Tensions and perplexities within teacher education and P–12 schools for music teachers with visual impairments

We have written this article seeking to connect societal perceptions of disability with P–12 schools and higher education institutions toward the goal of greater understanding and equitable employment opportunities for music teachers with disabilities, specifically teacher candidates with visual impairment. In our investigation, we examine the following questions: (a) How have special education programs within P–12 schools, universities, and schools of music reflected societal perceptions of persons with disabilities and how do those in turn influence perceptions of teacher candidates? (b) How have the essential functions of teaching been articulated by accreditation programs and what tensions arise when music teachers with visual impairments are considered for employment? and (c) What are potential ways forward for P–12 education, teacher education programs, and schools of music? To disrupt binaries between able and disabled in schools, we recommend embracing a broader, interdependent view of music education, one that is defined by and includes all teaching professionals and school communities. Additionally, we support recruitment of teacher candidates with disabilities to music education programs and consistent advocacy through matriculation and job placement to encourage entry into P–12 schools.     

Appropriating school music for economic goals: Exploring evidence of neo-social ideology in music advocacy

This article explores the extent to which recent policy-based advocacy for music in Australian schools has been guided by economic arguments. This exploration was driven by emerging commentary on the rise of neo-social education policy, which is said to have reframed equality and social justice in education as tools for economic agendas. To explore the presence of this neo-social ideology in school music advocacy, key Australian policy documents have been analyzed using Critical Discourse Analysis. Results show that while current advocacy does champion social and subjective benefits, these benefits are ultimately justified in economistic terms. While caveats to these findings are discussed, the argument is made for new education policies that adequately value subjective wellbeing and social justice as goals in their own right.     

Music Education for Young Children in Scandinavia: Policy,Philosophy, or Wishful Thinking?

The author discusses current policies, philosophies, and educational practices of early childhood music education in Scandinavia (Denmark, Norway, and Sweden) and to what extent they meet the challenges of music education for young children. Nearly all children use day care provisions, and they are a governmental responsibility. The author reviews governmental policies regarding general pedagogical goals of day care and kindergarten in Scandinavia. During the last decade, teaching plans for preschool pedagogy were implemented and the author discusses to what extent the plans meet current challenges of music education. The author also discusses the challenges of teacher-training programs in light of current policies regarding music education in early childhood.     

Liberts’ Wet-in-Wet Painting

This article describes important global and local initiatives that have one common goal: to give access to and equal opportunities for arts/music education to all children and adolescents. The article also discusses the lack of information available to global leaders in arts education—without a worldwide picture of arts education practices, it is difficult to design local or global policies. The case of Brazil is presented, showing a timeline of advocacy campaigns and the success of establishing a law that assures compulsory music education in schools, as well as the challenges of regulating the profession and the need to rethink our pedagogical paradigm in a contemporary world. Regardless of local or international perspective, the establishment of policy needs to be based on research data and include dialogue between policymakers and arts teachers.     

Social capital and music teacher professional development: Principle,policy, and practice

Teacher professional development (PD) is often extended as a driver of good teaching and effective schools. In recent years, teacher PD has increasingly focused on developing teacher social capital by placing teachers within professional communities to collectively solve instructional problems. Using Bourdieu's and Coleman's conceptions of social capital as a theoretical and practical lens, this article explores how a social capital frame could generate more effective PD policy in music education. Areas examined also include the specific ways in which social capital becomes a lever for teacher growth and school improvement and the social dimensions of music teacher PD. The article concludes with principles of social capital-advancing PD policy, examples of principle-aligned PD policies, implications for research and advocacy, and an accounting of challenges and opportunities for the future. The author argues that centralizing social capital development as an aim of PD represents a new frontier in music teacher learning.     

Looking Toward the Future

Changes in education policy—particularly at the federal and state levels—during the current era of ideologically and profit-driven “education reform” threaten balanced education in general and music/arts education in particular. Emerging answers to a number of pivotal questions will determine the future of the arts, arts education, and public education in general. Music educators and other advocates of quality arts education must not only adapt their curricula and instructional practices to reach students in a twenty-first century context, but also develop effective communications systems and organize coalitions powerful enough to influence policymakers and thereby shape policies supportive of quality music/arts education. Recent advocacy efforts by the National Association for Music Education (NAfME) provide examples of how supporters of arts education might accomplish these goals.     

The Myth of Maria and the imagining of sexual trafficking in Brazil

Based upon the contradictory definitions of the crime, the Brazilian movement against trafficking in persons situates itself as a “struggle against modern slavery.” Within this moralistic context, the movement has frequently utilized invented statistics and apocalyptic declarations regarding trafficking in order to achieve greater “advocacy value” among members of the Brazilian public. A key component of this discursive formation has been the creation and promulgation of a mythological view of a “typical” trafficking victim’s experience: what we call “The Myth of Maria, an exemplary trafficking victim.” The present article seeks to follow the history of the Myth of Maria, developing an initial chronology mapped out and analyzed by Adriana Piscitelli in 2004 and extending this into the post-2006 period when Brazil established its first national policies and plans to combat trafficking in persons. We then analyze how the myth ignores many of the realities revealed by the past decade of ethnographic research into trafficking in Brazil. Finally, we conclude with a structuralist hypothesis (drawn from the field of feminist anthropology) regarding the Myth’s continuing unabated popularity among almost all actors in the political field of anti-trafficking policy.     

A Practical Plan for Public Works of Art Heckman Summer School at Woodstock

The 1957 launch of Sputnik and the 1983 publication of A Nation at Risk shifted national education policy. Music educators promoted an “intrinsic value” of music philosophy following Sputnik and music advocacy through politics and public performances following A Nation at Risk. Examining the history of both the intrinsic value philosophy and advocacy reveals that music educators responded to Sputnik and A Nation at Risk by continuing to work within their existing language and practices rather than reacting to and transforming after either event. The political, social, and cultural contexts of these events may explain music educators’ responses.     

National Alliance on Art and Industry Shows New Design Trend

Since the Bush administration enacted the No Child Left Behind Act (NCLB) in 2002, lawmakers and school administrators have questioned what changes, if any, the Obama administration will make. This article discusses the effects of NCLB on nontested subjects, specifically music and arts in the general curriculum. Major effects on scheduling and funding policies have forced educators to reconsider how advocacy for the arts should be approached.     

Book Design and Illustration

In the years between the world wars, music education in Germany prospered, because successful policy made constructive cooperation among relevant institutions and representatives possible. The situation today is very different. Many music educators and researchers are not aware that policies affect them; nor do they see themselves as active participants in policymaking. This article discusses the conflicting forces in society and in the education system that are responsible for this: the precarious relationship of youth music culture and music education; the continuing decline of music education in the schools, which is concealed by media-supported events; the seeming irrelevance of music education content and methods to students; a lack of consensus in society about the core content of music education; and the ineffectiveness of the argument for the educational benefits of music education in policymaking. As a result of these forces, Germany lacks both theories and research on music education policy. This article argues that music is a diverse practice that manifests itself as many different practices in various contexts. Thus, the center of music education policy must be the people dealing with music and their varied musical practices, rather than musical works and their dissemination. As a consequence, music education policy needs to be shaped in ways appropriate to the diversity of musical practices and the various contexts of music education.     

Political advocacy by the American Society for Cell Biology and its partners

I trace how the American Society for Cell Biology became a strong political advocate for the scientific community. I celebrate how good leadership and an effective staff enabled its energetic volunteer organization to have an impact, but I also ask how the effort can be made more successful.Many scientists take for granted that their scientific societies advocate for the well being of their individual members and the health of science. However, advocacy is a relatively recent development that emerged over the past two decades. Advocacy is essential in a democracy because science competes for taxpayer dollars with every other activity supported by the federal government. Advocacy is also important to ensure that lawmakers adopt sensible policies. I review how the American Society for Cell Biology (ASCB) and its allies learned how to fulfill this obligation, and I ask the reader to join the effort. The objective of these advocacy efforts is to influence political decisions through education and information, but the efforts by scientific societies are completely nonpartisan. Support from both political parties is essential to meet our goals.During the 1970s and 1980s biomedical scientists discussed federal funding and public policies that affected our science. Each year the public policy staff of the Federation of Societies of Experimental Biology (FASEB) helped member societies reach a consensus recommendation on the level of federal funding for the biosciences. However, we tended to talk to ourselves because we lacked effective ways to communicate with politicians or the outside world. For the most part we relegated the responsibility for advocacy to medical school deans and presidents of research universities. Their professional associations—the American Association of Medical Colleges (AAMC) and the Association of American Universities (AAU)—generally did a reasonable job of representing the interests of the scientists who worked at their schools.     

A Plan to Coordinate the Culture of the Three Americas

Music education has always required advocacy to solidify its place in the school curriculum. Music teachers are increasingly called on to justify their existence and importance in the schools, and yet, are often unprepared to advocate on their own behalf without the use of advocacy materials that are created on the basis of questionable research, questionable interpretations of valid research, or materials that demean the profession. This practical advocacy crisis is created by the lack of a solid philosophical basis for music education advocacy, the profusion of questionable advocacy materials available, and the lack of lobbying at the federal and state levels for meaningful laws that give arts education true core status. In the article, the author discusses suggestions for improving advocacy methods and materials.     

Looking to the future with optimism: An interview with Glenn Nierman on the occasion of the recent end of his appointment as NAfME president

The author interviewed Glenn Nierman on the occasion of the recent conclusion of his term as National Association for Music Education (NAfME) president. Topics included the current state of music education and advocacy of music education in the United States, the role of NAfME, and the recently revised national music education standards.     

Craft Experiences

Music education exists within a web of policies. Those most often identified by music teachers and professional associations are the policies imposed on the profession by governmental and regulatory bodies. Advocacy efforts to change policy are mostly directed toward these bodies. However, the practice of music education is perhaps more influenced by subtle policies that affect teachers' values, expectations, and practices. In this article, Nye's concepts of "hard" and "soft" power are adapted and used as a paradigm for categorization and analysis of policy to illustrate this situation. Using this model reveals that while some hard policies specific to music education advocate a progressive music education, other hard policies may interfere with this agenda and soft policies seem to maintain the status quo. Recommendations are made for building the capacity of teachers to understand, study, and influence policy.     

Uncommon commonalities: Cosmopolitan ethics as a framework for music education policy analysis

Contemporary American education policy rhetoric is problematic because its authors’ assertions, particularly those about the goals of education, frequently conflict with their implied moral and/or ethical commitments. This philosophical policy analysis uses Appiah's cosmopolitan principles to examine the ethical implications of current education and music education policy discourse and practice. While education policy rhetoric promoting the fulfillment of basic human needs through employment aligns with one aspect of the cosmopolitan principle of universal concern, policy makers’ assertions about unbridled economic competition contradicts cosmopolitans’ concern for all individuals. Contemporary education and music education policies that enable teachers to have freedom in selecting content and instructional practices reinforce the cosmopolitan principle of respect for legitimate difference, but discourse and action emphasizing standardization, including standardized outcomes, conflicts with the cosmopolitanism. Four recommendations are offered: use cosmopolitan ethics as a means of framing agreement or dissatisfaction with contemporary education policies; implement parts of the National Core Music Standards in ways that promote standards without standardization; advocate for the aspects of the Opportunity-To-Learn Standards for Music Instruction; consider how music educators’ day-to-day practices interface with the cosmopolitan ethics.     

The Gentle Art of Criticism

Although much has been written about professional development in general education and music education literature, little has addressed the benefits of music-making as meaningful professional development for music teachers. For music teachers, music-making and meanings of music-making have been connected with teachers' identity, well-being, beliefs, and effectiveness, as well as being a powerful pedagogical tool and a way to develop presence in teaching. Presence in teaching is linked with self-awareness, attentiveness, and pedagogical knowledge. The purpose of this article is to explore the benefits of music-making for music teachers in order to convince policymakers of the value of music-making as a professional development activity for music teachers. This article explores theories from psychology and education that link engagement, well-being, and identity to lay the foundation for a justification of broadening professional development policies. Then, literature is presented that connects teachers' art-making experiences (past and present), identity, teaching, and student learning. The third section draws on my previous work to illustrate the intersections between teachers' music-making and teaching. Then, suggestions for implementing professional development programs with music-making components are made. Although there are many ways music-making could be included as professional development, I offer four suggestions: including music-making in departmental or district-wide meetings, granting professional development credit to music teachers who make music outside of the classroom, setting up in-classroom reflection opportunities/action research based on integrating music-making and music teaching, and initiating a collaborative teacher study group that includes chamber music collaboration.     

Revisioning and reinstating: Music education after the Great Recession

ABSTRACT

The Great Recession caused many school districts across the country to make numerous cuts in their annual budget models. As a result of these austerity measures, administrators often reduced arts education offerings. In the current study, we highlight how budget reductions in three districts negatively impacted music education curricula, and how education policy makers in each district developed unique frameworks to revision and reinstate music instruction in their schools. Themes from multiple stakeholder interviews revealed a process for those who seek new advocacy messages including hearing the voice for the arts/music, revisioning music curricula, and understanding agents of change. A key finding in the current investigation was the importance of all players accepting and understanding the different approaches to reinstating and revisioning music curricula. Suggestions for further investigation include varying the type of district selected for investigation and including teacher and community member voice in policy discussions and development.     

Exploring the global decline of music education

This article seeks to explain the disjuncture between the decline of music education in schools and the importance music has in popular youth culture and in creativity within the new knowledge economy. The data discussed in this article have been derived from analyses of major documents on curriculum reform as well as e-mail responses from music educators around the world. This analysis reveals that these music educators agree with the perception of a demise in music education around the world, as well as the significance of the disjuncture alluded to. The four major reasons found for the decline in music education are: (1) the model of curriculum supported in educational reforms; (2) an emphasis on standardized evaluation; (3) less resources available; and (4) a wrong approach on music advocacy.     

Artist and Educator

Policy can be a useful tool for effecting change, but policy analysis, which shapes policy development, has been underused in music education research. This paper demonstrates how Bardach's (2000) Eightfold Path can be used to develop solutions to problems in music education. Some have argued that school music programs do not prepare students to engage musically in today's society. To develop alternative solutions and project their outcomes, I analyze several current and past efforts to redefine music education and secure its place in the curriculum. Several alternatives, which include revising the National Standards, developing a national curriculum, improving professional development, and reconceiving advocacy, are evaluated, and policy recommendations are made that will enable the profession to redefine music education to better serve today's students.     

A View of Current Evaluative Practices in Instrumental Music Teacher Education

The purpose of this study was to examine how instrumental music educator skills are being evaluated in current undergraduate programs. While accrediting organizations mandate certain elements of these programs, they provide limited guidance on what evaluative approaches should be used. Instrumental music teacher educators in the College Music Society (n = 303) supplied data about their respective programs through an online survey. Participants reported using written and verbal feedback, self-evaluation, and rubrics most frequently. Similar evaluation processes used across program courses or experiences, such as rubrics and ePortfolios, were described by 35 percent of the music teacher educators. Most programs culminated in a semester-long student teaching period, during which preservice teachers were observed and evaluated by university supervisors three to four times. Weak correlations were indicated between some evaluative practices and music teacher educators’ expectations for program graduates’ music educator skills. Implications for music teacher education programs and suggestions for establishing evaluation policies are discussed.