A New Framework for Music Education Knowledge and Skill
by Si Millican
This study investigates perceptions of secondary school band and orchestra teachers regarding the relative importance... more This study investigates perceptions of secondary school band and orchestra teachers regarding the relative importance of knowledge and skill categories to professional success, using a framework modeled after Schulman (1986, 1987). Band and orchestra teachers in secondary schools (N = 214) complete an anonymous, online survey ranking the relative importance of various knowledge and skill categories. Participants rank pedagogical content knowledge, content knowledge, and general pedagogical knowledge highest. There are no significant differences in the rankings of the categories among various subgroups at the p < .05 level. Results confirm the applicability of Schulman's model to music education. This framework has implications for undergraduate, graduate, and continuing professional education. Analysis of categories' interaction provides insight into effective classroom instruction.
A Research Agenda for Alternative Licensure Programs in Music Education
Co-authored with Barbara J. Resch, Carla E. Aguilar, Carol McDowell, and Laura Artesani
doi: 10.1177/1057083710377718 Journal of Music Teacher Education April 2011 vol. 20 no. 2 78-88
Over the past 25 years, alternative certification has emerged as a realistic option for obtaining teacher... more Over the past 25 years, alternative certification has emerged as a realistic option for obtaining teacher certification in music. Although advocated by policy makers and embraced by career changers, music teacher educators have frequently viewed the role of content knowledge and pedagogical training in these programs with a high degree of skepticism. This article provides an overview of the organizational schemes used in graduate and nondegree alternative certification programs at universities, school districts, and other entities. A research agenda is provided that is designed to stimulate academic scholarship on alternative certification policies and programs and their impact on candidate quality, music education programs, and the music education profession overall.
Music listening circles: Contributions from development education to democratising classical music
by Danilo Chaib
Cite article as: Chaib, D (2010) 'Music listening circles: Contributions from development education to democratising classical music developments' in Policy & Practice: A Development Education Review, Vol. 10, Spring 2010, pp.42-58, available at: http://www.developmenteducationreview.com/issue10-focus1
Development education (DE) has made and continues to make a significant contribution to music education. Specifically,... more Development education (DE) has made and continues to make a significant contribution to music education. Specifically, Freire’s culture circles have evolved into two musical and literacy education approaches towards dialogic learning in Spain. Through the work of many scholars these Freirean circles have now morphed into two new categories: a) ‘tertulias dialógicas literarias’ or ‘dialogical literacy circles’ reflecting the literacy approach; and b) ‘tertulias dialógicas musicales’ or ‘dialogical music listening circles’, reflecting the musical education approach. In this article, Danilo Martins de Castro Chaib examines how the theory underlining the practice of the music circle impacts and alters our understanding of how Pierre Bourdieu’s theory of cultural capital relates to Iris Young’s cultural imperialism. It will look at the social groups that support these circles such as the federations and confederations created by the participant groups. It will also examine how particular practices coming from the field of development education assist these culture circles in achieving their key objective, i.e. the wider appreciation of music and literature by facilitating the creation of new interpretations and developing tastes born of the particular cultural background of each participant.
Download (.pdf) Musicianship, Musical Identity, and Meaning as Embodied Practice
by David Hebert
Hebert, D. G. (2009). Musicianship, Musical Identity and Meaning as Embodied Practice. In T. Regelski & J. T. Gates (Eds.), Music Education for Changing Times: Guiding Visions for Practice (pp.39-55). Dordrecht and New York: Springer Press.
Based on topics that frame the debate about the future of professional music education, this book explores the issues... more
Based on topics that frame the debate about the future of professional music education, this book explores the issues that music teachers must confront in a rapidly shifting educational landscape.
The book aims to challenge thought and change minds. It presents a star cast of internationally prominent thinkers in and beyond music education. These thinkers deliberately challenge many time-worn traditions in music education with regard to musicianship, culture and society, leadership, institutions, interdisciplinarity, research and theory, and curriculum. This is the first book to confront these issues in this way.
This unique book has emerged from fifteen years of international dialog by The MayDay Group, an organization of more than 250 music educators from over 20 countries who meet yearly to confront issues in music teaching and learning.
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Extending the idea that music has new meanings, David Hebert argues for music (and therefore music education) as embodied culture, and thus urges a more visceral music learning process. Citing examples from a variety of well-known musical traditions, Hebert supports a music education rationale based on humans' capacity for being multi- musical, bringing this capacity to bear on music learning much more systematically than traditional music teaching systems do in most classrooms. This stretches the students (and, of course, the teacher) and encourages them to reach toward the unfamiliar with both confidence and curiosity.
To bring this off within school programs, teachers must recognize that factors of identity play important roles, both in terms of personal self-actualization and in collective identities that are embodied and maintained by institutions. In pursuit of this idea, Hebert explores "fundamentalism" as a feature of identity that resists what he calls "hybridity" and change, but which yields when meaningful avenues for embodied musical experiences are expanded for students. Hebert closes with implications for policy and practice in music teaching and learning.
Five Challenges and Solutions in Online Music Teacher Education.
by David Hebert
Research and Issues in Music Education. Available online, open-access in RIME vol. 5. A response by Kenneth H. Phillips and the author's rejoinder is in RIME vol. 6.
An examination of issues and challenges in the management of online music degree programs. Five key issues are... more
An examination of issues and challenges in the management of online music degree programs. Five key issues are discussed: (1) prejudice regarding the legitimacy of online degrees; (2) coordination between distance education and music departments; (3) pressure to maximize profits at the expense of educational quality; (4) management of adjunct music instructors; and (5) management of student behavior and provision of student services. The author acknowledges criticisms, proposes solutions to various problems, and identifies both the potential strengths and future opportunities associated with online degree programs.
A response by Kenneth H. Phillips and the author's rejoinder is in RIME vol. 6:
See http://www.stthomas.edu/rimeonline/vol5/index.htm
(vol. 5)
Also see http://www.stthomas.edu/rimeonline/vol6/index.htm
(vol. 6)
Rock music in American schools: Positions and practices since the 1960s
by David Hebert
International Journal of Music Education
The challenge that rock music has historically faced in achieving widespread acceptance within American music... more The challenge that rock music has historically faced in achieving widespread acceptance within American music education can be attributed to six common arguments: 1) Rock music is aesthetically inferior; 2) Rock music is damaging to the health of youth; 3) School time cannot be spent on the vernacular; 4) Music teachers are not trained in rock; 5) Rock music encourages rebelliousness and anti-educational behavior; and 6) Rock music curriculum is difficult to acquire. The strengths and weaknesses of each of these six claims is herein analyzed, and the authors' conclusions discuss the potential benefits of rock music studies.
Educating Professional Musicians for a Multicultural Society
by David Hebert
Hebert, D. G. (2010). Educating Professional Musicians for a Multicultural Society: Emerging Issues and New Developments. In proceedings of Orally Transmitted Music and Intercultural Education, symposium offered by EU Culture Initiative Music, Orality, Roots, Europe (MORE) at Cité de la Musique, Paris, France (December 3-4, 2009)
[http://www.music-orality-roots.eu/sites/default/files/MORE-Symposium1-
Discusses three themes associated with how globalization is currently changing the education of professional musicians... more Discusses three themes associated with how globalization is currently changing the education of professional musicians in multicultural societies: (1) opportunities and risks of information technologies, (2) changing concepts of music 'rights', and (3) responses to both political and religious fundamentalism in educational contexts. Describes a new postgraduate program that recently emerged in Northern Europe in response to the changing conditions: Master of Global Music program.
Music Learning and New Media in Virtual and Online Environments
by David Hebert
Prepublication draft. Ruthmann, S. A. & Hebert, D. G. (in press). Music learning and new media in virtual and online environments. In G. McPherson and G. Welch (Eds.), Oxford Handbook of Music Education. New York: Oxford University Press. http://ukcatalogue.oup.com/product/9780199928019.do
The recent shift, seen now in much of the world, from a traditional Eurocentric curriculum (typically emphasizing... more The recent shift, seen now in much of the world, from a traditional Eurocentric curriculum (typically emphasizing Western classical music) to one that embraces a wider diversity of musical practices is generally based upon an interrelated set of foundational arguments, many of which are quite relevant to the theme of online and virtual music learning. One impetus springs from the recognition that in many nations, the voices and histories of minority groups have tended to receive less attention in educational settings, leading to an undesirable reification of systemic cultural alienation. Through free and “user friendly” technologies, many contemporary youth are creating and sharing music online with personal websites and online networks of peers that celebrate shared musical interests. The use of such technologies for music learning enables lessons to be delivered in ways that are attractive to the new generation of students.
