Fresh, vital and invaluable. Estelle R.
She is editor of Philosophy of Music Education Review. Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. Would you like to tell us about a lower price?
Music Education Degree Information | Illinois Wesleyan
If you are a seller for this product, would you like to suggest updates through seller support? Jorgensen's latest work is an exploratory look into the ways we practice and represent music education through the metaphors and models that appear in everyday life. These metaphors and models serve as entry points into a deeper understanding of music education that moves beyond literal ways of thinking and doing and allows for a more creative embodiment of musical thought.
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Seeing the reader as a partner in the creation of meaning, Jorgensen intends for this book to be experienced by, rather than dictated to, the reader. Jorgensen's hope is that the intersections of art and philosophy, and metaphor and model can provide a richer and more imaginative view of music education. Read more Read less.
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Review As a first step in 'delineating the lines of more robust theoretical frames for comparative approaches to music education', this may well prove to be a landmark book. To get the free app, enter mobile phone number. See all free Kindle reading apps. Start reading Pictures of Music Education on your Kindle in under a minute.
School of Music
While well-meaning, this legislation precipitated a gradual and massive decline of students participating in music and arts classes, as test prep and remedial classes took precedence over a broader liberal arts education, and music education was often reduced , cut, or relegated to after school. Taken on face value, Every Student Succeeds bodes well for music education and the National Association for Music Education , which spent thousands of hours lobbying on behalf of music teachers everywhere.
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Music and arts educators now have some leverage for increased funding, professional development, equipment, staffing, prioritized scheduling of classes, and a more solid foothold when budgets get tight and cuts are being discussed. We need a paradigm shift in how we define outcomes in our music students. And we need to go beyond the right notes, precise rhythms, clear diction and unified phrasing that have set the standard for the past century.
Students should know the social and cultural landscape of the era in which any piece was written or recorded, and the circumstances that had an influence. Students should understand the style and conception of a composer or artist—what are the aesthetics of a specific piece, the notes that have meaning? They should know the influences and inputs that went into the creation of a piece and how to identify those.
There should be discussion of the definitive recording of a piece, and students should make qualitative judgments on such against a rubric defined by the teacher that easily and broadly gives definition and shape to any genre.
We should embrace the American arts as a full constituent in our programs—not the pop-tinged sounds of The Voice or Glee but our music: blues, folk, spirituals, jazz, hymns, country and bluegrass, the styles that created the fabric of our culture and concert works by composers who embraced them. Students should learn that the written score is a starting point. We should help them realize that a lifetime of discovery in music is a worthwhile and enjoyable endeavor.