A Brief Introduction To A Philosophy Of Music And Music Education As Social Praxis

Music and Music Education as Social Praxis is a brief introduction to a praxial theory of music education, defined by author. It is grounded in an interdisciplinary approach, for undergraduate and graduate students in music education. Drawing upon scholarship from a range of disciplines, including philosophy and sociology, the book emphasizes and highlights thinking of music as an active social practice and offers an alternative to existing approaches to music education. This text advocates for an alternative approach to teaching music, rooted in the social practice of music, and will supplement Foundations or Methods courses in the Music Education curriculum.

Music and Music Education as Social Praxis is a brief introduction to a praxial theory of music education, defined by author. It is grounded in an interdisciplinary approach, for undergraduate and graduate students in music education. Drawing upon scholarship from a range of disciplines, including philosophy and sociology, the book emphasizes and highlights thinking of music as an active social practice and offers an alternative to existing approaches to music education. This text advocates for an alternative approach to teaching music, rooted in the social practice of music, and will supplement Foundations or Methods courses in the Music Education curriculum.

Basics of Curriculum -- Traditional Philosophical Foundations of Curriculum -- Twentieth-Century Philosophical Foundations of Curriculum -- Contemporary Perspectives for Curriculum Theory. -- Curriculum Models from Educational Theory -- Curriculum as and for Music as Praxis.

Praxial Music Education is a collection of essays by nineteen internationally recognized scholars in music education. Each essay offers critical reflections on a key topic in contemporary music education. The starting point of each essay, and the unifying thread of this collection, is the "praxial" philosophy of music education explained in Elliott's Music Matters: A New Philosophy of Music Education (OUP, 1995). This philosophy argues for a socially and artistically grounded concept of music and music education, challenging the field's traditional "absolutist" foundations. Praxial Music Education is both a critical companion to Music Matters, and an independent text on contemporary issues in music education. Among the themes discussed are multicultural music education, the nature of musical understanding, early childhood music education, the nature and teaching of music listening, music curriculum development, and musical creativity. Praxial music education is a living theory. This unique collection will not only enrich discussions that already use Music Matters as their core, but will globalize current discussions and applications of the praxial philosophy and emphasize the positive and practical values of collaborative efforts in music education.

The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education offers global, comprehensive, and critical perspectives on a wide range of conceptual and practical issues in music education assessment, evaluation, and feedback as these apply to various forms of music education within schools and communities. The central aims of this Handbook focus on broadening and deepening readers' understandings of and critical thinking about the problems, opportunities, spaces and places, concepts, and practical strategies that music educators and community music facilitators employ, develop, and deploy to improve various aspects of music teaching and learning around the world.

A Concise Survey of Music Philosophy helps music students choose a philosophy that will guide them throughout their careers. The book is divided into three sections: central issues that any music philosophy ought to consider (e.g., beauty, emotion, and aesthetics); secondly, significant philosophical positions, exploring what major thinkers have had to say on the subject; and finally, opportunities for students to consider the ramifications of these ideas for themselves. Throughout the book, students are encouraged to make choices that will inform a philosophy of music and music education with which they are most comfortable to align. Frequently, music philosophy courses are taught in such a way that the teacher, as well as the textbook used, promotes a particular viewpoint. A Concise Survey of Music Philosophy presents the most current, prevalent philosophies for consideration. Students think through different issues and consider practical applications. There are numerous musical examples, each with links from the author’s home website to online video performances. Examples are largely from the Western classical canon, but also jazz, popular, and world music styles. In the last two chapters, students apply their views to practical situations and learn the differences between philosophy and advocacy. "Hodges has written an excellent resource for those wanting a short—but meaningful—introduction to the major concepts in music philosophy. Applicable to a number of courses in the music curriculum, this much-needed book is both accessible and flexible, containing musical examples, tables and diagrams, and additional readings that make it particularly useful for a student's general introduction to the topic. I especially like the emphasis on the personal development of a philosophical position, which makes the material especially meaningful for the student of music." —Peter R. Webster, Scholar-in-Residence, Thornton School of Music, University of Southern California, USA

Introduction -- The arts and social change -- The power of utopian thinking -- Transforming society -- Music education and utopia -- Conclusion.

Difference and Division in Music Education enriches existing diversity and social justice discourses by considering the responsibility of music education to respond to rising social discord and tensions. Although ‘hate’ is by no means a new concern for policymakers, educators, or musicians, the climate of fast communications, divisive politics, and intensified encounters with ‘difference’ has framed expressions of hate as a rising social problem to which we cannot afford complacency. This edited volume of ten contributed essays approaches ‘hate’ not as a monstrous aberration, but as a product of late modernity entangled within the complex power-relations that frame both governance and agency at the policy, institutional, and interpersonal levels. Schools, universities, and community organisations have been positioned on the front lines of addressing ‘hate’ and cultivating a healthy society. In recognising that music education is always both inclusive and exclusive, this volume interrogates the social norms and values that comprise the ‘common good’ and simultaneously cast certain musics, expressions, individuals, or social groups as different, divisive, hateful, or hated. Difference and Division in Music Education highlights the ethical and political dimensions of teaching and learning music across a number of geographical, cultural, and educational contexts and through a rich variety of perspectives.