- 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 explores a possible alternative to traditional “paper-and-pencil” assessment practices in music classes. It argues that an approach based on phenomenological philosophy and inspired by recent developments in cognitive science may shed new light on learning and help educators reconsider grading systems accordingly. After individuating the core issue in an unresolved tension between subjective-objective methodologies relevant to certain learning contexts, the chapter proposes a possible remedy by appealing to three principles central to “embodied” approaches to cognition. Such principles may help educators reframe cognitive phenomena (learning described as a measurable event based on “information processing”) in terms of cognitive ecosystems (learning understood as a negotiating and transformative activity codetermined by diverse embodied and ecological factors connected in recurrent fashion). Accommodating this shift implies transforming assessment practices into more open and flexible systems that take seriously the challenge of cooperative learning and phenomenological reflections.
Andrea Schiavio is currently postdoctoral researcher at The Centre for Systematic Musicology of The University of Graz, Austria, and honorary research fellow at the Department of Music of the University of Sheffield, UK, from which he received his PhD in 2014. After his doctoral studies he served as postdoctoral researcher at the Cognitive and Systematic Musicology Lab of the Ohio State University (USA) and at the Department of Psychology of Boğaziçi University Istanbul, Turkey. In 2017 he lectured at The University of Music and Performing Arts Graz, Austria. His work combines empirical and theoretical research at the crossroads of music psychology, cognitive (neuro)science, and philosophy of mind. In his writings he defends a “4E” approach to music cognition, one that conceives of music as an embodied, embedded, extended, and enactive phenomenon.
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