- 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
How is it possible to move beyond assessment for the purposes of evaluating teacher proficiency and student performance outcomes and instead to consider assessment for understanding student musical experiences and preferences for the purpose of promoting lifelong musical engagement? This chapter includes and examines three distinct music education approaches that have been taken at the K–12 Sidney Lanier Center School for students with varying exceptionalities in Gainesville, Florida. Megan Sheridan illustrates inclusion and assessment using the Kodály approach. David Edmund and Jian-Jun Chen-Edmund examine creative lessons developed for exceptional learners in a general music setting. Steven Bingham and Donald DeVito illustrate adaptive jazz inclusion and performance for public school and university students with disabilities. This collaborative development in qualitative music assessment has taken place through (1) developing methods of communicating recognition of student engagement and affective responses during inclusive engagement in public school music education settings, specifically in Kodaly-based music instruction, K–12 general music classes, and secondary jazz ensembles; (2) using students’ interest and engagement as a means of curriculum development and assessment in inclusive public school music settings; and (3) building collaborative relationships with parents and the community for post-school lifelong music learning.
Donald DeVito is a music and special education teacher at the Sidney Lanier Center School in Gainesville, Florida. He was the 2011 National Council for Exceptional Children Teacher of the Year (special education) and a board member in 2014–2016 of the International Society for Music Education (which has members in over one hundred countries). DeVito publishes extensively and presents internationally on networking universities, schools, and community-based music programs for the benefit of children with special needs throughout the world. He is developing a music and special education program at the Notre Maison Orphanage for children with disabilities in Haiti and recently edited the first educational publication of the Haitian Teachers Association. Upcoming publications include chapters on music and special education in the Handbook of Arts Education and Special Education and The Oxford Handbook of Technology and Music Education.
Megan M. Sheridan is assistant professor of music education at the University of Florida, where she teaches courses in undergraduate and graduate music education. She has taught elementary general music in public and private schools. Dr. Sheridan is Kodály certified and currently serves as chair of the National Conference Choir Committee for the Organization of American Kodály Educators . She has also completed Orff-Schulwerk Level I training. Her research interests include pedagogical practices in elementary general music, children’s vocal development, music for children with special needs, and qualitative research methods. She frequently presents her research and gives workshops at schools and conferences in the United States and abroad.
Jian-Jun Chen-Edmund is assistant professor of music education at the University of Minnesota Duluth. She teaches applied piano and graduate and undergraduate music education courses. She received her PhD in music education and served as adjunct assistant professor at the University of Florida. In 2007 she earned the Outstanding Academic Achievement Award from the UF International Center. Dr. Chen-Edmund earned her master of arts degree in music and music education at Teachers College, Columbia University, and a bachelor’s degree in music performance at Fu Jen University in Taipei, Taiwan. She holds Orff Schulwerk and Kodály certifications. Dr. Chen- Edmund has presented research and conducted workshops regionally, nationally, and internationally. Her research areas of interest include Taiwanese indigenous folk music, connections between music instruction and language development, teacher education, and assessment in music education.
David Edmund is assistant professor and chair of music education at the University of Minnesota Duluth. His research interests include pedagogy of musical creativity, music for exceptional learners, and music teacher artistry. He possesses certifications in the Orff-Schülwerk and Kodály approaches. Prior to his time at UMD, Edmund served on the faculty at the University of Florida, where he earned a PhD in music education. Edmund has presented research in East Asia, Europe, South America, and throughout the United States. He taught general music, choir, and beginning band for ten years in Florida elementary schools. Edmund earned the master of music education degree with jazz studies emphasis at the University of North Texas, where he performed in the One o’ Clock lab band and directed the Six o’ Clock. Dr. Edmund has toured and recorded with chamber winds, jazz, reggae, soul, pop, and rock ensembles.
Steven Bingham is the music director at Santa Fe College in Gainesville, Florida. Bingham’s duties include teaching music fundamentals; music appreciation, both on site and online; and directing three jazz ensembles: a big band and two jazz combos. His current international project is assisting in developing an inclusive community music program at the Notre Maison Orphanage in Port au Prince, Haiti. He has worked in the field of jazz inclusion for local K–12 and Santa Fe College based programs for students with disabilities, most recently in his rhythm and blues ensemble. Bingham has published extensively in the area of community music inclusion through his presentations at International Society for Music Education conferences in China, Greece, Brazil, and Scotland.
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