Music education has historically had a tense relationship with social justice. One the one hand, educators concerned with music practices have long preoccupied themselves with ideas of open participation and the potentially transformative capacity that musical interaction fosters. On the other hand, they have often done so while promoting and privileging a particular set of musical practices, traditions, and forms of musical knowledge, which has in turn alienated and even excluded many children from music education opportunities. Teaching multicultural practices, for example, has historically provided potentially useful pathways for music practices that are widely thought to be socially just. However, curricula often map alien musical values onto other musics and in so doing negate the social value of these practices, grounding them in a politics of difference wherein "recognition of our difference" limits the push that might take students from tolerance to respect and to renewed understanding and interaction. The Oxford Handbook of Social Justice in Music Education provides a comprehensive overview and scholarly analyses of the major themes and issues relating to social justice in musical and educational practice and scholastic inquiry worldwide. The first section of the handbook conceptualizes social justice while framing its pursuit within broader social, historical, cultural, and political contexts and concerns. Authors in the succeeding sections of the handbook fill out what social justice entails for music teaching and learning in the home, school, university, and wider community as they grapple with issues of inclusivity and diversity, alienation, intolerance, racism, ableism, and elitism, or relating to urban and incarcerated youth, immigrant and refugee children, and, more generally, cycles of injustice that might be perpetuated by music pedagogy. The concluding section of the handbook offers specific and groundbreaking practical examples of social justice in action through a variety of educational and social projects and pedagogical practices that might inspire and guide those wishing to confront and attempt to ameliorate musical or other inequity and injustice. Consisting of 42 chapters by authors from Australia, Brazil, Canada, China, England, Finland, Greece, The Netherlands, Norway, Scotland, Spain, South Africa, Sweden, and the United States, the handbook will be of interest to a wide audience, ranging from undergraduate and graduate music education majors and faculty in music and other disciplines and fields to parents and other interested members of the public wishing to better understand what is social justice and why and how its pursuit in and through music education matters.

Creative and Critical Projects in Classroom Music is both a celebration and extension of John Paynter and Peter Aston’s groundbreaking work on creative classroom music, Sound and Silence, first published in 1970. Building on the central themes of the original work – the child as artist, the role of musical imagination and creativity, and the process of making music – the authors and contributors provide a contemporary response to the spirit and style of Sound and Silence. They offer reflections on the ideas and convictions underpinning Paynter and Aston’s work in light of scholarship developed during the intervening years. This critical work is accompanied by 16 creative classroom projects designed and enacted by contemporary practitioners, raising questions about the nature and function of music in education and society. In summary, this book aims to: Celebrate seminal work on musical creativity in the classroom. Promote the integration of practical, critical and analytical writing and thinking around this key theme for music education. Contribute to initiating the next 50 years of thought in relation to music creativity in the classroom. Offering a unique combination of critical scholarship and practical application, and published on the occasion of the 50th anniversary of Sound and Silence, themes from Paynter and Aston’s work are here given fresh context that aims to inspire a new generation of innovative classroom practice and to challenge current ways of thinking about the music classroom.

Creative and Critical Projects in Classroom Music is both a celebration and extension of John Paynter and Peter Aston's groundbreaking work on creative classroom music, Sound and Silence, first published in 1970. Building on the central themes of the original work - the child as artist, the role of musical imagination and creativity, and the process of making music - the authors and contributors provide a contemporary response to the spirit and style of Sound and Silence. They offer reflections on the ideas and convictions underpinning Paynter and Aston's work in light of scholarship developed during the intervening years. This critical work is accompanied by 16 creative classroom projects designed and enacted by contemporary practitioners, raising questions about the nature and function of music in education and society. In summary, this book aims to: Celebrate seminal work on musical creativity in the classroom. Promote the integration of practical, critical and analytical writing and thinking around this key theme for music education. Contribute to initiating the next 50 years of thought in relation to music creativity in the classroom. Offering a unique combination of critical scholarship and practical application, and published on the occasion of the 50th anniversary of Sound and Silence, themes from Paynter and Aston's work are here given fresh context that aims to inspire a new generation of innovative classroom practice and to challenge current ways of thinking about the music classroom.

Music education has undergone a remarkable transformation in recent years. Whereas lessons were once characterised by their passivity, children now learn about music through actively engaging in it by performing, composing, listening and appraising. This reader places music education in context and then goes on to examine a range of issues linked to the teaching and learning of music. The latter half of the book concentrates on music education within the classroom, highlighting the kinds of points which all teachers of music will have to consider.

Teaching Music in Secondary Schools is the accompaniment to its practical-based counterpart in this series Aspects in Teaching Secondary Music. Together they form a comprehensive resource for those engaged with Initial Teacher Training and Continuing Professional Development in Music. Through this reader, student teachers and practising teachers will be introduced to the big issues and ideas abounding in music teaching today. As Gary Spruce puts it himself: if this book were to have a subtitle it would be 'Ways of Thinking About Music'. Our conception of what music is is a crucial factor in defining what we consider important subject knowledge to be, and by implication affects how we design our curriculum, what we teach and the way we teach it.
This key text will prove invaluable in the advancement of teachers' and subsequently pupils' understanding of music and its applications.

Making Music in the Primary School is an essential guide for all student and practising primary school teachers, instrumental teachers and community musicians involved in music with children. It explores teaching and learning music with the whole class and provides a framework for successful musical experiences with large groups of children. Striking the perfect balance between theory and practice, this invaluable text includes case studies and exemplars, carefully designed activities to try out in the classroom, as well as a range of tried-and-tested teaching strategies to help you support and develop children's musical experience in the classroom. Grounded within a practical, philosophical and theoretical framework, the book is structured around the four key principles that underpin effective music teaching and experience: Integration - how can we join up children's musical experiences? Creativity - how can we support children's musical exploration? Access and Inclusion - how can we provide a relevant experience for every child? Collaboration - how might we work together to achieve these aims? Written in a clear, accessible and engaging style, Making Music in the Primary School will give you all the confidence you need when working with whole classes, whatever your musical or teaching background.

Making Music in the Primary School is an essential guide for all student and practising primary school teachers, instrumental teachers and community musicians involved in music with children. It explores teaching and learning music with the whole class and provides a framework for successful musical experiences with large groups of children. Striking the perfect balance between theory and practice, this invaluable text includes case studies and exemplars, carefully designed activities to try out in the classroom, as well as a range of tried-and-tested teaching strategies to help you support and develop children's musical experience in the classroom. Grounded within a practical, philosophical and theoretical framework, the book is structured around the four key principles that underpin effective music teaching and experience: Integration - how can we join up children's musical experiences? Creativity - how can we support children's musical exploration? Access and Inclusion - how can we provide a relevant experience for every child? Collaboration - how might we work together to achieve these aims? Written in a clear, accessible and engaging style, Making Music in the Primary School will give you all the confidence you need when working with whole classes, whatever your musical or teaching background.

Teaching Music in Secondary Schools is the accompaniment to its practical-based counterpart in this series Aspects in Teaching Secondary Music. Together they form a comprehensive resource for those engaged with Initial Teacher Training and Continuing Professional Development in Music. Through this reader, student teachers and practising teachers will be introduced to the big issues and ideas abounding in music teaching today. As Gary Spruce puts it himself: if this book were to have a subtitle it would be 'Ways of Thinking About Music'. Our conception of what music is is a crucial factor in defining what we consider important subject knowledge to be, and by implication affects how we design our curriculum, what we teach and the way we teach it.
This key text will prove invaluable in the advancement of teachers' and subsequently pupils' understanding of music and its applications.

Contents:
Introduction Ways of Thinking about Music Gary Spruce Part 1: Music Education in Context 1. Onward from Butler Bernarr Rainbow 2. Music Education before the National Curriculum Keith Swanwick Part 2: Teaching and Learning Music 3. The Developmental Psychology of Music: Scope and Aims David Hargreaves 4. Music Education and the Natural Learning Model Margaret Barrett N 5. In Search of a Child's Musical Imagination Robert Walker 6. Creativity as Creative Thinking Peter Webster 7. Creativity and Special Needs: A Suggested Framework for Technology Applications David Collins 8. Musical Development in the Primary Years Janet Mills Part 3: Issues in Music Education 9. Gender, Musical Meaning and Education Lucy Green 10. Music With Emotionally Disturbed Children Yvonne Packer 11. Music Education and a European Dimension Janet Hoskyns 12. Concepts of World Music and their Integration within Western Secondary Music Education Jonathon P.J.Stock 13. Assessment in the Arts: Issues of Objectivity Gary Spruce Part 4: Music Education and the Classroom 14. Music Education as I see it: A Report of an Interview with a Seventeen Year Old Student Concerning His Music Education George Odam 15. Classroom Management for Beginning Music Educators Margaret Merrion 16. RX for Technophobia Kurt Kassner 17. MIDI-assisted Composing in your Classroom Sam Reese 18. Putting Listening First: A Case of Priorities Philip Priest 19. Designing a Teaching Model for Popular Music Peter Dunbar-Hall 20. Classroom Improvisation Derek Bailey 21. Instrumental Teaching as Music Teaching Keith Swanick Part 5: Music Education Research 22. Some Observations on Research and Music Education Keith Swanick

Music education has historically had a tense relationship with social justice. One the one hand, educators concerned with music practices have long preoccupied themselves with ideas of open participation and the potentially transformative capacity that musical interaction fosters. On the other hand, they have often done so while promoting and privileging a particular set of musical practices, traditions, and forms of musical knowledge, which has in turn alienated and even excluded many children from music education opportunities. The Oxford Handbook of Social Justice in Music Education provides a comprehensive overview and scholarly analyses of the major themes and issues relating to social justice in musical and educational practice worldwide. The first section of the handbook conceptualizes social justice while framing its pursuit within broader contexts and concerns. Authors in the succeeding sections of the handbook fill out what social justice entails for music teaching and learning in the home, school, university, and wider community as they grapple with cycles of injustice that might be perpetuated by music pedagogy. The concluding section of the handbook offers specific practical examples of social justice in action through a variety of educational and social projects and pedagogical practices that will inspire and guide those wishing to confront and attempt to ameliorate musical or other inequity and injustice. Consisting of 42 chapters by authors from across the globe, the handbook will be of interest to anyone who wishes to better understand what social justice is and why its pursuit in and through music education matters.

Aspects of Teaching Secondary Music provides a practical illustration of the skills, knowledge and understanding required to teach music in the secondary classroom. Musical concepts and ideas are discussed and a critical examination of key issues is given. This encourages the reader to engage with these thoughts and consider their views and beliefs in terms of how they will influence their potential to teach music in an inspired and effective manner.
Gary Spruce draws on his long experience as a practitioner for the good of this book, with can be used along side the reader: Teaching Music in the Secondary School to form a comprehensive resource for those studying for the PGCE. These combinations of practical and theoretical books are available in a range of subjects to accommodate all on the course.

eBook available with sample pages: 0203166973