Learning Teaching And Musical Identity

Musical identity raises complex, multifarious, and fascinating questions. Discussions in this new study consider how individuals construct their musical identities in relation to their experiences of formal and informal music teaching and learning. Each chapter features a different case study situated in a specific national or local socio-musical context, spanning 20 regions across the world. Subjects range from Ghanaian or Balinese villagers, festival-goers in Lapland, and children in a South African township to North American and British students, adults and children in a Cretan brass band, and Gujerati barbers in the Indian diaspora.

Music plays an important role in all our lives, and is a channel through which we can express emotions, thoughts, political statements, and social relationships. However, just as music can be a channel through which we express ourselves, it can also have a profound influence on our own developing sense of identity. This is the first book to explore the powerful effect that music can have as we develop our sense of identity, from adolescence through to adulthood. Bringing together leading experts from psychology and music, it will be a valuable addition to the music psychology literature, and essential for music psychologists, social and developmental psychologists, and educational psychologists.

This collection of previously published articles, chapters and keynotes traces both the theoretical contribution of Lucy Green to the emergent field of the sociology of music education, and her radical ?hands-on? practical work in classrooms and instrumental studios. The selection contains a mixture of material, from essays that have appeared in major journals and books, to some harder-to-find publications. It spans issues from musical meaning, ideology, identity and gender in relation to music education, to changes and challenges in music curricula and pedagogy, and includes Green?s highly influential work on bringing informal learning into formal music education settings. A newly-written introduction considers the relationship between theory and practice, and situates each essay in relation to some of the major influences, within and beyond the field of music education, which affected Green?s own intellectual journey from the 1970s to the present day.

Culturally Responsive Teaching in Music Education: From Understanding to Application, Second Edition, presents teaching methods that are responsive to how different culturally specific knowledge bases impact learning. It offers a pedagogy that recognizes the importance of including students’ cultural references in all aspects of learning. Designed as a resource for teachers of undergraduate and graduate music education courses, the book provides examples in the context of music education, with theories presented in Part I and a review of teaching applications in Part II. Culturally Responsive Teaching in Music Education is an effort to answer the question: How can I teach music to my students in a way that is culturally responsive? This book serves several purposes, by: Providing practical examples of transferring theory into practice in music education. Illustrating culturally responsive pedagogy within the classroom. Demonstrating the connection of culturally responsive teaching to the school and larger community. This Second Edition has been updated and revised to incorporate recent research on teaching music from a culturally responsive lens, new data on demographics, and scholarship on calls for change in the music curriculum. It also incorporates an array of new perspectives from music educators, administrators, and pre-service teachers—drawn from different geographic regions—while addressing the impact of the Covid-19 pandemic and the 2020 social justice protests.

The Handbook of Musical Identities explores three features of psychological approaches to musical identities and four real-life contexts in which musical identities have been investigated. The multidisciplinary breadth of the Handbook reflects the changes that are taking place in music, in digital technology, and in their role in society.

This book focuses on the stories of individuals--cooperating teachers and student teachers, undergraduate composers, singers and non-singers, Hispanic and white students, and instrumental music educators. Individually and collectively, these studies tell stories about the ways that people, places, and spaces in music education interact to shape identity. --from publisher description

In The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucia Frega have drawn together a variety of philosophical perspectives from the profession's most exciting scholars from all over the world. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere. Emphasizing clarity, fairness, rigour, and utility above all, The Oxford Handbook of Philosophy in Music Education will challenge music educators all over the world to make their own decisions and ultimately contribute to the conversation themselves.

How do young people evaluate music today? What does music mean to them? Where, and in what circumstances, does their encounter with music occur? It is in order to obtain answers to these questions, though chiefly in order to elucidate the relation of young people to music in general, that the Experience and Music Teaching (EMT) project has been carried on at the School of Music, Orebro University, Sweden, with the support of the National Agency for Education. The focus is on problems to do with young people's musical experience and music teaching in relation to cultural conditions and transcultural processes. The young people test and evaluate the music teaching they receive on the basis of their own experience. In their world there are no sharply defined boundaries between subjects, no dissection of subjects into fragments. Music for them is linked with the person and the interaction with the world around. The young people move in both a local and a global world and there is an interplay and relation between the cultural manifestations deriving from these two worlds.

Children are inherently musical. They respond to music and learn through music. Music expresses children's identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children's natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I'm working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts?This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children's lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.

The Musical Experience proposes a new concept - musical experience - as the most effective framework for navigating the shifting terrain of educational policy as it is applied to music education. The editors and contributors define musical experience as being characterized by the depth of affective and emotional responses that music generates. The chapters map out the primary forms of musical engagement - performing, listening, improvising, and composing - as activities which play a key role in classroom teaching. They also address the cultural scope of musical experience, which calls for the consideration of time, place, beliefs, and values to be placed upon musical activities. The Musical Experience discusses how music teachers can most effectively rely on means of musical communication to lead students toward the development and refinement of musical skills, understandings, and expression in educational settings. This book serves to expand upon the dimensions of musical experience and provides, from the forefront of the field, an integrated yet panoramic view of the educational processes involved in music teaching and learning.