Cover

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Contents

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p. vii

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Preface

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pp. ix-xii

Should music education be construed in metaphorical terms? Can one metaphor suffice as a basis for music education? If not, how should one adjudicate the claims of possible metaphors? If metaphors have limited usefulness, might models also constitute useful means of conceptualizing music education? If no metaphor or model suffices as the sole basis of or means of conceptualizing music education, ...

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Acknowledgments

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p. xiii

I am indebted particularly to Iris Yob, Patricia Shehan Campbell, and Randall Everett Allsup, who read this manuscript in its entirety, to Linda Bucklin whose secretarial assistance was invaluable in preparing the manuscript, to the editorial staff at Indiana University Press, particularly Jane Behnken and Candace McNulty, for their editorial assistance in clarifying my ideas and my language, and to the ...

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1. Metaphor and Model

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pp. 1-16

Regarding music education broadly, transformatively, and artfully invites us to think imaginatively about the ways in which its work is and ought to be carried on. In this book, I juxtapose metaphors and models and see a rich array of pictures that illumine the nature of music education. Although this study applies specifically to music education, it could also be understood to illuminate general education. ...

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2. Boutique and Consumption

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pp. 17-34

I begin with a widespread and powerful pair, the boutique metaphor and its related consumption model of music education. As one of the principal metaphors for education in our time, evoked in music education in particular, it offers a reasonable place to begin. Its roots may be in the distant past, but it has grown in prominence especially since the Industrial Revolution and the rise of capitalism as ...

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3. Village and Community

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pp. 35-52

The importance of pictures of music education as village and community can be traced to several causes. The village resonates with the myth and memory of simpler times and rural places apart from the whirl and pace of the modern metropolis. Its psychological appeal arises from nostalgia for a more uncomplicated and unhurried life and desire for mutuality especially when families are small, fragmentary, and ...

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4. Artist and Apprenticeship

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pp. 53-71

From time immemorial, musicians have thought in terms of the artist and apprenticeship pictures to depict the ways in which wisdom is passed from one generation to another. The objective of this musical education is to prepare musicians at the highest level of performance in a particular musical tradition, whether they be professionals—that is, competent and even exemplary exponents of a musical...

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5. Revolutionary and Transgression

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pp. 72-90

The revolutionary and transgression pictures depict sometimes violent moments of history, upheavals of the accepted order of things, dislocation, violence, suffering, death, grief for what has been lost, and fear of what the new order may bring or of the retribution those who work for or resist change may exact. These ...

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6. Factory and Production

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pp. 91-110

The pictures of factory and production date especially to the industrial revolution that impacted Western societies and, now, the industrialized world. In the United States, although small-scale factories of the nineteenth century that employed skilled artisans have been largely replaced by large factories where economies of scale flow from streamlined and highly mechanized and automated...

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7. Garden and Growth

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pp. 111-130

The garden and growth pictures are of ancient vintage. Their subtle character, muted tones, and naturalistic themes are appealing especially in an industrial or postindustrial age. The dissonance between these images and technologically dominated lived life evokes nostalgia for a sometimes-forgotten and long-lost Paradise expressed in myths, musics, arts, and religions. In societies shaped by ...

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8. Therapist and Healing

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pp. 131-150

The pictures of therapist and healing may have a special resonance with studio teachers who conduct individual and small group music instrumental and vocal lessons.1 These situations permit an intimacy between students and teachers that is not always possible in large classes and ensembles. Rather than urge that music education become music therapy, I offer the therapist as a metaphor for music ...

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9. Court and Rule

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pp. 151-170

The pictures of court and rule have a somber, stern, and dignified character. Evoked in much educational thought and practice in the past, they might make us think of the English poorhouse where Charles Dickens’s Oliver approaches the authorities seated on the rostrum to ask for more food, or the schoolmaster standing on a dais before his class caning an errant student into submission.1 We encounter these...

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10. Seashore and Energy

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pp. 171-190

We come upon the pictures of seashore and energy in differing moods, hues, colors, and contrasts that resonate with musicians. The ocean is “a magnet in all seasons,” and there is something evocative, spiritual, majestic, calming, fearful, and won-derful about “Neptune country with its ancient rhythms and mysteries.”1 Walking along the shoreline between land and sea and writing on Cape Cod surrounded by ...

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11. Home and Informality

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pp. 191-210

We encounter pictures of home and informality that are rooted in antiquity, pervasive in practice, and more recently commented on by music educators. Musically, they are invoked in the work of Sophie Drinker; educationally, in the writing of Maria Montessori, Maxine Greene, Jane Roland Martin, Max Van Manen, and Iris Yob; and music-educationally in the writing of Patricia Shehan Campbell, Lucy Green, Marie ...

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12. Guide and Pedagogy

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pp. 211-230

We turn now to pictures of guide and pedagogy that have been a part of music education since antiquity. Presently they are especially important, because the teaching of music performance and pedagogy courses is often offered in conservatories and schools of music as means of preparing musicians as teachers of music.1 I draw upon the metaphor of a guide, in the sense of one who “advises or shows the ...

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13. Web and Connectivity

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pp. 231-250

At first glance, the web and connectivity pictures seem to be of recent vintage, but a closer look at them suggests that they may be older that we thought. These pictures impact education and music education in important ways. Ivan Illich is among the mid-twentieth-century writers to propose educational webs as a means of revo-lutionizing general education.1 He envisages informally organized and operated ...

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14. Picture and Practice

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pp. 251-270

We come, now, to all-important questions concerning how these pictures of music education relate to its theory and practice. Unpacking these questions entails examining the implications for music educational theory of the metaphors and models, respectively, which in turn invites discussing the qualities of thought that are required in applying this approach to music educational practice and listing ...

Notes

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pp. 271-354