The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education (Oxford Handbooks)

The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education offers global, comprehensive, and critical perspectives on a wide range of conceptual and practical issues in music education assessment, evaluation, and feedback as these apply to various forms of music education within schools and communities. The central aims of this Handbook focus on broadening and deepening readers' understandings of and critical thinking about the problems, opportunities, spaces and places, concepts, and practical strategies that music educators and community music facilitators employ, develop, and deploy to improve various aspects of music teaching and learning around the world.--Book jacket Cover The Oxford Handbook of PHILOSOPHICAL AND QUALITATIVE ASSESSMENT IN MUSIC EDUCATION Copyright Contents Contributors Part I: FOUNDATIONAL CONSIDERATIONS Chapter 1: Philosophical and Qualitative Perspectives on Assessment in Music Education: introduction, aims, and overview Assessment Matters in Context Assessment and Values of Music and Music Education Default Philosophies of Assessment Alternatives Premises, Aims, and Assumptions Fundamental Questions Overview of the Book References Chapter 2: Institutional Music Education and Ranking as a Form of Subjectification: the merits of resistance and resilience Disciplining Practices and the Production of Inside versus Outside Social Locations Theoretical Orientation Ranking and Constructions of the Self A View from the Outside (Part 1) Capitalism, Colonization, and the Mirage of Meritocracy Histories of Ranking Practices in Schooling A View from the Outside (Part 2) Concluding Thoughts Notes References Chapter 3: An Ethical Consideration of Assessment in Music Education through the Lens of Levinas Observations from a Music Classroom Assessment: From Accountability to Responsibility? Thinking Tools from Levinas Totality or Infinity: Ethical Knowing Practices of Facing Teachers Pupils Toward a LevinasianConception of Assessment? A Living Language—Not Just Learning the Catechism Avoiding Early Closure: Questions That Open Up Rather Than Close Down Allowing for “the Presence of Infinity Breaking the Closed Circle of Totality” Notes References Chapter 4: The Primacy of Experience: phenomenology, embodiment, and assessments in music education The Phenomenological Body Beyond “Objective” and “Subjective” Rethinking Assessments? Acknowledgments References Chapter 5: Critically Assessing Forms of Resistance in Music Education Critical Pedagogy: An Overview Conscientization Resistance Assessment, Critical Pedagogy,and Music Education Critical Pedagogy for Music Education Critical Forms of Assessment Conclusion Notes References Chapter 6: Evaluation for Equality: applying a classical pragmatist perspective in qualitative assessment in finnish general music education Peirce and Dewey on Qualities Contextualizing Classical Pragmatist Discourse on Qualities Evaluating Qualities Evaluating Qualities in (Art) Education Evaluating Qualities in Music Education: The Finnish Core Curriculum for Basic Education Notes References Chapter 7: Could There Be Deleuzian Assessment in Music Education? Introduction and Current Context Planes of Immanence Varieties of Measurement Majorities and Measurement Standards “Rhythm Without Measurement” Deleuzian Assessment in Music Education Notes References Part II: METHODOLOGICAL PRACTICES Chapter 8: Music Teacher Evaluation, Teacher Effectiveness, and Marginalized Populations: a tale of cognitive dissonance and perverse incentives Music Teacher Evaluation Defining Teacher Effectiveness Marginalized Populations in Music Education Diversity in Schools in the United States Diversity in School Music Education Equity and Inclusion in the Music Classroom Philosophical Dissonances and Perverse Incentives Theories on Music Teaching and Learning vs. K–12 Standardized Rubric Student Engagement and Assessment for Student Learning Criteria Regarding Classroom Culture Ease and “Objectivity” vs. Best Practice in Student Growth Measures Discussion: Theory and Practice (Mis)Use of Solo or Group Festival Ratings Misuse of Teacher Evaluation Itself Forced Stagnation in the Status Quo Thoughts for the Future Reclaim Professional Learning Advocate for Music Educators with Your Administration Engage in Policy Work in Local, State, and National Government Final Thoughts Notes References Chapter 9: The Influence of Assessment on Learning and Teaching: using assessment to enhance learning Summative Assessment Summative Assessment of Musical Performance Summative Assessment of Composition and Improvisation Assessors Formative Assessment Peer Assessment Self-Assessment Implications for Education References Chapter 10: The McDonald’s Metaphor: the case against assessing standards-based learning outcomes in music education McDonald’s Gold Standard McDonaldization and Music Education Rationality and Humanization Assessment, Standards, and McDonaldization Resisting McDonaldization in Music Education References Chapter 11: Habits of Mind as a Framework for Assessment in Music Education Conceptions of Thinking Habits of Mind Habits of Mind in General Education Habits of Mind for Creative Education Habits of Mind in the Arts Habits of Mind in Music Education Musical Habits of Mind Habits of Mind Observed in Music Classrooms Evaluate (Decide What Needs to Be Better) Express (Find and Show Meaning) Imagine (Use Imagery and Inner Hearing) Listen (Really Listen, Not Just Hear) Notice (Critically Observe Through the Eyes and Body) Participate in Community (Be Accountable to the Musical Group) Persist (Focus and “Stick to It”) Set Goals and Be Prepared (Think toward the Future) Habits of Mind Not Observed Appreciate Ambiguity (Recognize Problems with More Than One Correct Answer) Use Creativity (Engage in Novel and Useful Thinking) Assessing Musical Habits of Mind Conclusion References Chapter 12: Alternative Assessment for Music Students with Significant Disabilities: collaboration, inclusion, and transformation Section 1 The Kodaly Approach The Kodaly Approach in a Special Needs Classroom Case Study: Elijah Thomas Section 2: General Music Education Using Students’ Interests and Engagement as a Means of Curriculum Development and Assessment in Inclusive Public School Music Settings Musical Creativity and Response: A Model for Alternative Assessment Semistructured Interviews as Alternative Assessment COIM: A Model of Qualitative Assessment for Students with Exceptionalities Case Study: Emotional Needs Section 3: Secondary Jazz Ensembles Santa Fe College Jazz Band Inclusion Santa Fe College Adult Students with Disabilities Workshop Conclusion Notes References Chapter 13: A Music-Centered Perspective on Music Therapy Assessment An Overview of Assessment in Music Therapy Relationship-Based Music-Centered Assessments The Medium of Music and Its Intrinsic Value in Music Therapy Elements of a Music-Centered Assessment Tool The Individual Music-Centered Assessment Profile for Neurodevelopmental Disorders (IMCAP-ND) Conclusion References Chapter 14: A Case for Integrative Assessment from a Freirian Perspective A Freirian View of Assessment Critical Consciousness Read the Word and the World Applying Freirian Ideas to Assessment A Case for Integrative Assessment in Music Education Understanding Integrative Assessment Enacting Integrative Assessment High School Choir Elementary School Classroom Music Middle School Classroom Music Trustworthiness and Integrative Assessment Conclusion References Part III: CREATIVITY Chapter 15: Cultural Imperialism and the Assessment of Creative Work The Value of Transgressing Idiomatic Boundaries The Enforcement of Idiomatic Conventions Cultural Value Judgments and Hidden Cultural Imperialism The Far-Reaching Impacts of Devaluing Feedback Challenges and Recommendations Interviews Cited Notes References Chapter 16: Enter the Feedback Loop: assessing music technology in music education with personal bests The Runner’s Rubric: The PB Mentality Enter the Feedback Loop Assessing Instruments: Music-Making Technology (MMT) Design as Assessment Simulating the “Song Machine”: Authentic Assessment in the Absence of an Expert Peer Feedback Reflexive and Reflective Self-Feedback No Finish Line: Running to the Summit-ive References Chapter 17: Improvisation, Enaction, and Self-Assessment Improvisation and Music Education Teaching and the Question of “Improvisation” Improvisation and the Question of “Teaching” Cognition and Improvisation Cognition as Embodied, Embedded, Enactive, Extended, and . . . Improvised Improvisation and Assessment 4Es and an I . . . or Improvisation as Self-Assessment Conclusion: Toward Praxis Acknowledgments Notes References Chapter 18: Philosophy of Assessment in Popular Music Education Popular Music Teaching and Learning Canonization of Popular Music in Education Authenticity and Aims Issues with Assessment of Popular Music in Education Assessment in Creative Music Making The Role of Students in PME Assessment Negotiated Assessment Challenges for Incorporating Negotiated Assessment Conclusion Notes References Chapter 19: “He Sings with Rhythm; He Is from India”: children’s drawings and the music classroom Multimodality Children’s Drawings and Assessment Drawings as Windows into Children’s Minds Drawing as Method Drawing and Music Education Research Developmental, Sociocultural, and Cross-Cultural Issues Voice Meaning and Interpretation Narratives of Meaning Criticisms and Concerns Epistemologies of the Crayon Notes References Part IV: INTERNATIONAL PERSPECTIVES Chapter 20: The Assessment of Classroom Music in the Lower Secondary School: The English Experience Music Education in the National Curriculum The Use of Assessment Levels in the National Curriculum Classroom Practices and Philosophies Formative Assessment in the English Context Summative Assessment in the English Context Attainment and Progression Conclusions References Chapter 21: Imagining Ends-Not-Yet-in-View: The ethics of assessment as valuation in Nepali music education Implementation of the Study Assessment in the Nepali Curriculum Valuation in and of Music Education in Nepal “Woven from Hundreds of Flowers, We Are One Garland” To “Prepare Students for Life and Not for Examinations” The Pressure to Perform The “Iron Gate” Imagining Beyond Fixed Ends Imagining Students’ Ends-in-View Imagining the Unforeseen Toward an Ethically Engaged Future of Assessment Acknowledgments Notes References Chapter 22: Creating Caring Micro-Assessment Cultures in South Africa Macro-Assessment Culture in South Africa Beliefs That Inform the Macro-assessment Culture in South African Music Education Eurocentrism Managerialism Tools and Practices Informing Macro-Assessment Culture in South African Music Education School-Based Assessment The Written Portfolio The Final Written and Practical Examination Creating Caring Micro-Assessment Cultures in South African Music Education Beliefs Informing a Caring Micro-Assessment Culture An Ethic of Care Defining Care as a Practice Defining Care as a Disposition Personhood, Autonomy, and Care Ethics Practices and Tools That Inform a Caring Micro-Assessment Culture Interactive Regulation Assessment as a Relational Practice Conclusion Note References Chapter 23: Assessment and the Dilemmas of a Multi-Ideological Curriculum: the case of Norway Educational Ideologies and the Norwegian Curriculum Bildung and Ideas of Progressive Education The Norwegian Core Curriculum A Positivist Ends-Means Approach to Education The Knowledge Promotion Curriculum The Norwegian Music Subject Curriculum for Years 1–10 The Multi-Ideologically Split Curriculum Dilemmas of Assessment Inherent in the Norwegian Music Subject Curriculum If Bildung and Progressive Education Ruled the World Notes References Chapter 24: Building a Culture of Ethical, Comparable, Authentic Assessment: music education in queensland Queensland, Australia Externally Moderated, School-Based Assessment in Queensland Aligning Music Curriculum and Assessment: Dimensions, Objectives, and Standards Developing Queensland’s Music Curriculum and Assessment Developing Standards for Assessing Music Developing Music Assessment Strategies, Procedures, and Instruments in a School-Based Moderation Environment Developing Teachers as Assessors Building Music Assessment Cultures and Communities Conclusion Appendix A: Definitions (from QCAA, 2014) Appendix B: Elements of Music (from QSA, 2013) Appendix C: Standards (Composition) (from QSA, 2013, p. 22) Note References Chapter 25: Music as Bildning: the impracticability of assessment within the scandinavian educational tradition What Is Bildning? Historical Matters Bildning: Conceptual Analysis The Folkbildning Tradition Musical (Folk)Bildning: Approaching Holistic Educational Ideals Swedish Music Education Bildning and Neoliberal Educational Politics: A Cul-de-Sac References Chapter 26: Nonregulated Assessment in Music Education: an urban Iranian outlook Music Teaching and Learning in Iran after the 1979 Revolution Reform Era (1997–2005) Resurgence of Fundamentalism And Now The Position of Iranian Music Education in the Field at Large Analysis of Assessment in Urban Iranian Music Teaching and Learning DIY (Do-It-Yourself) and DIWO (Do-It-With-Others) Assessment Interactive and Decentralized Assessment Local Anarchism Lifestyle Assessment Concluding Remarks Notes References Chapter 27: International Perspectives on Assessment in Music Education International Music Education and Assessment International Perspectives The Meaning of Assessment International Perspectives The Power of Educational Ideals Assessing Musical Creativity Internationally Conclusion Notes References Index