- Commentary Critical Reflections and Future Action
- Politics, Policy, and Music Education
- Instrumental Teachers and Their Students: Who's in the Driver's Seat?
- University Professors and the Entrepreneurial Spirit
- Pride and Professionalism in Music Education
- Pondering the Grand Experiment in Public Music Education
- Music Education and Some of Its Subfields: Thoughts about Future Priorities
- Music Education: An Unanswered Question
- Improving Primary Teaching: Minding the Gap
- International Music Education: Setting up a Global Information System
- The Responsibility of Research in Defining the Profession of Music Education
- Constructing Communities of Scholarship in Music Education
- Internationalizing Music Education
- Emotion in Music Education
- Music Education from a Slightly Outside Perspective
- Research Issues in Personal Music Identification
- Preparation, Perseverance, and Performance in Music: Views from a Program of Educational Psychology Research
- Music Therapy in Schools: An Expansion of Traditional Practice
- Embracing New Digital Technologies: Now and into the Future
- Challenges for Research and Practices of Music Education
- All Theoried Up and Nowhere to Go
- Make Research, Not War: Methodologies and Music Education Research
- The Preparation of Music Teacher Educators: A Critical Link
- Music and the Arts: As Ubiquitous and Fundamental as the Air We Breathe
- There is Nothing Complex about a Correlation Coefficient
- Dewey's Bastards: Music, Meaning, and Politics
Abstract and Keywords
This article explores what appears to be music educators' lack of pride for their chosen profession. Studies show that even before entering the profession, music education students prefer to be identified as something other than a music education major, such as a bassoonist or a tenor. To gain respect, many music educators pay more attention to events in education than to events in music. Attracting better individuals to the profession requires a perceptual change that emphasizes scholarship and musicianship in music education. Music education also needs self-criticism and professional argumentation for music educators to take pride in its “big picture.”
Richard Colwell holds a Bachelor of Fine Arts and Master of Music from the University of South Dakota and Ed.D. from the University of Illinois. He was the founder and editor of the Bulletin of the Council for Research in Music Education and The Quarterly. He was chair of music education at the University of Illinois, Boston University, and the New England Conservatory of Music. He is a recipient of the MENC-National Association of Music Education hall of fame award, was recognized for his life-time contribution to music education by the largest music association—the Federated Music Clubs. He received an honorary doctorate of humane letters from the University of South Dakota, was the recipient of a John Simon Guggenheim fellowship, the Horace Porter Award for distinguished scholarship and was the first honorary member of the Chopin Academy's Institute for Research. He is the editor of the Handbook of Research in Music Education and co-editor, with Carol Richardson of the New Handbook of Research in Music Education.
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