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This book addresses the need to rethink the concept and enactment
of professionalism in music, and how such concepts underpin
professional higher music education. There is an urgent imperative
to enable the potential of professional musicians in our
contemporary societies to be more fully realised, recognising both
intense challenges that are currently threatening some traditional
music practices, and significant scope for new practices to be
imagined in response to deep veins of societal need.
Professionalism encompasses the conduct, aims, values,
responsibilities and ongoing development of a practising
professional in the field. Professional higher music education
engages both with providing future professionals with relevant
education in particular craft skills, and with nurturing their
visions for their work as artists in future societies. The major
focus of the book is on performance traditions that have dominated
professional higher education, notably western classical music.
In higher music education, learning in social settings (orchestras,
choirs, bands, chamber music and so on) is prevalent, yet
understanding of such learning rests heavily on the transmission of
knowledge and skill from master to apprentice. This narrow view of
learning trajectories pervades in both one-to-one and one-to-many
contexts. This is surprising given the growing body of knowledge
about the power of collaborative learning in general, underpinned
by theoretical developments in educational psychology: the social
dimensions of learning, situational learning and concepts of
communities of learners. Collaborative Learning in Higher Music
Education seeks to respond to the challenge of becoming more
conscious of the creative and multiple dimensions of social
interaction in learning music, in contexts ranging from
interdisciplinary projects to one-to-one tuition, and not least in
the contemporary context of rapid change in the cultural industries
and higher education as a whole. It brings together theoretical
papers and case studies of practice. Themes covered include
collaborative creativity, communities of practice, peer-learning,
co-teaching as co-learning, assessment and curriculum structures.
Chapters illuminate reasons for enabling collaborative learning,
and provide exemplars of innovative practice and designs for
collaborative learning environments in higher music education. A
central purpose of the book is to scaffold change, to help in
meeting the rapid changes in society and to find constructive
stepping stones or signposts for teachers and students.
This book addresses the need to rethink the concept and enactment
of professionalism in music, and how such concepts underpin
professional higher music education. There is an urgent imperative
to enable the potential of professional musicians in our
contemporary societies to be more fully realised, recognising both
intense challenges that are currently threatening some traditional
music practices, and significant scope for new practices to be
imagined in response to deep veins of societal need.
Professionalism encompasses the conduct, aims, values,
responsibilities and ongoing development of a practising
professional in the field. Professional higher music education
engages both with providing future professionals with relevant
education in particular craft skills, and with nurturing their
visions for their work as artists in future societies. The major
focus of the book is on performance traditions that have dominated
professional higher education, notably western classical music.
In higher music education, learning in social settings (orchestras,
choirs, bands, chamber music and so on) is prevalent, yet
understanding of such learning rests heavily on the transmission of
knowledge and skill from master to apprentice. This narrow view of
learning trajectories pervades in both one-to-one and one-to-many
contexts. This is surprising given the growing body of knowledge
about the power of collaborative learning in general, underpinned
by theoretical developments in educational psychology: the social
dimensions of learning, situational learning and concepts of
communities of learners. Collaborative Learning in Higher Music
Education seeks to respond to the challenge of becoming more
conscious of the creative and multiple dimensions of social
interaction in learning music, in contexts ranging from
interdisciplinary projects to one-to-one tuition, and not least in
the contemporary context of rapid change in the cultural industries
and higher education as a whole. It brings together theoretical
papers and case studies of practice. Themes covered include
collaborative creativity, communities of practice, peer-learning,
co-teaching as co-learning, assessment and curriculum structures.
Chapters illuminate reasons for enabling collaborative learning,
and provide exemplars of innovative practice and designs for
collaborative learning environments in higher music education. A
central purpose of the book is to scaffold change, to help in
meeting the rapid changes in society and to find constructive
stepping stones or signposts for teachers and students.
Music, Education, and Religion: Intersections and Entanglements
explores the critical role that religion can play in formal and
informal music education. As in broader educational studies,
research in music education has tended to sidestep the religious
dimensions of teaching and learning, often reflecting common
assumptions of secularity in contemporary schooling in many parts
of the world. This book considers the ways in which the forces of
religion and belief construct and complicate the values and
practices of music education—including teacher education,
curriculum texts, and teaching repertoires. The contributors to
this volume embrace a range of perspectives from a variety of
disciplines, examining religious, agnostic, skeptical, and
atheistic points of view. Music, Education, and Religion is a
valuable resource for all music teachers and scholars in related
fields, interrogating the sociocultural and epistemological
underpinnings of music repertoires and global educational
practices.
Music, Education, and Religion: Intersections and Entanglements
explores the critical role that religion can play in formal and
informal music education. As in broader educational studies,
research in music education has tended to sidestep the religious
dimensions of teaching and learning, often reflecting common
assumptions of secularity in contemporary schooling in many parts
of the world. This book considers the ways in which the forces of
religion and belief construct and complicate the values and
practices of music education-including teacher education,
curriculum texts, and teaching repertoires. The contributors to
this volume embrace a range of perspectives from a variety of
disciplines, examining religious, agnostic, skeptical, and
atheistic points of view. Music, Education, and Religion is a
valuable resource for all music teachers and scholars in related
fields, interrogating the sociocultural and epistemological
underpinnings of music repertoires and global educational
practices.
This open access book examines the political structures and
processes that frame and produce understandings of diversity in and
through music education. Recent surges in nationalist,
fundamentalist, protectionist and separatist tendencies highlight
the imperative for music education to extend beyond nominal policy
agendas or wholly celebratory diversity discourses. Bringing
together high-level theorisation of the ways in which music
education upholds or unsettles understandings of society and
empirical analyses of the complex situations that arise when
negotiating diversity in practice, the chapters in this volume
explore the politics of inquiry in research; examine music
teachers' navigations of the shifting political landscapes of
society and state; extend conceptualisations of diversity in music
education beyond familiar boundaries; and critically consider the
implications of diversity for music education leadership. Diversity
is thus not approached as a label applied to certain individuals or
musical repertoires, but as socially organized difference, produced
and manifest in various ways as part of everyday relations and
interactions. This compelling collection serves as an invitation to
ongoing reflexive inquiry; to deliberate the politics of diversity
in a fast-changing and pluralist world; and together work towards
more informed and ethically sound understandings of how diversity
in music education policy, practice, and research is framed and
conditioned both locally and globally.
This open access book examines the political structures and
processes that frame and produce understandings of diversity in and
through music education. Recent surges in nationalist,
fundamentalist, protectionist and separatist tendencies highlight
the imperative for music education to extend beyond nominal policy
agendas or wholly celebratory diversity discourses. Bringing
together high-level theorisation of the ways in which music
education upholds or unsettles understandings of society and
empirical analyses of the complex situations that arise when
negotiating diversity in practice, the chapters in this volume
explore the politics of inquiry in research; examine music
teachers' navigations of the shifting political landscapes of
society and state; extend conceptualisations of diversity in music
education beyond familiar boundaries; and critically consider the
implications of diversity for music education leadership. Diversity
is thus not approached as a label applied to certain individuals or
musical repertoires, but as socially organized difference, produced
and manifest in various ways as part of everyday relations and
interactions. This compelling collection serves as an invitation to
ongoing reflexive inquiry; to deliberate the politics of diversity
in a fast-changing and pluralist world; and together work towards
more informed and ethically sound understandings of how diversity
in music education policy, practice, and research is framed and
conditioned both locally and globally.
This open access book highlights the importance of visions of
alternative futures in music teacher education in a time of
increasing societal complexity due to increased diversity. There
are policies at every level to counter prejudice, increase
opportunities, reduce inequalities, stimulate change in educational
systems, and prevent and counter polarization. Foregrounding the
intimate connections between music, society and education, this
book suggests ways that music teacher education might be an arena
for the reflexive contestation of traditions, hierarchies,
practices and structures. The visions for intercultural music
teacher education offered in this book arise from a variety of
practical projects, intercultural collaborations, and
cross-national work conducted in music teacher education. The
chapters open up new horizons for understanding the tension-fields
and possible discomfort that music teacher educators face when
becoming change agents. They highlight the importance of
collaborations, resilience and perseverance when enacting visions
on the program level of higher education institutions, and the need
for change in re-imagining music teacher education programs.
This open access book highlights the importance of visions of
alternative futures in music teacher education in a time of
increasing societal complexity due to increased diversity. There
are policies at every level to counter prejudice, increase
opportunities, reduce inequalities, stimulate change in educational
systems, and prevent and counter polarization. Foregrounding the
intimate connections between music, society and education, this
book suggests ways that music teacher education might be an arena
for the reflexive contestation of traditions, hierarchies,
practices and structures. The visions for intercultural music
teacher education offered in this book arise from a variety of
practical projects, intercultural collaborations, and
cross-national work conducted in music teacher education. The
chapters open up new horizons for understanding the tension-fields
and possible discomfort that music teacher educators face when
becoming change agents. They highlight the importance of
collaborations, resilience and perseverance when enacting visions
on the program level of higher education institutions, and the need
for change in re-imagining music teacher education programs.
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