Critical Perspectives in Canadian Music Education

Cover

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Contents

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pp. v-vi

Foreword: Questioning Traditional Teaching and Learning in Canadian Music Education

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pp. vii-x

I have no idea how the world should be educated. Each culture has its own targets for citizenship and develops a curriculum to meet those objectives. Those who disagree with the objectives will have a rough time in school. I spent years in school trying to get out. It seemed to me that so much of education was devoted to answering questions ...

Preface and Acknowledgements

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pp. xi-xiv

There are a number of research publications that investigate various aspects of music education, ranging from philosophies of music education to analyses of the tiniest components of the discipline. While at a first glance this manuscript may seem to be just another “research in music education” publication, ...

One: The “Roots” of Canadian Music Education: Expanding Our Understanding

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pp. 1-20

Roots”? What’s in a word? I initially thought it would be relatively easy to identify the roots of Canadian music education: there would be French, English, and Aboriginal roots. Simple. Green and Vogan (1991) had already written a comprehensive history of Canadian music education from its inception until 1967, ...

Two: Cross-Country Checkup: A Survey of Music Education in Canada’s Schools

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pp. 21-38

Canada is a huge and diverse nation, and trying to summarize music education across this vast country in one chapter might seem an impossible task, yet still one worth attempting. Music education colleagues from across the country facilitated the writing of this summary chapter by providing written accounts of various aspects ...

Three: Canadian Music in Education: “Sounds Like Canada”

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pp. 39-48

The first systematic efforts to promote Canadian music in education were made by the Canadian Music Centre (CMC), which began to develop a Graded Educational Music Plan in 1961. This plan, initially conceived and developed by John Adaskin (CMC Executive Secretary), sought to achieve 25 percent Canadian content in music education ...

Four: Manitoba’s Success Story: What Constitutes Successful Music Education in the Twenty-First Century?

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pp. 49-70

In 2005, the Coalition for Music Education in Canada (CMEC) reported, province by province, the findings of a national survey it conducted on music education. Manitoba stood out as a leader in delivering quality music programs in its schools: an indication that the collective efforts of Manitoba’s music education community ...

Five: Traditional Indigenous Knowledge: An Ethnographic Study of Its Application in the Teaching and Learning of Traditional Inuit Drum Dances in Arviat, Nunavut

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pp. 71-88

In 1996, the Royal Commission on Aboriginal Peoples¹ recommended the application of indigenous knowledge² and incorporation of tradition in Aboriginal educational policy in Canada (Brant Castellano, 2000). Since then, communities such as Arviat, Nunavut, have responded to the commission’s challenge of articulating ...

Six: Looking Back at Choral Music Education in Canada: A Narrative Perspective

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pp. 89-100

To provide a definitive accounting of choral music education in Canada, particularly within the scope of just one chapter, is an impossible task. Such an account would assume that there is a set of data that could be gathered, analyzed, assessed, and reported accurately as an extant body of knowledge. ...

Seven: Re-Membering Bands in North America: Gendered Paradoxes and Potentialities

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pp. 101-122

Bands¹ occupy a paradoxical position in US and Canadian societies. Indeed, bands themselves are paradoxical. On the one hand, the music and pageantry they provide for many ceremonial, civic, and sporting events is integral to the life of the community; on the other, their general influence outside of educational institutions has declined, most notably in Canada. ...

Eight: Community Music Making: Challenging the Stereotypes of Conventional Music Education

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pp. 123-134

Why is it important for music and arts educators to consider community as a frame of reference for music education in the public sphere? How does this expansion sit with older, narrower conceptions of music education? How might community music (CM) interact, intersect, or enhance what happens in schools, and vice versa. ...

Nine: Still Wary after All These Years: Popular Music and the School Music Curriculum

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pp. 135-146

The use of popular music in the school music curriculum was given its first enthusiastic endorsement in 1967 at the influential Tanglewood Symposium when leaders from the American education, music education, and professional music worlds met to discuss the role of music education in a changing world. ...

Ten: E-Teaching and Learning in Music Education: A Case Study of Newfoundland and Labrador

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pp. 147-164

Distance education in Newfoundland and Labrador grew from a need to create equal access to high school courses, university programs, and other learning opportunities. Small, geographically isolated rural schools in the province have challenged the province’s ability to provide students with sufficient teacher and resource allocations. ...

Eleven: Focusing on Critical Practice and Insights in the Music Teacher Education Curriculum

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pp. 165-180

The profession of music education encompasses multiple aspects, including educating students (1) in school-based settings, (2) in undergraduate programs for those who will go on to teach in school-based settings, and (3) in graduate programs for those who currently teach in school-based settings. ...

Twelve: Marching to the World Beats: Globalization in the Context of Canadian Music Education

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pp. 181-192

Globalization was originally coined as an economic term that described how business practices in local nations around the world developed, comingled, and unified into global economic communities. It is not a new phenomenon; globalization has been occurring since the dawn of civilization as peoples moved from place to place, ...

Thirteen: Epistemological Spinning: What Do We Really Know about Music Education in Canada?

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pp. 193-204

The chapters in this book have comprehensively considered Canadian music education over the first decade of the twenty-first century from several perspectives. In this concluding chapter, we explore the ways in which the chapters, in total, are more than the sum of their parts and how they may contribute to a holistic study of music education in Canada and elsewhere. ...

About the Authors

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pp. 205-210

Carol Beynon is Associate Vice Provost of the School of Graduate and Postdoctoral Studies and former Acting Dean of Education at the University of Western Ontario. She is the founding co-artistic director of the renowned and award-winning Amabile Boys and Men’s Choirs. ...

Index

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pp. 211-216