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Introduction -- The Communication Domain -- The Cognitive Domain -- The Behavioral Domain -- The Emotional Domain -- The Sensory Domain -- The Physical Domain -- Unit Plans – Conclusions
From Music Student to Teacher: A Professional Approach helps prospective music educators begin their transition from music student to professional music teacher. The text uniquely works to build upon the individual’s personal experience to enhance their approach to the profession. The authors help students first recognize their personal perspectives of the profession, and uncover the assumptions they have concerning learning and teaching. They are then prepared to make mindful informed decisions about their professional education. The topics and activities are deliberately organized to help the reader think as a professional rather than a student. Divided into three parts: (a) discovery of self, (b) discovery of teaching, and (c) discovery of learners; The three parts address the primary stages of teacher development. Within each part readers are connected to the theoretical foundations of the text and the process of becoming an insider to the profession.From Music Student to Teacher: A Professional Approach incorporates online resources and tools that are already familiar to students in their world of networking through social media Features include: Social networking activities to aid self-reflection and discussion ‘Connecting to the Profession’ sections that provide resources which help to bridge the gap between theory and practice. Discussion and glossary that provide a solid base in professional terminology An integrated companion website, including videos of teaching practice and further activities for self-reflection, plus instructor material. Michael A. Raiber is Professor of Music Education at Oklahoma City University David J. Teachout is Associate Professor and Department Head of Music Education at the University of North Carolina Greensboro.
This book traces the research on the design, implementation and outcomes of a professional development program for in-service primary and secondary school teachers aimed at enhancing their understanding of living music traditions in Singapore and how these could be taught in the 21st century music classroom. It proposes a professional development framework comprising the areas of Pedagogy, Practice and Perspective to guide professional development design. The book also aims to promote further discussions on adult learning and teaching about teaching, especially with regard to developing self-efficacy to handle different music traditions in a 21st century, multi-ethnic society like Singapore.
Special Needs, Community Music, and Adult Learning is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, this fourth book in the set focuses on issues and topics that help to broaden conceptions of music and musical involvement, while recognizing that development occurs through many forms. The first section addresses music education for those with special abilities and special needs; authors explore many of the pertinent issues that can promote or hinder learners who share characteristics, and delve deep into what it means to be musical. The second section of the volume addresses music as a shared, community experience, and the diverse and constantly evolving international practice of community music. The chapters in the third section provide evidence that the process of music education exists as a lifelong continuum that encompasses informal, formal, and non-formal methods alike. The authors encourage music educators to think in terms of a music learning society, where adult education is not peripheral to the priority of other age groups, but is instead fully integral to a vision for the good of society. By developing sound pedagogical approaches that are tailored to take account of all learners, the volume endeavors to move from making individual adaptations towards designing sensitive 'universal' solutions. Contributors Carlos R. Abril, Mary Adamek, Kenneth S. Aigen, Chelcy Bowles, Mary L. Cohen, William M. Dabback, Alice-Ann Darrow, John Drummond, Cochavit Elefant, David J. Elliott, Lee Higgins, Valentina Iadeluca, Judith A. Jellison, Janet L. Jensen, Patrick M. Jones, Jody L. Kerchner, Thomas W. Langston, Andreas C. Lehmann, Katrina McFerran, Gary E. McPherson, David Myers, Adam Ockelford, Helen Phelan, Andrea Sangiorgio, Laya H. Silber, Marissa Silverman, Rineke Smilde, David S. Smith, Kari K. Veblen, Janice Waldron, Graham F. Welch
The complexity of the various forms of knowledge and practices that are encountered by teachers, university lecturers, teacher trainers, student teachers, policy makers and researchers, demands careful thought and reflection. Professional Knowledge in Music Teacher Education focuses on how knowledge is understood, what theories are held and the related assumptions that are made about teachers and learners, as well as how theory and practice can be understood, with useful and imaginative connections made between the two in music teacher education. Internationally renowned contributors address a number of fundamental questions designed to take the reader to the heart of current debates around knowledge, practice, professionalism, and learning and teaching in music as well as considering how all these elements are influenced by economic, cultural and social forces. The book demonstrates how research can inform pedagogical approaches in music teacher education; methods, courses and field experiences, and prepare teachers for diverse learners from a range of educational settings. The book will appeal to those interested in the development of appropriate professional knowledge and pedagogic practices in music teacher education.
This book is a collection of leading international authors in the field of music education taking the concept of 'craft' as a starting point to deconstruct and reconstruct their understanding of the practices and theories of music education. Their insights draw from deep wells of resources located in historical, philosophical, epistemological, musicological and educational traditions that lead to rich and complex insights on the evolving field of music education. In so doing, they generate a constellation of new understandings and illustrations of what crafts can mean in this field. Historically, the idea of craft was typically associated with a skill or experience in knowing how to do or make something, or an activity of some kind that requires specific professional skills. In Old Norse, the concept for craft was kraptr, meaning strength and virtue, while Old English and continental use was associated with power and physical strength, as well as skill. When these definitions of ‘crafts’ are infused into contemporary understandings of the field of music education as a professional field, a whole new set of possible interpretations are unearthed. Such insights are not exhaustive, but rather, point the way in which this professional, diverse, inclusive and ambiguous field might continue to evolve in the 21st century.
Though culture can affect different countries’ preferences for musical style, musicking is a worldwide trend that produces enjoyment for all. However, there is a divide between professional music performance and music education. In order to better engage students, a musicking approach must be implemented into educational curricula and used to promote a platform for inclusivity and community enrichment. Transforming Music Education in P-12 Schools and the Community is a critical scholarly publication that traces the theoretical foundation of current beliefs and practices surrounding music performance and education and discusses how to transform teaching and learning by implementing musicking. The book covers musical engagement for young children and families, universal design in music education in special and inclusive education settings, critical approaches of music teaching and learning in P-12 schools, and reaching communities. It is essential for music teachers, conductors, music directors, instructional designers, academicians, educational professionals, administrators, researchers, and students.
This book offers compelling new perspectives on the revolutionary potential of improvisation pedagogy. Bringing together contributions from leading musicians, scholars, and teachers from around the world, the volume articulates how improvisation can breathe new life into old curricula; how it can help teachers and students to communicate more effectively; how it can break down damaging ideological boundaries between classrooms and communities; and how it can help students become more thoughtful, engaged, and activist global citizens. In the last two decades, a growing number of music educators, music education researchers, musicologists, cultural theorists, creative practitioners, and ethnomusicologists have suggested that a greater emphasis on improvisation in music performance, history, and theory classes offers enormous potential for pedagogical enrichment. This book will help educators realize that potential by exploring improvisation along a variety of trajectories. Essays offer readers both theoretical explorations of improvisation and music education from a wide array of vantage points, and practical explanations of how the theory can be implemented in real situations in communities and classrooms. It will therefore be of interest to teachers and students in numerous modes of pedagogy and fields of study, as well as students and faculty in the academic fields of music education, jazz studies, ethnomusicology, musicology, cultural studies, and popular culture studies.