The Musical Experience proposes a new concept - musical experience - as the most effective framework for navigating the shifting terrain of educational policy as it is applied to music education. The editors and contributors define musical experience as being characterized by the depth of affective and emotional responses that music generates. The chapters map out the primary forms of musical engagement - performing, listening, improvising, and composing - as activities which play a key role in classroom teaching. They also address the cultural scope of musical experience, which calls for the consideration of time, place, beliefs, and values to be placed upon musical activities. The Musical Experience discusses how music teachers can most effectively rely on means of musical communication to lead students toward the development and refinement of musical skills, understandings, and expression in educational settings. This book serves to expand upon the dimensions of musical experience and provides, from the forefront of the field, an integrated yet panoramic view of the educational processes involved in music teaching and learning.

Presents ideas for teaching students to think musically. Enrich the music curriculum through classroom interaction and instruction. Appropriate for elementary through high school levels.

This collection of previously published articles, chapters and keynotes traces both the theoretical contribution of Lucy Green to the emergent field of the sociology of music education, and her radical ?hands-on? practical work in classrooms and instrumental studios. The selection contains a mixture of material, from essays that have appeared in major journals and books, to some harder-to-find publications. It spans issues from musical meaning, ideology, identity and gender in relation to music education, to changes and challenges in music curricula and pedagogy, and includes Green?s highly influential work on bringing informal learning into formal music education settings. A newly-written introduction considers the relationship between theory and practice, and situates each essay in relation to some of the major influences, within and beyond the field of music education, which affected Green?s own intellectual journey from the 1970s to the present day.

(Meredith Music Resource). An exciting, balanced approach to student performance, music learning and personal change. Written in an informal, engaging style, the text is highlighted by anecdotes, quotations, challenges for self-reflection, and techniques used by the author and top professionals in the field. The result a fulfilling, productive and successful music teaching experience. (a href="http://youtu.be/jWOGZjAPtaA" target="_blank")Click here for a YouTube video on Music Teaching Style: Moving Beyond Tradition(/a)

Critical thinking, a major goal of education, is an important factor in becoming an independent musician. This study explored dimensions of critical listening including: a) what do students think and audiate when they are listening, b) how do they respond to certain types of music, c) what decisions do they make while listening, and d) how does their level performance experience relate to their listening responses? A case study format was used to carefully observe the listening patterns of students. Three case members chosen from the private studio of the researcher heard a 3-5 minute musical example. The instructions to the student were to listen carefully to the example. After the first hearing students instructed that during the second hearing they were to stop the recording at any time to share what they heard. Upon the completion of the second hearing, students were interviewed about what they heard. Each listening session followed this procedure three times, once for each musical selection. Case members were video-taped while they were listening to capture any non-verbal communication that took place during listening and interviewing. The analysis of the data involved dividing the case evidence into several areas of interest for each piece. Several of the areas were identified before the study through the interview questions. Others were identified because all case members attended to those areas in some way. The results of this analysis presented several factors which seemed to affect the students' listening responses. Responses were apparently affected by each student's personality, verbalization ability, gender, physical reactions to music, aptitude, experience, and extramusical interests. These results provide guidelines for a model for exploring the listening patterns of high school students. They also provide the researcher and other high school teachers with qualitative information about the listening patterns of these students. Studio teachers will be able to use this information to better plan listening lessons.

Debates in Music Teaching encourages student and practising teachers to engage with contemporary issues and developments in music education. It aims to introduce a critical approach to the central concepts and practices that have influenced major interventions and initiatives in music teaching, and supports the development of new ways of looking at ideas around teaching and learning in music. Accessible and comprehensive chapters will stimulate thinking and creativity in relation to theory and practice, and will facilitate readers in reaching their own informed judgements and rationalising their position with deep theoretical knowledge and understanding. Throughout the book, international experts in the field consider key issues including: the justification for music in the school curriculum partnerships in music education and the identity of the music teacher technology and conceptions of musicianship social justice and music education the place of diverse musical genres and traditions in the music curriculum critical thinking and music education autonomy and integrity for music in cross-curricular work the politics, sociology and philosophy of music education. Debates in Music Teaching is for all student and practising teachers interested in furthering their understanding of the subject. Including carefully annotated further reading and reflective questions to help shape research and writing, this collection stimulates critical and creative thinking in relation to contemporary debates within music education.