- 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 Bildning: 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
Music making requires many kinds of habits of mind—broad thinking dispositions potentially useful outside of the music room. Teaching for habits of mind is prevalent in both general and other areas of arts education. This chapter reports a preliminary analysis of the habits of mind that were systematically observed and thematically coded in twenty-four rehearsals of six public high school music ensembles: band, choir, and orchestra. Preliminary results reveal evidence of eight habits of mind being taught: engage and persist, evaluate, express, imagine, listen, notice, participate in community, and set goals and be prepared. However, two habits of mind that the researchers expected to find taught were not observed: appreciate ambiguity and use creativity. These two nonobserved habits are ones that arts advocates and theorists assume are central to arts education. The chapter discusses how authentic assessment of habits of mind in the music classroom may require novel methods, including the development of classroom environments that foster additional levels of student agency.
Jillian Hogan is a PhD student in developmental psychology in the Arts & Mind Lab at Boston College. She holds an MM in music education and a BM in clarinet performance from Boston Conservatory and has additional training in Montessori and Orff-Schulwerk approaches. In her research, she uses mixed methods to investigate what we learn through arts education and how those findings align with public perceptions. Her primary interest is the teaching and learning of habits of mind in visual art and music education, which is informed by teaching for six years in schools that specialize in gifted, inclusion, and autism spectrum disorder populations. She is an author of the book Studio Thinking from the Start: The K-8 Art Educator’s Handbook (2018) (www.jillhoganinboston.com).
Ellen Winner is professor and chair of psychology at Boston College and senior research associate at Project Zero, Harvard Graduate School of Education. She directs the Arts and Mind Lab, which focuses on cognition in the arts in typical and gifted children as well as adults. She is the author of over one hundred articles and three books—Invented Worlds: The Psychology of the Arts (1982); The Point of Words: Children’s Understanding of Metaphor and Irony (1988); and Gifted Children: Myths and Realities (1996)—and coauthor of Studio Thinking: The Real Benefits of Visual Arts Education (2007) and Studio Thinking 2: The Real Benefits of Visual Arts Education (2013). Soon to appear are Studio Thinking for Elementary Schools and How Art Really Works. She received the Rudolf Arnheim Award for Outstanding Research by a Senior Scholar in Psychology and the Arts from APA Division 10 in 2000.
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