- Copyright Page
- Philosophical and Qualitative Perspectives on Assessment in Music Education: introduction, aims, and overview
- Institutional Music Education and Ranking as a Form of Subjectification: the merits of resistance and resilience
- An Ethical Consideration of Assessment in Music Education through the Lens of Levinas
- The Primacy of Experience: phenomenology, embodiment, and assessments in music education
- Critically Assessing Forms of Resistance in Music Education
- Evaluation for Equality: applying a classical pragmatist perspective in qualitative assessment in finnish general music education
- Could There Be Deleuzian Assessment in Music Education?
- Music Teacher Evaluation, Teacher Effectiveness, and Marginalized Populations: a tale of cognitive dissonance and perverse incentives
- The Influence of Assessment on Learning and Teaching: using assessment to enhance learning
- The McDonald’s Metaphor: the case against assessing standards-based learning outcomes in music education
- Habits of Mind as a Framework for Assessment in Music Education
- Alternative Assessment for Music Students with Significant Disabilities: collaboration, inclusion, and transformation
- A Music-Centered Perspective on Music Therapy Assessment
- A Case for Integrative Assessment from a Freirian Perspective
- Cultural Imperialism and the Assessment of Creative Work
- Enter the Feedback Loop: assessing music technology in music education with personal bests
- Improvisation, Enaction, and Self-Assessment
- Philosophy of Assessment in Popular Music Education
- “He Sings with Rhythm; He is from India”: children’s drawings and the music classroom
- The Assessment of Classroom Music in the Lower Secondary School: The English Experience
- Imagining Ends-Not-Yet-in-View: The ethics of assessment as valuation in Nepali music education
- Creating Caring Micro-Assessment Cultures in South Africa
- Assessment and the Dilemmas of a Multi-Ideological Curriculum: the case of Norway
- Building a Culture of Ethical, Comparable, Authentic Assessment: music education in queensland
- Music as <i>Bildning</i>: the impracticability of assessment within the scandinavian educational tradition
- Nonregulated Assessment in Music Education: an urban Iranian outlook
- International Perspectives on Assessment in Music Education
Abstract and Keywords
The purpose of this chapter is to provide an introduction and overview to the aims of the Oxford Handbook of Philosophical and Qualitative Assessment in Music Education. Why philosophical and qualitative perspectives on assessment in or for music education? While there are numerous quantitative research projects that investigate assessment in or for music education, which are certainly important, they typically do not help us understand (which this volume does) the fundamental conceptual nature of and assumptions about music education assessment and music education evaluation across global contexts, which in turn shape and drive why and how students, and their actual and potential creativities, are harmfully or ethically impacted.
David J. Elliott is professor at New York University. Prior to joining NYU, he taught at the University of Toronto for twenty-eight years. He is coauthor of Music Matters: A Philosophy of Music Education (2nd ed., 2015); author of Music Matters: A New Philosophy of Music Education (1995); editor of Praxial Music Education: Reflections and Dialogues (2005/2009); and coeditor of Artistic Citizenship: Artistry, Social Responsibility, and Ethical Praxis (2016). He has presented over three hundred papers and lectures in forty-four countries and is an award-winning composer/arranger (Boosey & Hawkes/Hal Leonard).
Marissa Silverman is associate professor at the John J. Cali School of Music, Montclair State University, NJ. A Fulbright scholar, her research agenda focuses on dimensions of music philosophy, artistic interpretation, community music, and interdisciplinary curriculum development. Dr. Silverman is author of Gregory Haimovsky: A Pianist’s Odyssey to Freedom (University of Rochester Press) and coauthor of the second edition of Music Matters: A Philosophy of Music Education. She is coeditor of Community Music Today (Rowman & Littlefield) and Artistic Citizenship: Artistry, Social Responsibility, and Ethical Praxis.
Gary E. McPherson studied music education at the Sydney Conservatorium of Music before completing a master’s of music education at Indiana University, a doctorate of philosophy at the University of Sydney, and a licentiate and fellowship in trumpet performance through Trinity College, London. He is the Ormond Professor and director of the Melbourne Conservatorium of Music and has served as national president of the Australian Society for Music Education and president of the International Society for Music Education. His research interests are broad and his approach interdisciplinary. His most important research examines the acquisition and development of musical competence and motivation to engage and participate in music from novice to expert levels. With a particular interest in the acquisition of visual, aural, and creative performance skills, he has attempted to understand more precisely how music students become sufficiently motivated and self-regulated to achieve at the highest level.
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