Educating Music Teachers for the 21st Century

229 Pages·2011·4.691 MB·English

by  José Luis Aróstegui (auth.), José Luis Aróstegui (eds.)

EDUCATINGMUSICTEACHERSFORTHE21STCENTURY
EDUCATIONAL FUTURES
RETHINKING THEORY AND PRACTICE
Volume 49

Series Editors
Michael A. Peters
University of Illinois at Urbana-Champaign, USA

Editorial Board

Michael Apple, University of Wisconsin-Madison, USA
Miriam David, Institute of Education, London University, UK
Cushla Kapitzke, Queensland University of Technology, Australia
Simon Marginson, University of Melbourne, Australia
Mark Olssen, University of Surrey, UK
Fazal Rizvi, University of Illinois at Urbana-Champaign, USA
Linda Tuahwai Smith, University of Waikato, New Zealand
Susan Robertson, University of Bristol, UK

Scope
This series maps the emergent field of educational futures. It will commission
books on the futures of education in relation to the question of globalisation and
knowledge economy. It seeks authors who can demonstrate their understanding of
discourses of the knowledge and learning economies. It aspires to build a
consistent approach to educational futures in terms of traditional methods,
including scenario planning and foresight, as well as imaginative narratives, and it
will examine examples of futures research in education, pedagogical experiments,
new utopian thinking, and educational policy futures with a strong accent on actual
policies and examples.
Educating Music Teachers
for the 21st Century
Editedby
JoséLuisAróstegui
UniversityofGranada,Spain
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TABLE OF CONTENTS
ForewordbyLioraBresler vii
1.EvaluatingMusicTeacherEducationProgrammes:Epistemological
andMethodologicalFoundations 1
JoséLuisAróstegui
2.AnIntegratedSwedishTeacherEducationProgrammainMusic 15
GunnarHeiling
3.ABachelorinArtsataTeacherTrainingSchoolinSouthernMexico 51
EdithJ.Gisneros-Cohernour
4.MusicTeacherEducationinNavarre:From1995to2009 75
AnaLaucirica
5.TheCurriculumforMusicEducatorsinLaPlataUniversity,Argentina:
ACaseStudy 101
SilviaMalbrán
6.MusicinPrimaryEducation:GeneralistorSpecialistTeacher 113
IsabelCarneiroandTeresaLeite
7.PreparingMusicTeachersinBrazil 147
TeresaMateiro
8.Musicvs.Education:AReportabouttheMusicTeacherTraining
ProgrammeattheUniversityofGranada 175
JoséLuisAróstegui
9.AnAgendaforMusicTeacherEducation 201
GunnarHeilingandJoséLuisAróstegui
v

LIORA BRESLER
FOREWORD
Ours are vibrant times with the emergence of new technologies, innovative spaces
for creativity in music, the increasingly active role of prosumers, and opportunities
for communication within and across cultures. At the same time, intensified
pressures for accountability and testing across the globe narrow not only the
curriculum, but more broadly and deeply, visions of education. With tremendous
changes on all fronts – cultural and institutional – the education and enculturation
of teachers is central to music teaching and learning. Given the scope and intensity
of changes in the music scene, what does it mean to teach music in societies that
are increasingly saturated with media, and where globalization shapes musical
genres as well as the musical soundscapes of both students and teachers? What
skills, types of knowledge and attitudes should music education programs
cultivate? This volume centers on these issues, addressing them within meso,
macro and micro contexts of institutions, cultures, and personal motivations.
The book presents current research and interpretation of music teaching
education in countries known for their rich musical traditions – Argentina, Brazil,
Mexico, Portugal, Spain, and Sweden – focusing on the realities, structures, and
contents of their teacher education programs. The international scene of this book
is quite fascinating and timely. We steadily come to realize the complexities of
international contexts. The chapters invite us to examine key questions in music
education by providing compelling examples of research studies, methodologies,
and contexts for international research in music education.
This collection of international and cross-cultural studies prompts us to ask:
What can research on international music education teach us? How does it affect
our understanding of music teaching and learning? In that double-layered process
of making the strange familiar, and the familiar strange, it brings us closer to
locations and centers of practice that have not been explored in the literature, and at
the same time, invites us to perceive freshly our own educational assumptions,
goals, and practices.
Clearly, it is not just music and music education under study that are changing.
The conceptualization and conduct of these studies is informed by post-modern
theories, philosophies, and methodologies. Theoretically, the chapters in this book
represent a range of conceptual frameworks, from critical theory to hermeneutics.
Research methods range from longitudinal and large-scale research projects, to
case-study evaluation and ethnographic methods. The examination of the
curriculum in music teacher education, the interplay and (im)balance of theory and
practice, skill acquisition and integration, are supported by corresponding attention
to faculty profile and expertise that enable (or hinder) the cohesiveness of the
curriculum. Students’ motivation, prior knowledge, and background provide yet a
third important context.
vii
LIORA BRESLER
Some of the explicit and implicit raised questions are prevalent across the
disciplines of arts education. Should the music education curriculum imitate the
general curriculum, complement it, or expand it (Bresler, 1994)? What are
appropriate contents in these changing times? To what extent should the
curriculum reflect the musical practices of the various, co-existing contemporary
arts-worlds? In his chapter “Art education for our time”, Donal O’Donoghue (in
press) advocates a curriculum that cultivates, promotes and supports particular
habits of mind and practices of learning of contemporary artists. He outlines seven
commitments, towards a curriculum that values and promotes inquiry practices that
arouse curiosity, that heighten students’ senses, invite questions, fostering debate
and dialogue. To what extent are these applicable in the discipline of music with
his deep commitment to canon?
Cultural and educational contexts are fundamental to the understanding of music
teaching and learning. Indeed, the meaning of any form of music education is
inseparable from the contexts and conditions under which it is generated and
experienced. Contexts affect both what is taught and how it is taught, shaping
explicit and implicit messages and values. Presented within their complex cultures,
the book addresses a range of themes, including youth cultures, the impact of
globalization, and the age-old dilemma of specialists versus generalists, as they are
manifested in a broad range of contemporary settings and cultural contexts. One
particularly intriguing issue is the tension between the goals of aesthetic versus
praxical education. Another central issue has to do with the complex and
sometimes discrepant roles of the music teachers. Situating music teacher
education program within the larger context of general teacher education, the
editors have balanced foci on programs, students and former students, teachers, and
administrators. Well-conceptualized and skilfully orchestrated, this book offers a
compelling mosaic of practices, juxtaposed with persuasive, thought-provoking
discussion of possibilities and opportunities.
REFERENCES
Bresler, L. (1994). Imitative, complementary and expansive: The three roles of visual arts curricula.
Studies in Arts Education, 35(2), 90-104.
O’Donoghue, D. (forthcoming). Art education for our time: Seven lessons that artists can teach us about
curriculum and pedagogy. In K. Grauer, R. Irwin, and M. Emme (Eds.), StARTing with …. Toronto:
Canadian Society for Education through Art.
AFFILIATIONS
Liora Bresler
College of Education
University of Illinois
viii
JOSÉ LUIS ARÓSTEGUI
EVALUATING MUSIC TEACHER EDUCATION
PROGRAMMES
Epistemological and Methodological Foundations
Music plays a central role in the lives of young people everywhere. It shapes their
social identities and the ways in which they relate to changing times characterised
now by globalisation and cultural flows, including the mobility of musical
traditions and tastes. Within the context of these changes, teaching of music takes
on a new sense of possibilities and challenges. It requires education of music
teachers to be re-thought and re-imagined. Most educational systems around the
world have recognised this and have sought to develop new ways of thinking about
music teacher education.
This book discusses different approaches of music teacher education and some
of the ongoing reforms of programmes by examining a range of ways in which
music teacher education programmes across Europe and Latin America reflect
shifting conditions, causes and factors in which the musical and educational
knowledge is constructed. It presents seven case studies carried out in Argentina,
Brazil, Mexico, Portugal, Spain, and Sweden in order to understand the general and
specific elements of every programme, and the ways these elements relate to the
profound changes that these countries are experiencing, within the era of cultural
globalisation.
We do not only intend to analyse specific programmes but also to explore a
range of issues relating to the education of music teachers that is of interest both to
scholars working within music education and music teacher training and to a wider
educational audience of readers interested in such topics as changing youth
cultures, globalisation, educational evaluation and teacher education. In more
formal terms, it seeks to construct pedagogical knowledge by identifying factors
and circumstances that influence music teacher education programmes’ quality
from the perspectives of different stakeholders. Our interest is to understand how
the global circumstances affecting music, society and teacher education are taking
place in these local settings and vice versa, to understand particular contexts to
increase our knowledge about current issues affecting music teacher education
programmes all over the world.
In this first chapter we provide the framework in which data were collected. We
discuss different perspectives on both international and comparative music
education and teacher education and our concept of evaluation. We also provide a
global picture of the project from which all data came; the goals pursued and
J.L. Aróstegui (ed.), Educating Music Teachers for the 21st Century, 1–14.
© 2011 Sense Publishers. All rights reserved.