teacher's resource pack is also available.

This landmark collection explores the origins and foundations of music education in Europe, The Americas, Africa and Asia-Pacific, and the Middle East, and considers the inclusion of music as part of the compulsory school curriculum in the context of the historical, social and political landscape. Within each chapter, the contributors explore the following key areas: - the aims, objectives and content of the music curriculum - teaching methods - the provision and training of teachers of music - the experiences of pupils This fully revised second edition includes new chapters on Brazil, Israel, Kosovo, Lithuania, and Turkey, along with questions to encourage reflection and discussion. A concluding chapter has been added to encourage readers to consider the evolution of music education globally. The Foreword for this new edition has been written by Sheila Woodward, President of the International Society for Music Education. Contributors have been carefully selected to represent countries that have incorporated music into compulsory schooling for a variety of reasons resulting in a diverse collection which will guide future actions and policy.

Gender Issues in Scandinavian Music Education: From Stereotypes to Multiple Possibilities introduces much-needed updates to research and teaching philosophies that envision new ways of considering gender diversity in music education. This volume of essays by Scandinavian contributors looks beyond the dominant Anglo-American lens while confronting a universal need to resist and rethink the gender stereotypes that limit a young person's musical development. Addressing issues at all levels of music education-from primary and secondary schools to conservatories and universities- topics discussed include: the intersection of social class, sexual orientation, and teachers' beliefs; gender performance in the music classroom and its effects on genre and instrument choice; hierarchical inequalities reinforced by power and prestige structures; strategies to fulfill curricular aims for equality and justice that meet the diversity of the classroom; and much more! Representing a commitment to developing new practices in music education that subvert gender norms and challenge heteronormativity, Gender Issues in Scandinavian Music Education fills a growing need to broaden the scope of how gender and equality are situated in music education-in Scandinavia and beyond.

This book is a collection of leading international authors in the field of music education taking the concept of 'craft' as a starting point to deconstruct and reconstruct their understanding of the practices and theories of music education. Their insights draw from deep wells of resources located in historical, philosophical, epistemological, musicological and educational traditions that lead to rich and complex insights on the evolving field of music education. In so doing, they generate a constellation of new understandings and illustrations of what crafts can mean in this field. Historically, the idea of craft was typically associated with a skill or experience in knowing how to do or make something, or an activity of some kind that requires specific professional skills. In Old Norse, the concept for craft was kraptr, meaning strength and virtue, while Old English and continental use was associated with power and physical strength, as well as skill. When these definitions of 'crafts' are infused into contemporary understandings of the field of music education as a professional field, a whole new set of possible interpretations are unearthed. Such insights are not exhaustive, but rather, point the way in which this professional, diverse, inclusive and ambiguous field might continue to evolve in the 21st century.

This book examines the inter-relationship between music learning and teaching, and culture and society: a relationship that is crucial to comprehend in today's classrooms. The author presents case studies from diverse music learning and teaching contexts - including South India and Australia and online learning environments - to compare the modes of transmission teachers use to share their music knowledge and skills. It is imperative to understand the ways in which culture and society can in fact influence music teachers' beliefs and experiences: and in understanding, there is potential to improve intercultural approaches to music education more generally. In increasingly diverse schools, the author highlights the need for culturally appropriate approaches to music planning, assessment and curricula. Thus, music teachers and learners will be able to understand the diversity of music education, and be encouraged to embrace a variety of methods and approaches in their own teaching. This inspiring book will be of interest and value to all those involved in teaching and learning music in various contexts.

- One-stop resource explains culturally responsive teaching conceptually and offers practical ways to apply in the classroom - Specifically addresses culturally responsive teaching in music education context, with vivid first-person examples from music educators - Single-authored narrative makes this book clear and accessible for students

This book explores the narratives of a group of four-year-old children in a composition project in an Australian early learning centre. The participants, centre staff and a composer, Stephen Leek, contributed a number of music sessions for the children, including five original songs. The book showcases young children's communicative ability and sensitivity to wider issues. The staff in the centre have a strongly voiced philosophy that is enacted through arts-based pedagogy and incorporates significant themes including a respect for Aboriginal culture and custodial responsibility towards a sustainable future for the earth. Examples of adult and children's ideas are illustrated through music making, singing, dancing, words, drawings and paintings, which provide insights into a world where children are viewed as active citizens and the arts have rights. The book describes the context of the centre, the history of projects and details one project as an example of "lifeworthy learning".

This Too is Music guides and motivates teachers to foster playful and motivating classroom conditions that enable elementary students to thrive as musicians in every way-as singers, improvisers, critical listeners, storytellers, dancers, performers, and composers. Told through anecdotes and illustrated with musical examples, the book explores how all of these aspects of music making are intertwined, quelling any doubts teachers may have regarding their abilities to create an environment where children can improvise, dance, compose, and notate their musical offerings. While the book acknowledges the importance of traditional approaches to teaching notation and performance, the emphasis is on the student's point of view, illustrating how young musicians can learn when their musical ideas are honored and celebrated. Various teaching ideas are presented-some exploratory in nature, others involving direct instruction. Regardless of their nature, all of the activities arise from research on children's musical development in general and their development of notational systems in particular. The ideas and activities have been tested in multiple elementary-classroom environments and pre-service settings. The activities center on music through movement, song, various types of performances, improvisation, and composition and notational development. These activities, which encompass both small-scale classroom lessons and large-scale productions, engage children across subjects, including language, drama, and mathematics. Activities encompass both small-scale classroom lessons and large-scale productions. The book underscores the timeless quality of this pedagogy; even in our digital age, this musical environment appeals to children. The work invites readers to adapt the ideas to their own teaching settings, showing both pre-service and established teachers that they can teach music creatively to build community and to inspire all who enter there.

This is an essential text on an important area of the music curriculum consistently judged weak or inadequate by school inspectors in Britain. It covers social, physiological, musical, and pedagogical aspects of young adolescent singing, with focus on Key Stage 3 (ages 11-14) and the progression from primary school. Grounded in extensive research and authoritatively written, it uses case studies to illustrate best practice, and introduces the principles of cambiata, a dedicated approach to the adolescent voice. Other chapters contain practical and proven advice on repertoire, technique, and the motivation of reluctant singers, boosting the confidence of teachers for whom choral work is not the main specialism.