Valuing Music In Education

Noted music education and arts activist Charles Fowler has inspired music educators for more than 60 years. In this book, editor Craig Resta brings together the most important of Fowler's writings from the journal Musical America for new generations of readers. Here, Fowler speaks to many timeless issues including creativity and culture in the classroom, school funding, reform and policy, assessment and pedagogy, and equality and pluralism in music education. The articles are both research-based and practical, and helpful for many of the most important concerns in school-based advocacy and scholarly inquiry today. Resta offers critical commentary with compelling background to these enduring pieces, placing them in a context that clarifies the benefit of their message to music and arts education. Fowler's words speak to all who have a stake in music education: students, teachers, parents, administrators, performers, community members, business leaders, arts advocates, scholars, professors, and researchers alike. Valuing Music in Education is ideal for everyone who understands the critical role of music in schools and society.

Why teach music? Who deserves a music education? Can making and learning about music contribute to the common good? In Humane Music Education for the Common Good, scholars and educators from around the world offer unique responses to the recent UNESCO report titled Rethinking Education: Toward the Common Good. This report suggests how, through purpose, policy, and pedagogy, education can and must respond to the challenges of our day in ways that respect and nurture all members of the human family. The contributors to this volume use this report as a framework to explore the implications and complexities that it raises. The book begins with analytical reflections on the report and then explores pedagogical case studies and practical models of music education that address social justice, inclusion, individual nurturance, and active involvement in the greater public welfare. The collection concludes by looking to the future, asking what more should be considered, and exploring how these ideals can be even more fully realized. The contributors to this volume boldly expand the boundaries of the UNESCO report to reveal new ways to think about, be invested in, and use music education as a center for social change both today and going forward.

Increasingly, it is becoming evident that those involved in socio-musical studies must focus their investigative lens on musical practice and articulation of the self, on music and community involvement and on music as a social medium for social relationships. What motivates people to be involved in musical performance, and how do they articulate these needs and drives? What do performers gain from their involvement in musical activities? How do audience members perceive their relationship to the performer, the music and the event? These questions and many more are addressed here with the benefit of detailed empirical work, including case studies of a chamber music festival and a contemporary music summer school. Pitts investigates the value of musical participation for performers and audience members in a range of contexts, using a multi-disciplinary approach to place new empirical data in the framework of existing theory and literature. Themes examined include: the shared musical experience; the social structures of performing societies; how people identify with music; the values implicit in musical preferences; the social responsibilities of the performer; the audience view of concerts and festivals; the social power of music and educational implications and responsibilities. Pitts draws upon literature from musicology, sociology and psychology of music, ethnomusicology, music education and community music to demonstrate the diversity of enquiry about musical behaviours. The conclusions of the book are based upon empirical evidence gleaned through case studies, with the data integrated thematically throughout, to enable a greater depth of discussion than individual studies usually permit.

Increasingly, it is becoming evident that those involved in socio-musical studies must focus their investigative lens on musical practice and articulation of the self, on music and community involvement and on music as a social medium for social relationships. What motivates people to be involved in musical performance, and how do they articulate these needs and drives? What do performers gain from their involvement in musical activities? How do audience members perceive their relationship to the performer, the music and the event? These questions and many more are addressed here with the benefit of detailed empirical work, including case studies of a chamber music festival and a contemporary music summer school. Pitts investigates the value of musical participation for performers and audience members in a range of contexts, using a multi-disciplinary approach to place new empirical data in the framework of existing theory and literature. Themes examined include: the shared musical experience; the social structures of performing societies; how people identify with music; the values implicit in musical preferences; the social responsibilities of the performer; the audience view of concerts and festivals; the social power of music and educational implications and responsibilities. Pitts draws upon literature from musicology, sociology and psychology of music, ethnomusicology, music education and community music to demonstrate the diversity of enquiry about musical behaviours. The conclusions of the book are based upon empirical evidence gleaned through case studies, with the data integrated thematically throughout, to enable a greater depth of discussion than individual studies usually permit.

Pitts investigates the long term aims, impact and effects of music education in a school setting. Evaluating the extent to which school music provides a foundation for lifelong involvement in music, Pitts integrates empirical data with a review of historical and contemporary debates on the practices of music teaching and learning.

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This report is part of a national campaign for music education that aims to focus the nation's attention on the pressing need to include music and the other arts at the center of the school curriculum. The credo of this campaign is, "Just as there can be no music without learning, no education is complete without music." The meaning of this credo is spelled out in this report through a four-part argument. In chapter 1, "Our Culture Is Dying," the contention is made that through inattention to music and the other arts in schools, the nation is dehumanizing its own people--and particularly the children--not by design but by default. It is argued that music has intrinsic value for the learner, and that a knowledge of music is essential to an educated human being. In chapter 2,"Education Without Music," evidence is explored that music education is being pushed to the periphery in schools. Chapter 3, "Education With Music," underscores two areas of interest: first, the new, pathbreaking areas of research on the nature of intelligence and brain function that are linked to music; and second, the significant contributions that music education can make to all of education beyond its intrinsic value. Finally, in chapter 4, "Making It Happen: Mounting a National Effort," there is discussion of ways of putting the credo to work, including linking the benefits of music education to a national advocacy effort to bring music and the other arts to their basic role in U.S. education. Two appendices are included: list of witnesses before the National Commission on Music Education, and a list of endorsing and supporting organizations. (DB)