Music education in Canada is a vast enterprise that encompasses teaching and learning in thousands of public and private schools, community groups, and colleges and universities. It involves participants from infancy to the elderly in formal and informal settings. Nevertheless, as post-secondary faculties of music and programs are growing significantly, academic books and materials grounded in a Canadian perspective are scarce. This book attempts to fill that need by offering a collection of essays that look critically at various global issues in music education from a Canadian perspective. Topics range from a discussion of the roots of music education in Canada and analysis of music education practices across the country to perspectives on popular music, distance education, technology, gender, globalization, Indigenous traditions, and community music in music education. Foreword by composer R. Murray Schafer.
Music education in Canada is a vast enterprise that encompasses teaching and learning in thousands of public and private schools, community groups, and colleges and universities. It involves participants from infancy to the elderly in formal and informal settings. Nevertheless, as post-secondary faculties of music and programs are growing significantly, academic books and materials grounded in a Canadian perspective are scarce. This book attempts to fill that need by offering a collection of essays that look critically at various global issues in music education from a Canadian perspective. Topics range from a discussion of the roots of music education in Canada and analysis of music education practices across the country to perspectives on popular music, distance education, technology, gender, globalization, Indigenous traditions, and community music in music education. Foreword by composer R. Murray Schafer.
In Irma Collins’ Dictionary of Music Education, readers find more than just a lexicon. It is a journey through musical times and the story of the evolution of music education. Dictionary of Music Education includes entries on key individuals, critical terms, important events, and notable organizations, offering readers a broad survey of the field of music education.
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.
Twenty-three contributors turn a critical lens on the dominant music education paradigm to examine how we teach, what we teach, for what we teach, what is expected of teachers and how we teach them, whom we should be teaching, and the very assumptions and structures of which we base our practice.
Viewing the plurality of creativity in music as being of paramount importance to the field of music education, The Routledge Companion to Creativities in Music Education provides a wide-ranging survey of practice and research perspectives. Bringing together philosophical and applied foundations, this volume draws together an array of international contributors, including leading and emerging scholars, to illuminate the multiple forms creativity can take in the music classroom, and how new insights from research can inform pedagogical approaches. In over 50 chapters, it addresses theory, practice, research, change initiatives, community, and broadening perspectives. A vital resource for music education researchers, practitioners, and students, this volume helps advance the discourse on creativities in music education.
Music Learning and Teaching in Infancy, Childhood, and Adolescence is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, the second book in this set explores a broad array of key issues, concepts, and debates related to music learning and teaching in three phases of a child's development. The first section provides an expanded view of infancy and early childhood, embracing a key theme that most young children's early music-making is improvised and used to communicate with others and the self. These chapters demonstrate the importance of "motherese" or "parentese" to young children's overall development, the extraordinary diversity and richness of children's early musical engagement, and how this can be viewed as a resource for further learning. The second section is devoted to the learning and teaching of music during the middle years of childhood, when music is often a mandated part of the school curriculum. While recognizing the enormous cultural and national differences, chapters in this section give an overview of many varied and innovative forms of musical learning and teaching globally. The authors address issues related to the types of teachers who provide music instructions to children internationally, how they were educated and trained, and how various nations organize their curriculum in ways that provide children with access and opportunities to engage with music in the classroom. The third section focuses on the musical experiences and development of adolescents aged 12 to 18. These chapters explore the role of music in the lives of young people-including how they use and relate to music, how music educators can best meet students' needs, and the types of musical engagement that can either empower or disempower students through involvement in school music. Contributors Mayumi Adachi, Randall Everett Allsup, Janet R. Barrett, Margaret S. Barrett, Brydie-Leigh Bartleet, Lily Chen-Hafteck, Richard Colwell, Sharon G. Davis, George M. DeGraffenreid, Steven C. Dillon, Magne I. Espeland, Martin Fautley, Eve Harwood, Lee Higgins, Beatriz Ilari, Neryl Jeanneret, Chee-Hoo Lum, Stephen Malloch, Esther Mang, Kathryn Marsh, Gary E. McPherson, Oscar Odena, Chris Philpott, S. Alex Ruthmann, Eric Shieh, Gary Spruce, Johannella Tafuri, Sandra E. Trehub, Colwyn Trevarthen, Kari K. Veblen, Graham F. Welch, Heidi Westerlund, Jackie Wiggins, Ruth Wright, Susan Young
Mapping Canada’s Music is a selection of writings by the late Canadian music librarian and historian Helmut Kallmann (1922–2012). Most of the essays deal with aspects of Canadian music, but some are also autobiographical, including one written during retirement in which Kallmann recalls growing up in a middle-class Jewish family in 1930s Berlin under the spectre of Nazism. Of the seventeen selected writings by Kallmann, five have never before been published; many of the others are from difficult-to-locate sources. They include critical and research essays, reports, reflections, and memoirs. Each chapter is prefaced with an introduction by the editors. Two initial chapters offer a biography of Kallmann and an assessment of his contributions to Canadian music. The variety, breadth, and scope of these writings confirm Kallmann’s pioneering role in Canadian music research and the importance of his legacy to the cultural life of his adopted country. In the current climate of cuts to archival collections and services, the publication of these essays by and about a pre-eminent collector and historian serves as a timely reminder of the importance of cultural memory.
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.
