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This book explores historical and philosophical connections between music, leisure, and education. Specifically, it considers how music learning, teaching, and participation can be reconceptualized in terms of leisure. Taking as its starting point the art of living and the ethical question of how one should live, the book engages a wide range of scholarship to problematize the place of non-professional music-making in historical and contemporary (Western) conceptions of the good life and the common good. Part I provides a general background on music education, school music, the work ethic, leisure studies, recreation, play, and conduct. Part II focuses on two significant currents of thought and activity during the Progressive Era in the United States, the settlement movement and the recreation movement. The examination demonstrates how societal concerns over conduct (the threat of leisure) and differing views on the purpose of music learning and teaching led to a fracturing between those espousing generalist and specialist positions. The four chapters of Part III take readers through considerations of happiness (eudaimonia) and the good life, issues of work-life balance and the play spirit, leisure satisfaction in relation to consumerism, individualism, and the common good, and finally, parenting logics in relation to extracurriculars, music learning, and serious leisure.
The Oxford Handbook of Music Making and Leisure presents myriad ways for reconsidering and refocusing attention back on the rich, exciting, and emotionally charged ways in which people of all ages make time for making music. Looking beyond the obvious, this handbook asks readers to consider anew, "What might we see when we think of music making as leisure?"
The Oxford Handbook of Technology and Music Education situates technology in relation to music education from perspectives: historical, philosophical, socio-cultural, pedagogical, musical, economic, and policy.Chapters from a diverse group of authors provide analyses of technology and music education through intersections of gender, theoretical perspective, geographical distribution, and relationship to the field.
(prepunched for 3-ring binder) Background information and more than 100 activities of various and diverse types for use in therapeutic recreation settings.
In The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucia Frega have drawn together a variety of philosophical perspectives from the profession's most exciting scholars from all over the world. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere. Emphasizing clarity, fairness, rigour, and utility above all, The Oxford Handbook of Philosophy in Music Education will challenge music educators all over the world to make their own decisions and ultimately contribute to the conversation themselves.
The Bloomsbury Handbook of Popular Music Educationdraws together current thinking and practice on popular music education from empirical, ethnographic, sociological and philosophical perspectives. Through a series of unique chapters from authors working at the forefront of music education, this book explores the ways in which an international group of music educators each approach popular music education. Chapters discuss pedagogies from across the spectrum of formal to informal learning, including “outside” and “other” perspectives that provide insight into the myriad ways in which popular music education is developed and implemented. The book is organized into the following sections: - Conceptualizing Popular Music Education - Musical, Creative and Professional Development - Originating Popular Music - Popular Music Education in Schools - Identity, Meaning and Value in Popular Music Education - Formal Education, Creativities and Assessment Contributions from academics, teachers, and practitioners make this an innovative and exciting volume for students, teachers, researchers and professors in popular music studies and music education.
The rapid pace of technological change over the last decade, particularly the rise of social media, has deeply affected the ways in which we interact as individuals, in groups, and among institutions to the point that it is difficult to grasp what it would be like to lose access to this everyday aspect of modern life. The Oxford Handbook of Social Media and Music Learning investigates the ways in which social media is now firmly engrained in all aspects of music education, providing fascinating insights into the ways in which social media, musical participation, and musical learning are increasingly entwined. In five sections of newly commissioned chapters, a refreshing mix of junior and senior scholars tackle questions concerning the potential for formal and informal musical learning in a networked society. Beginning with an overview of community identity and the new musical self through social media, scholars explore intersections between digital, musical, and social constructs including the vernacular of born-digital performance, musical identity and projection, and the expanding definition of musical empowerment. The fifth section brings this handbook to full practical fruition, featuring firsthand accounts of digital musicians, students, and teachers in the field. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a musical community member in an age of technologically mediated relationships that break down the limits of geographical, cultural, political, and economic place.
Thinking Community Music explores critical questions concerning community music practice and theory with emphasis on intervention, hospitality, pedagogy, social justice, inclusion, cultural democracy, music, research, and future possibilities. The book encourages questioning, reflection, and dialogue. Shaped as provocations and presented as eight stand-alone essays, each 'think piece' comprises of critical questions, concrete illustrations of practice, theoretical explorations, and reflective discussion. Flanked by a historical map and a closing statement, the book provides a springboard for conceptual interrogation about participatory music-making. Supported by the lineage of poststructural philosophy, ideas emulating from Derrida and Deleuze frames conceptual interrogation about community music practices and the broader parameters of social-cultural music-making and music teaching and learning. As a vital part of the music ecology, community music is a distinctive field and a critical lens to view other musical practices and the various political and cultural policies that frame them.
The most significant change in this edition of Leisure Education Program Planning is the infusion of information gleaned from writings by some of the leaders of the positive psychology movement. These readings provide valuable perspectives and insights about concepts related to leisure and leisure education. The book is organized into five sections. The first section contains six chapters designed to increase understanding of principles related to leisure and leisure education. The second section provides recommendations and research on leisure education, reviewing previous efforts to implement and understand leisure education programs. The third section provides considerations for developing the content (what to teach) of leisure education. The fourth section addresses the process (how to teach) of implementing leisure education programs. The final section of the book contains specific leisure education programs associated with six possible leisure education components (appreciate leisure, be aware of self in leisure, be self-determined in leisure, interact socially, use leisure resources, and make leisure decisions). The author has field-tested and evaluated various components of these leisure education programs.