- 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
This chapter takes as its starting point notions of music making as ethical encounter (Bowman, 2001) and as the exercise of hospitality (Higgins, 2007) in order to explore what ethical practice in music education might look like, through the philosophical writings of Emmanuel Levinas. It puts into question discourses of performativity, which may be understood as constraining and narrowing what we think of as “musical knowing” in the classroom. Thinking tools drawn from Levinas’s first major work, Totality and Infinity (1969), include notions of “practices of facing” and of “putting a world in common.” This conceptual lens enables an investigation of what it might mean for assessment in music education if we embraced Levinas’s radical openness—the breaking in of “infinity” into “totalizing” practices—bringing to light processes of music making, not simply the musical product, as well as the uniqueness of each pupil’s music making in relationship to others and to the Other, and capturing rich learning in the music classroom.
Kathryn Jourdan is a performer, teacher, and researcher based in Edinburgh, Scotland. She freelances as a viola player with the Scottish Chamber Orchestra and teaches academic music, viola, and chamber music in the specialist setting of St Mary’s Music School. In 2015 she completed a PhD in the field of the philosophy of music education with the dissertation “Through the Lens of Levinas: An Ethnographically-Informed Case Study of Pupils,” supervised by John Finney in the Faculty of Education, Cambridge University. She is a member of the editorial boards of both the British Journal of Music Education and the International Journal of Music Education and continues to present and publish academic research. She is a board member of Sistema Scotland. She studied music at Clare College, Cambridge, completing postgraduate studies in viola and chamber music at the Royal Northern College of Music with Simon Rowland Jones and Chris Rowland, where she was awarded the Bach and Leonard Hirsch prizes for solo and quartet performance. After five formative years in the city of Birmingham Symphony Orchestra under Simon Rattle’s leadership, she played for three years in a Londonbased string quartet, training and then practicing as a secondary music teacher back in Cambridge, inspired by the outreach and education work in inner-city Birmingham in which she had taken part as a member of CBSO.
John Finney taught music in secondary schools in Southall, Worceste, and Basingstoke, England, before doing higher degree study at Reading University and joining the Music Department of Homerton College, Cambridge, in 1992. In 2001 the college was assimilated into the University of Cambridge, Faculty of Education, where John continued to prepare music graduates for secondary school music teaching as well as supervising higher degree study. In the role of teacher trainer John created a sustainable model of partnership working with music teachers throughout East Anglia. He retired in 2011. His research has focused on the analysis of classroom practice in relation to public policy, with particular attention to curriculum rationales, pedagogical innovation and change, and the problems of assessment. In addition to frequently publishing articles accessible to classroom music teachers evaluating and critiquing public policy, his major publications include Rebuilding Engagement through the Arts: Responding to Disaffected Students (with R. Hickman, M. Morrison, B. Nicholl, and J. Rudduck); Masterclass in Music Education: Transforming Teaching and Learning (with F. Laurence); and Music Education in England 1950–2010: The Child-centered Progressive Tradition, a critical commentary on ideas and practices that evolved during the second half of the twentieth century in England. From here his interest has focused on the possibility of developing an ethical approach to music education found at the heart of the relationship between the pupil and teacher and what is being learned, constructing relational knowledge and a music education with “human interest.” John writes a weekly blog, Music Education Now, at jfin107.wordpress.
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