Full Description
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. Other books that deal with music education reform often concentrate on non-musical topics at the expense of music listening, performance, and composition, or concentrate on only one of these at the expense of the others. This book, however, works with musical experience as a comprehensive framework for all aspects of music education. The editors and their contributors define musical experience as being characterized by the depth of affective and emotional responses that music engenders, and illustrate that its breadth is embodied in the infinite variety of meanings - both personal and communal - that music evokes. The essays map out the primary forms of musical engagement (performing, listening, improvising, composing, etc.) as activities which play a key role in classroom teaching. The chapters also address the cultural dimensions of musical experience, which call for consideration of time, place, beliefs, and values placed upon musical activities, works, and genres. The book 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. As a whole, the book expands 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.
Contents
Chapter 1: New Thinking for the Study of Music Teaching and Learning ; Janet R. Barrett and Peter R. Webster ; Section 1: Philosophy ; Chapter 2: Philosophical Musings: Reflections and Directions ; Betty Anne Younker ; Chapter 3: Escaping vs. Confronting Reality: Politics and Music Education in the Age of Entertainment ; Paul Woodford ; Section 2: Listening ; Chapter 4: Music Listening Vistas, Visions, and Vim ; Jody Kerchner ; Chapter 5: Life Music as a Beginning Point: Connecting with the Intuitive Listener ; Rob Dunn ; Chapter 6: Music Listening Spaces ; Carlos Xavier Rodriguez ; Section 3: Cultural Dimensions of Music Teaching and Learning ; Chapter 7: Finding Middle Ground: Music Education in Urban Settings ; Catherine Larsen ; Chapter 8: Framing Approaches to Multicultural Music Education in a Local Community ; Valerie Peters ; Chapter 9: Spaces for Student Voices: Composition in Schools and Issues of Social Justice ; Janice Smith ; Section 4: Creativity ; Chapter 10: Is a Virtual Composer in Residence an Oxymoron? ; Bruce Carter ; Chapter 11: Creative Application: A Way to Include Music Composition and Improvisation in a Comprehensive General Music Curriculum ; Lois Veenhoven Guderian ; Chapter 12: Fostering Creativity in the Performance Ensemble ; Kate Fitzpatrick ; Section 5: Evolving Roles ; Chapter 13: Reframing Leadership and the Musical Experience: The Conductor as Servant-Leader ; Ramona M. Wis ; Chapter 14: Reconsidering the Performing Ensemble Class and the Role of the Conductor/Teacher in Music Education ; David Zerull ; Section 6: Reconceptualizing Music Teacher Education ; Chapter 15: Preservice Music Teacher Education for the Conductor/Educator Role ; Margaret H. Berg ; Chapter 16: Music Education: Relevant and Meaningful ; David A. Williams ; Chapter 17: "No Actual Teaching": Expanding Preservice Music Teachers' Imaginaries of Teaching ; Teryl L. Dobbs ; Chapter 18: Building Bridges to Solve Puzzles: Strategic Curriculum Design in Music Teacher Education ; Michele Kaschub
