Southern Music Educators Plan for Roanoke

Gathering perspectives of musical talent from the psychological, musical, and educational fields, Kindling the Spark is the only single sourcebook that defines musical talent and provides practical strategies for identifying and nurturing it. Joanne Haroutounian uses her experience as teacher, researcher, and parent to clarify central issues concerning talent recognition and development in a way that will easily appeal to a wide audience. The book describes the different stages of development in musical training, including guidelines for finding a suitable teacher at different levels, social and psychological aspects that impact musical training, and research on talent development by ages and stages from infancy and preschool years through the teen years. An important feature of the book are "sparkler exercises" designed to provoke observable talent behavior in home, school, and studio settings. The book also includes an Appendix of Resources which lists books, media, organizations, and specialized schools that offer additional information on musical talent, identification, and development. For music educators in both public school and private studio settings--as well as for parents and their musically inclined children--Kindling the Spark provides an invaluable summary of the research on talent and a wealth of resources for developing it.

Teaching Music to Students with Special Needs

10.1093/oso/9780195395402.001.0001 ◽

2011 ◽

Cited By ~ 5

Author(s):

Alice M. Hammel ◽

Ryan M. Hourigan

Keyword(s):

Special Needs ◽

Best Practice ◽

Full Range ◽

Music Educators ◽

Field Trips ◽

Special Education Law ◽

Students With Special Needs ◽

Teaching Music ◽

Assessment Strategies ◽

Reference Manual

A practical guide & reference manual, Teaching Music to Students with Special Needs addresses special needs in the broadest possible sense to equip teachers with proven, research-based curricular strategies that are grounded in both best practice and current special education law. Chapters address the full range of topics and issues music educators face including parental involvement, student anxiety, field trips and performances, and assessment strategies. The book concludes with an up-to-date section of resources and technology information.

Community Service Learning with First Peoples

10.1093/oxfordhb/9780190219505.013.3 ◽

2018 ◽

Author(s):

Brydie-Leigh Bartleet ◽

Dawn Bennett ◽

Anne Power ◽

Naomi Sunderland

Keyword(s):

Service Learning ◽

Community Service ◽

Music Educators ◽

Learning Opportunities ◽

Community Music ◽

Culturally Appropriate ◽

Community Service Learning ◽

Intercultural Learning ◽

Music Making ◽

First Peoples

Community music educators worldwide face the challenge of preparing their students for working in increasingly diverse cultural contexts. These diverse contexts require distinctive approaches to community music-making that are respectful of, and responsive to, the customs and traditions of that cultural setting. The challenge for community music educators then becomes finding pedagogical approaches and strategies that both facilitate these sorts of intercultural learning experiences for their students and that engage with communities in culturally appropriate ways. This chapter unpacks these challenges and possibilities, and explores how the pedagogical strategy of community service learning can facilitate these sorts of dynamic intercultural learning opportunities. Specifically, it focuses on engaging with Australian First Peoples, and draws on eight years of community service learning in this field to inform the insights shared.

The Philosophy of Assessment in Music Education

The Oxford Handbook of Assessment Policy and Practice in Music Education, Volume 1 ◽

10.1093/oxfordhb/9780190248093.013.2 ◽

2019 ◽

pp. 32-55

Author(s):

Roger Mantie

Keyword(s):

Music Education ◽

Authentic Assessment ◽

Music Educators ◽

Local Communities ◽

Self Determination ◽

Common Theme ◽

Education Assessment ◽

Consequential Validity ◽

Mandated Testing

Philosophies of assessment are rare, perhaps even more so in music education. This chapter, arranged in five “movements” intended to reflect various ways of examining assessment issues, considers prominent themes emerging from the music education assessment literature, such as accountability, authentic assessment, consequential validity, legitimacy, mandated testing, metaphor, power-knowledge, and self-determination. The author asks questions such as, To what extent should philosophical commitments be voluntary versus compelled? To what extent should music educators be able to collectively determine educative values and to what extent should others (policymakers, local communities) have a say in what should constitute valuable learning in music? A common theme throughout the chapter is the urge for caution and reflection so that well-intended assessment efforts do not undermine cherished goals for music education.

Building a Culture of Ethical, Comparable, Authentic Assessment

The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education ◽

10.1093/oxfordhb/9780190265182.013.35 ◽

2019 ◽

pp. 463-481

Author(s):

Andrew Reid ◽

Julie Ballantyne

Keyword(s):

Teaching And Learning ◽

Large Scale ◽

Authentic Assessment ◽

Subject Area ◽

Music Educators ◽

System Level ◽

Diverse Range ◽

Effective Learning ◽

School Based ◽

The Subject

In an ideal world, assessment should be synonymous with effective learning and reflect the intricacies of the subject area. It should also be aligned with the ideals of education: to provide equitable opportunities for all students to achieve and to allow both appropriate differentiation for varied contexts and students and comparability across various contexts and students. This challenge is made more difficult in circumstances in which the contexts are highly heterogeneous, for example in the state of Queensland, Australia. Assessment in music challenges schooling systems in unique ways because teaching and learning in music are often naturally differentiated and diverse, yet assessment often calls for standardization. While each student and teacher has individual, evolving musical pathways in life, the syllabus and the system require consistency and uniformity. The challenge, then, is to provide diverse, equitable, and quality opportunities for all children to learn and achieve to the best of their abilities. This chapter discusses the designing and implementation of large-scale curriculum as experienced in secondary schools in Queensland, Australia. The experiences detailed explore the possibilities offered through externally moderated school-based assessment. Also discussed is the centrality of system-level clarity of purpose, principles and processes, and the provision of supportive networks and mechanisms to foster autonomy for a diverse range of music educators and contexts. Implications for education systems that desire diversity, equity, and quality are discussed, and the conclusion provokes further conceptualization and action on behalf of students, teachers, and the subject area of music.

Cultural Imperialism and the Assessment of Creative Work

The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education ◽

10.1093/oxfordhb/9780190265182.013.13 ◽

2019 ◽

pp. 275-297

Author(s):

Juniper Hill

Keyword(s):

Culturally Diverse ◽

Social Inequalities ◽

Music Educators ◽

Cultural Imperialism ◽

Creative Work ◽

Value Judgments ◽

Creative Development ◽

Cultural Importance ◽

Diverse Learning ◽

Work Strategies

Assessing creative work is often challenging, even more so in culturally diverse learning environments, in which students and educators may not hold the same musical values. An instructor aiming to teach proficiency within a specific style may unintentionally give feedback that devalues a student’s personal creative expressions, which in many cases reflect diverse musical heritages. Such devaluing feedback can inhibit individual creative development, stifle innovation, and perpetuate sociocultural power imbalances. In this chapter examples from jazz, classical, and traditional musicians in Cape Town and Helsinki illustrate how and why idiomatic boundaries are enforced, how musical value judgments can perpetuate social inequalities, and how negative feedback can inhibit individual creative development. The chapter emphasizes the personal, social, and cultural importance of embracing musical diversity and the value of permitting and supporting developing musicians to go beyond idiomatic conventions in their creative work. Strategies are discussed for how music educators might better support individual creative development and social justice.