Reimagining policy: Power,problems, and public stories

The authors of various practitioner and scholarly documents suggest markedly contrasting understandings about the nature of “policy.” These divergent conceptions raise the question: What is at stake by understanding the nature of policy in one way as opposed to another? The purpose of this philosophical inquiry is to interrogate the nature of “policy” as it relates to music education and to question the values that do and might underlie and propagate through contrasting understandings of “policy.” Subsequently, I examine two aspects of policy, problem identification and meaning-making, that have gone largely unexplored in the arts education literature.

Using Foucault's writings, I argue that power-laden policy texts often have the greatest impact, not when they are mandated, but when they go misrecognized as common sense. I also advocate for the consistent use of the terms “policy texts” and “policy actions,” including as an alternative to the imbalanced designations of “soft policies” and “hard policies.” Drawing on Dewey arts educators might form “publics” around problems having consequences that they deem far-reaching, recurrent, and irreparable. Individual and collective political narratives, including what Ganz explains as “stories of self,” “stories of us,” and “stories of now,” can foster the meaningful connections necessary for forming “publics” who address pressing problems in arts education.     

Inclusive education policy in the Hong Kong primary music classroom

An education reform policy and inclusive education policy have been implemented in Hong Kong for over a decade. As more students with special educational needs have entered the mainstream education system under these policies, Hong Kong's primary music classrooms offer a site where three policies interact—the education reform policy entitled “Learning to Learn,” the policy of inclusive education, and the undeclared “policy” of making savings in the government budget. This article seeks to explore the results of the interaction of these three policies. A qualitative study was carried out to investigate the views of Hong Kong primary school music teachers on the policy of inclusion in relation to music teaching. Insufficient support in inclusive learning in “non-core” subjects, such as music, is evidenced.     

Intersections between music education and music therapy: Education reform,arts education,exceptionality, and policy at the local level

In this article, a music teacher educator and a music therapy clinician and educator discuss special education policy and arts instruction at the district level. To illustrate the gulf between federal and local policies with regard to exceptional learners and arts instruction, we examine the intersections of music therapy and music education with regard to self-contained classes of students with moderate to severe disabilities. Our discussion focuses on provision of services and opportunity to learn, and results in specific policy suggestions, including: (a) increasing administrators' understanding of music therapy, adaptive music education, and music education, so that decisions regarding arts instruction can be better-informed and more child-centered, (b) treating music therapists as allied health professionals who do not need to be certified teachers to practice in schools, and (c) improving initial music teacher preparation and providing opportunities for professional development to increase awareness of necessary information and effective strategies to improve music teaching and learning for students with special needs.     

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.     

Five Minute Dog Feeder

In this article, the author explores music education counterforces, examining whether and how (a) federal and state education policies can better address the in-service needs of special area teachers, particularly music teachers, in the school setting; and (b) policy organizations in the music education profession (i.e., The National Association for Music Education, the National Association of Schools of Music, the College Music Society, the Society for Music Teacher Education, and the Music Education Research Council) might also address the inherent tensions between music education and schooling.     

Music teachers' perceptions of high stakes teacher evaluation

Recent corporate education reform policies have replaced relatively informal systems of principal observations that had been familiar to many teachers for much of their professional careers with high-stakes teacher evaluation (HSTE) systems that now determine who is allowed to remain in the profession and who gets terminated. Many education scholars have found current teacher evaluation systems to be lacking in validity and reliability. This article examines the perspectives of music teachers working within HSTE systems through a policy lens, identifying the major challenges these systems pose for music educators and offering policy recommendations for improving the evaluation of music 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.     

The Impact of a Funded Research Program on Music Education Policy

Sounds of Learning: The Impact of Music Education is a research program designed to allow researchers to examine the roles of music education in the lives of school-aged children to expand the understanding of music's role in a quality education. The NAMM Foundation, the sponsoring organization, has provided more than $1,000,000 to fund research on the impact of music education on student achievement and success in school; all aspects of a child's growth and development; the uses and functions of music in daily life; and home, school, and community environments. Quality research about the role and impact of music education conducted by experienced researchers who publish in rigorous, peer-reviewed, scientific research journals plays a vital role in moving a public policy agenda forward to achieve expanded access to music education for all children. The goal is that this research will inform policy debates and development to achieve policies that support opportunities for every child to experience the power and benefits of learning music.     

Catalogue

The author presents reviews that identify success factors in music and arts education partnerships between cultural institutions and K-12 schools. She incorporates the evaluation of one Massachusetts partnership, Arts Can Teach (ACT), to examine the connection between partnerships and K-12 arts-program policy decisions. ACT is a collaborative effort among Boston's Wang Center for the Performing Arts, the Lynn Public Schools, and LynnArts, which matched music specialists and teachers in other disciplines with practicing artists for oneyear partnerships. Success factors of the ACT partnership are considered in terms of their similarity to success factors from the literature on music education partnerships. The author discusses implications for increasing and sustaining music and arts education programming and local arts education policy development.     

Book Review Section

This article argues that education policy should support school-university partnerships that place preservice music teachers with their college professors in a laboratory school environment. With roots in Dewey's experimental school of 1896, the laboratory concept is a variation of the professional development schools now in vogue. The policies recommended here are not tied directly to this school-university partnership model, but they do support the collaborative concept. Policy recommendations include re-conceptualization of the student teaching experience; compensation of faculty members through financial incentives and professional development credits; and consideration for university faculty members engaged in such partnerships when determining workload and reviewing teaching, scholarship, and service for tenure or promotion decisions. The policy recommendations call for the creation of release time for school personnel to meet with university personnel to plan and assess the partnered collaboration, and for funding to support ongoing collaborative research by university and school personnel.     

Music education and the well-rounded education provision of the Every Student Succeeds Act: A critical policy analysis

Critical approaches to policy analysis, although common in general education, are rare in arts education literature. By adopting critical approaches, researchers can produce scholarship that will be transformative for policies that impact arts education and for the profession as a whole. In this article, I present a framework that allows researchers to incorporate critical theory into policy analysis. This ideological work can expose sources of power and help reveal the ways in which the targets of policy are complicit in their own domination. Adopting this framework, I examine the well-rounded education provision of the Every Student Succeeds Act of 2015 to better understand the policy's origins, its development, and the potential implications for music education.     

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.     

Degas the Master without Emotion

This article provides a brief review of generally accepted ideas about creativity, followed by examples of music teachers teaching creatively and teaching their students to be more creative. Implications for teacher education and policy recommendations for music education are discussed     

Do You Really Want to Know? Elementary Music Programs and Potential in Utah

This is the first of two articles reporting the results of a study by the author regarding the status of elementary music education in the state of Utah. This article focuses on how elementary music programs are structured (regular instruction with a music specialist, truncated programs, delegated programs, no formal music instruction, no music instruction). Factors that shape those structures are also addressed. While over 90 percent of elementary schools in the United States provide regular music instruction taught by certified music specialists to over 90 percent of their student populations, less than 10 percent of Utah's elementary population receives such instruction. Nearly half of the elementary students in the state receive no designated music instruction other than that provided by their regular elementary classroom teachers. The influence of budget constraints, school funding policies, No Child Left Behind, other accountability measures, high-stakes testing, urban/rural populations, and demographics are highlighted. Policy considerations are discussed.     

Hints for Beginning China Painters

The need for music educators to become more actively involved in policy issues, including analysis, design, implementation, and research, is critical to the future of music education. Bridging the gap between policy and practice requires a collaborative effort among music professionals. This article explores the inclusive use of policy studies in a music teacher education curriculum within a school-university partnership context. The process of creating a secondary instrumental music partnership is used to illustrate specific examples of how policy can be included in music teacher education programs. I demonstrate how the partnership created a curricular opportunity for preservice music teachers to investigate policy in an authentic context. Planning time, curricular scope and sequence, and the negative impacts of the curricular incorporation of policy on the self-efficacy of the preservice music teachers emerged as concerns for future consideration and review. Recommendations to address these concerns are included.     

Sprayed Decor

The historical development of early childhood music education (ECE) in Kenya reveals the challenging circumstances under which it has, and continues, to progress. Poverty remains the most formidable hindrance to the success of this area of education. Multiculturalism, the mosaic that defines Kenya's rich heritage, also demands ingenuity from policymakers in formulating sound guiding principles that are inclusive of the diverse cultures inherent in the country. The key to addressing the challenges of ECE lies in strengthening the tripartite relationship between policy makers who are the authors of the current broad policies, the curriculum designers, and the teachers who implement the curriculum. Deliberate networking of their ideas and activities provides a way forward in propelling music education in early childhood.     

A Novel Technic for High School Magazines

Inspired by ideas that Levi-Strauss (1955) presented in Tristes Tropiques, the author discusses music and early childhood in Brazil from educational, historical, anthropological, and sociological perspectives. She begins with a short history of early childhood education in Brazil, including changes in educational policies, teacher preparation, and recent statistics. Next, a brief history of music teaching and learning is followed by a discussion of Brazilian children's current musical practices. In this section, the author discusses teacher training, curriculum, religion, wealth, local culture, and the role of the media. The author concludes with suggestions for the development of both early childhood music education policy and practice in Brazil.     

Making Illuminated Parchments

The author describes how contemporary music education at the secondary level has fallen short of Dr. Charles Leonhard's vision for developing musical understanding and musical responsiveness in all students and cites several historical events as pivotal in promoting the profession's current path. The author then challenges this generalization by describing the professional practices of a forward-thinking high school band director who epitomizes Leonhard's ideal of a music teacher and serves as a model for professional dispositions. The author also offers social interaction theory as a promising foundation on which to assemble a music teacher education program capable of producing teachers with dispositions that serve the highest goals of the music education profession.     

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.     

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.