MUED 591 (part of the PTCE program at Oregon State)
Curriculum Foundations in Music Education
3 credits – Fall 2012, Mondays 9:00 – 11:50
Tina Bull, Ph.D.
Associate Professor and Coordinator of Music Education
Oregon State University
n
304D Benton Hall
541-737-5603 (office) 541-231-7361 (cell: leave messages here, texts are fine.)
tina.bull@oregonstate.edu (point of first contact)
Students with disabilities: Accommodations are collaborative efforts between
students, faculty, and Services for Students with Disabilities (SSD). Students with
accommodations approved through SSD are responsible for contacting the faculty
member in charge of the course prior to or during the first week of the term to discuss
accommodations. Students who believe they are eligible for accommodations but who
have not yet obtained approval through SSD should contact SSD immediately at 7374098.
Student conduct: Please visit this website to read and assimilate Oregon State
University’s expectations for student conduct. Through enrolling in this course, you
agree to the terms set forth in this document:
http://oregonstate.edu/studentconduct/regulations/index.php#acdis
Prerequisite: Admission to the Professional Music Teacher Education Program at OSU.
Course Description: Examination of historical, philosophical, aesthetic, and social
influences on contemporary music education curricula, with emphasis on 1950 through
the present, culminating in the National Standards for Arts Education.
Methods of Instruction: Students will learn through reading, listening, discussing,
planning, peer teaching, leading, and questioning.
Application to the Knowledge Base: Understanding the historical, philosophical, and
social influences on art, education and music education enables teachers to construct
their own philosophies and make informed instructional decisions. Students will
synthesize their knowledge of pedagogy, learners, music, and standards in music
education and NCATE. As a result, students will begin a long-term process of defining
and redefining their own educational goals and philosophies in order to teach through
an informed process, reflect upon their teaching, and improve throughout their
teaching career.
Link to Conceptual Framework, Knowledge Base, and National and State Standards:
The Professional Teacher and Counselor Education (PTCE) unit Conceptual Framework
is based on four foundational or core values that are listed below. These are also
available in the Cooperating Teacher and Graduate Student Handbook for Music
Education.
1. Ethics and Professionalism
2. Reflective Practitioner
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3. Lifelong Learners
4. Diversity and Equity
With respect to national standards, this course includes application of NCATE content
knowledge, professional and pedagogical knowledge and skills, dispositions, and
student learning.
The Oregon TSPC Standards embedded in this course include the following:
• Standard 1: Plan Instruction that supports student progress in learning and is
appropriate for the developmental level.
• Standard 2: Establish a classroom climate conducive to learning.
• Standard 3: Engage students in planned learning activities.
• Standard 5: Exhibits professional behaviors, ethics, and values.
Evaluation procedures: Students will be evaluated through weekly written quizzes,
oral discussions, teaching evaluations, one formal paper, and one written final
examination.
Required Texts:
Kelly, S. N. (2009). Teaching music in American society. Routledge: New York.
Mark, M. L. (Ed.) (2007). Source readings from Ancient Greece to today (3 ed.).
Routledge: New York.
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Popkin, R. H. & Stroll, A. (1993). Philosophy (3 edition). Oxford: Made Simple Books.
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Recommended texts:
American Psychological Association. (2009). Publication manual of the American
Psychological Association (6th ed.). Washington, DC: Author.*
Boardman, E. (Ed.) (2002). Dimensions of musical learning and teaching: A different
kind of classroom. Reston, VA: MENC.
Elliott, D. (1994). Music matters: A new philosophy of music education. New York:
Oxford University Press.
Gardner, H. (2008). Five minds for the future. Harvard Business Press: Boston, MA.
Hargreaves, D. J. & North, A. C. (1997). The social psychology of music. Oxford: Oxford
University Press.
National standards for arts education: What every young American should know and
be able to do in the arts. (1994). Reston, VA: Music Educators National
Conference. *
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North, A. C. & Hargreaves, D. J. (2008). The social and applied psychology of music.
Oxford University Press.
Reimer, B. (2000). Performing with understanding: The challenge of the national
standards for music education. Reston, VA: MENC. Chapters one and two.
Ross, S. D. (Ed.) (1994). Art and its significance: An anthology of aesthetic theory (3
ed.). Albany: State University of New York Press.
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Course content:
There are three main topic strands that overlap for this course. First, we will begin with
music education in the United States as a sociological and cultural phenomenon. The
second strand is the study basic philosophical and aesthetic approaches to music.
Lastly, we examine psychological approaches to learning. All of these forces intertwine,
affecting past, current, and future practices in music education. Along the way, we will
explore purposes of art, functions of music in society, and variables that influence
student learning. Ultimately, you will develop a better understanding of your own
philosophy as well as appropriate pedagogical approaches that will lead your future
students toward independence and artistry.
Grading:
Written examinations 35%
Philosophy of Music Education paper 35%
Quizzes 30%
Grading Scale
93 - 100
91 - 92
88 - 90
83 - 87
81 – 82
78 - 79
73 - 77
71 - 72
68 - 70
63 - 67
61 – 62
60 and below
A
AB+
B
BC+ and below requires plan of action
C
CD+
D
DF
Course policies
Attendance and punctuality are critical and are part of the professionalism expected of
all graduate students. With only one class meeting per week, it is imperative that you
make every effort to attend each class. If something unavoidable requires you to miss a
class, you must contact a colleague and make arrangements with her or him to secure
all notes and assignments prior to the next class meeting. You are expected to have all
assigned materials prepared, and all readings completed, by the beginning of the
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following class meeting. Also, please leave me a message via e-mail or telephone
explaining your absence.
Late work will not be accepted without approval prior to the deadline. Please notify
me of any problems as soon as they occur. It is important that you stay on top of all
assignments as we progress through the term. Assignments are due at the beginning of
the class on the date stated. When unusual circumstances impede your usual ability to
get work finished on time, please contact me right away to make other arrangements.
With excellent communication, we can work through almost any problem.
Suggestions to help you achieve success in this course:
a. Look ahead, organizing your time carefully, and planning wisely. You must stay
current with the readings and never allow yourself to get behind. There is no time
built into the syllabus for “catching up.” It’s important that you read to understand,
so plan on spending several hours per week reading carefully. I suggest taking notes
along the way to help you remember what you have read. I frequently give
unannounced quizzes on the assigned readings at the beginning of class. Expect to
read the same chapters more than once in order to better understand and retain the
material.
b. Save every assignment and make sure you have an extra copy of everything you turn
in. Back up your papers, your disks, and other materials on an external hard drive or
on another external source. If your hard drive crashes and burns, make sure you have
a backup stored somewhere else that you can access. You may use your onid account
as a place to store electronic files, if you wish.
c. Print and photocopy your papers early so if there is a problem with paper, toner, or
hardware, you will have time to get it printed elsewhere. These problems occur
regularly. Do not print the morning an assignment is due. You may send all papers
electronically, except for those explicitly asked for in class.
d. Double-space and word-process all assignments. All written papers must be written
in APA style unless stated otherwise. Be sure to determine how to include citations
within the text and how to create a reference page at the end of each paper. Part of
your education through this and other courses is learning appropriate use of APA
writing style. You will need to actively engage with the manual in order to do so.
e. Edit all of your papers extensively before turning them in. Be careful to avoid too
much use of passive voice and inappropriate use of commas. (The APA Manual has
easy-to-read sections addressing these problems!) Read your papers out loud to
yourself. Read each other’s papers before turning them in. Use spell check and
grammar check. (Those squiggly lines mean something, even though they are not
always a guaranteed mistake.) Poorly written papers will be returned without my
editing or grading. The writing center is available to help!
f. It is a good idea to create an outline stressing your major points before writing your
philosophy paper. In addition, learn to write a good topic sentence or thesis
statement. Lay out your main points paragraph by paragraph. Write a solid
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introduction relating to the structure of the paper, and a solid conclusion drawing it
all together at the end. Ask a friend or colleague to read your paper and give you
feedback. The copy you turn in should be free of spelling errors and grammatical
mistakes. There is a writing help desk available now at the Valley library. If you are
not already an excellent writer, please make use of it.
Readings and assignments: Be sure complete all readings and listening assignments
prior to the beginning of class that day. I love giving weekly quizzes.
Listening assignments: The listening assignments are episodes from “This American
Life” and WNYC “Radio Lab” that carry excellent examples of struggles, challenges,
and triumphs that are part of our culture and those cultures of your future students.
TAL = This American Life. RL = Radio lab.
For “This American Life,” you can listen online for free by going to: http://thislife.org.
Click on ALL EPISODES and look for the dates I have provided below. Each show is
organized by year, month, date, so they are easy to find.
The web site for Radio lab is: http://www.radiolab.org/ However, I think it is easiest
to go to iTunes, Podcasts, and download the Radio lab podcasts into your iTunes folder.
Plan on giving yourself about an hour for listening to each episode. You may want to
take a few brief notes as you listen, in case we have a short quiz. You may also want to
keep tissues nearby for occasional heartbreakers.
Due Friday, September 28
1. Read Kelly Chapter one, a sociological perspective.
2. Read Philosophy Introduction, pp. xi - xviii.
3. In Source Readings, read pp. 3 - 8. Plato.
4. Listen and reflection upon: This American Life: Episode 474: Back to School:
http://www.thisamericanlife.org/radio-archives/episode/474/back-to-school
Due Monday, October 8
1. Read Philosophy Chapter one, part I, pp. 1 – 30 (stop at Spinoza).
2. Read Kelly Chapter two, theoretical foundations.
3. TAL Unconditional Love, Episode 317, 9/15/06. After listening, watch:
http://www.youtube.com/watch?v=fLrBrk9DXVk
Due Monday, October 15
1. Read Philosophy Chapter one, part II, pp. 30 – end.
2. TAL Didn’t Ask to Be Born, Episode 209, 3/29/02
3. Read Classical theories of learning handout, from Phillips and Soltis
4. In Source Readings, read pp. 46 - 51 (Locke, Ruskin, Pestalozzi).
Due Monday, October 22
1. Read Kelly Chapter three, purposes of education
2. Read Philosophy chapter 5, part 1: theory of knowledge, pp. 212-238
3. Listen to Radio Lab: Words http://www.radiolab.org/2010/aug/09/
4. Read Behaviorism handout, from Phillips and Soltis
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Due Monday, October 29
1. Read Philosophy chapter 5, part 2: theory of knowledge, pp. 238- 279.
2. In Source Readings, read pp. 87-106, Boston school committee and Horace Mann
3. Radio Lab: Musical Language (9/24/07)
4. Read Problem Solving and Insight handout, from Phillips and Soltis
Due Monday, November 5
1. In Hargreaves and North, read chapter 10: Environmental factors in the development
of musical performance skill over the life span, pp. 188-203.
2. Read Kelly, Chapter four, Music Education's role in society.
3. In Source Readings, read pp. 170-172 (Langer), and 182-184 (Burmeister).
Due Monday, November 12
1. Read Kelly chapter five, Equality of Education.
2. In Hargreaves and North, read chapter 3: Gender and music.
3. Listen to TAL Special Ed, Episode 207, 7/20/07.
4. Listen to Radio Lab Shorts: Secrets of Success 7/26/10.
5. In Source Readings, read pp. 271-274 (O'Toole), p. 275 (Atterbury).
Due Monday, November 19
1. Read Kelly chapter six, Social components of music learning.
2. In Source Readings, pp. 133-142 (Dewey, Mursell, etc.), 215-231 (Reimer) and 397-409
(Fowler) and pp. 243-253 (Elliott). Read others at your own discretion.
3. TAL Hide Speed Chase, Episode 219, 8/16/02.
4. Share your purposes of education and music education with the entire class. Bring
copies for everyone to hold. These will be two paragraphs, each consisting of two to
four sentences with clearly articulated ideas. We will question, comment, reflect, and
refine, so bring your open minds as well.
Due Monday, November 26
1. Read Kelly chapter seven, social characteristics of effective teachers.
2. Fine tune your paper, make sure you have at least one supporting reference for each
of your main points. Read your paper out loud and edit carefully. Review the scoring
guide for the paper for concrete and specific suggestions. Be prepared to read excerpts
aloud in class.
Due Saturday, December 1, midnight
Turn in your final paper no later than Saturday, December 1, at midnight. Earlier is
great!
Final examination: Tuesday, December 4 at 9:00 a.m. Benton 106.
Assignment to be completed before our first January class:
Kelly, Chapter 8. Read this over break. No kidding—you’ll LIKE it!
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Guidelines for the Music Education Philosophy paper
Write a music education philosophy paper following these guidelines:
•
Introduce your paper. Inform the reader that you will be describing your
purposes of education, music education, and insights regarding the processes of
music teaching and learning.
•
State your personal philosophy regarding the purpose of a public K – 12
education, outlining three or four substantive points.
•
Statement reflecting three or four most significant purposes of music education.
Make sure these relate to your “purpose of education” points directly. How can
the study of music further the goals you set forth for an overall education?
•
Describe general characteristics of your teaching and learners in relation to your
philosophy of how students learn most effectively. In other words, will you lead,
guide, dictate, cajole, or what? Will your students obey, follow, discover, explore,
construct, or other?
•
Support each major point with at least one significant reference from our
readings or another reliable and reputable source. Choose quotes judiciously and
carefully, but choose and incorporate quotes. One suggestion is to incorporate
approximately one supporting reference per major point. Ultimately, you should
have four or more references.
•
Create a well-structured conclusion that emphasizes your major points and
wraps things up for the reader.
Keep in mind: The paper must be written in APA format. Look up how to cite
supportive quotes within the body of the paper and how to create a reference page. You
will need to know margins, spacing, use of bold, underlines, quotes, and capitalization.
Look everything up.
Helpful references
A variety of proposals have been made as to the value of music and its purpose in
public schools of the United States. There may be some connections among and
between these different ideas. The following are several most frequently proposed
purposes of music education. Following those are several statements reflecting various
philosophical viewpoints on the purpose of education.
1.
Music as a vehicle of aesthetic value: This is founded in a belief that music
provides a “way of knowing” or “mode of representation” that is different from
other kinds of knowing. Music transforms sensory experiences into meaningful
forms and the benefits are intrinsic.
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2.
Music as a mode of personal expression: This purpose may be related to the first.
Music serves as a unique way of expressing and/or communicating ideas and
feelings. Thus we have another mode of expression beyond visual and verbal.
Music reflects life and may also shape life. Note that this kind of expression may
be personal, but may not be self-expression.
3.
Music is a highly effective avenue for understanding the culture from which we
come: Music serves as a vehicle for gaining broad cultural understandings.
a. It fosters grasping, sharing, and accepting the value of one’s own culture as
expressed through music.
b. It provides a sensing of the values of other cultures, past and present, near
and far, as expressed through their music.
c. It serves as an artifact for understanding a total culture including the political,
economic, technological and even physical/geographical.
4.
Music study serves as a means of gaining skills and understandings to foster the
development of a total human being. Different educational schools of thought
focus on different arguments for this purpose.
a. Music serves as a mental discipline and is valuable for training faculties such
as memory.
b. Music is one of a person’s seven intelligences and should be studied to
develop each person’s full potential.
c. Recognizing that all persons have both thoughts and feelings, music provides
for the feelingful part of education by representing different aspects of one’s
inner life.
d. Music provides a remarkable context for social interaction.
e. Music provides a fulfilling leisure activity.
(Purposes of Education)
5.
The purpose of education is to guide learners to the discovery of truth,
knowledge, and value. If there is a body of discrete knowledge that is essential
and unchanging the curriculum should consist of this basic body of wisdom.
6.
The purpose of education is to develop rational intellectual skill. Because rational
thinking is the means through which knowledge is acquired, the mind must be
trained to function rationally.
7.
The purpose of education is to encourage each individual to discover and
develop her or his abilities through interaction with others within an
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environment which is designed to help students learn from meaningful
experience.
8.
The purpose of education is to help students become well-balanced individuals,
with emphasis on developing the abilities which will ensure that each individual
can make a contribution to the well-being of society.
9.
The purpose of education is to help each individual develop naturally, through
experiences which allow that individual the freedom to reach his or her own full
potential.
Scoring Guide for the Philosophy Paper
The philosophy paper representing A work meets the majority of the following
statements:
•
•
•
•
•
•
•
•
•
•
•
There is strong consistency between the purposes of education and music
education.
There is a clear and consistent philosophy regarding teaching and learning.
There is clear and concise professional writing that is non-ambiguous, relevant,
and easily understood by the readers.
There is strong evidence of a well-planned writing structure that follows the
philosophy paper guidelines completely.
The writing is exceptionally clear and focused. Each of the three main points is
supported well by appropriate references to outside relevant authors.
The order and structure are compelling and move the reader through the text
easily.
The writer has chosen a voice appropriate for the topic, purpose, and audience.
The writer seems deeply committed to the topic.
The writer employs a rich, broad range of words that have been carefully chosen
and thoughtfully placed for impact.
The writing has an effective flow and rhythm.
The writing demonstrates strong control of standard conventions, including
spelling, punctuation, and grammar. The writer uses them effectively to enhance
communication. Spelling and punctuation are always correct.
The reference page is carefully constructed following APA guidelines exactly.
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The philosophy paper representing B work meets the majority of the following
statements:
•
•
•
•
•
•
•
•
•
•
•
•
•
There is reasonable consistency between the purposes of education and music
education.
There is a somewhat clear and consistent philosophy regarding teaching and
learning.
There is clear and concise professional writing that is mostly non-ambiguous,
relevant, and fairly easily understood by the readers.
There is reasonable evidence of well-planned writing structure that follows the
philosophy paper guidelines completely.
The writing is reasonably clear and focused. Each of the three main points is
somewhat supported by appropriate references to outside relevant authors.
The order and structure are strong and move the reader through the text.
The writer has chosen a voice appropriate for the topic, purpose, and audience.
The writer seems committed to the topic.
The writer employs a broad range of words that have been carefully chosen and
thoughtfully placed.
The writing has a fair amount of flow and rhythm.
The writing demonstrates good control of standard conventions, including
spelling, punctuation, and grammar. The writer uses them fairly effectively to
enhance communication.
Spelling and punctuation are almost always correct.
The reference page is constructed fairly well following APA guidelines with only
very minor errors.
The philosophy paper representing C work meets the majority of the following
statements:
•
•
•
•
•
•
•
There is some consistency between the purposes of education and music
education and some lack of consistency.
The philosophy regarding teaching and learning is somewhat ambiguous or
lacking in clarity.
The writing is mostly non-ambiguous, relevant, and fairly easily understood by
the readers. However, it may be wordy or unclear in places.
There is some evidence of well-planned writing structure that follows the
philosophy paper guidelines completely.
The writing is sometimes clear and focused and at other times is somewhat
confusing. Support of the three main points may be lacking in appropriate and
relevant references.
The order and structure are occasionally weak and cause difficulties for the
reader.
The writer seems to be aware of the reader but has not consistently employed an
appropriate voice. In places, the writing is expressive and engaging. However, at
times the writers may be either inappropriately casual or personal.
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•
•
•
•
•
.
The writers employ a variety of words that are functional. The writing has words
that work but do not add energy to the writing. The writer’s commitment to the
topic may not be convincing.
The writer employs a limited vocabulary and may not have chosen words
carefully to provide convincing evidence or communication.
Order and structure are present but may be too obvious. Transitions may be
stilted or too predictable. The flow and rhythm may be stilted. The writing flows
at times; however, connections between phrases or sentences may be mechanical.
The writing demonstrates inconsistent control of standard conventions,
including spelling, punctuation, and grammar. Spelling is usually correct, but
punctuation is frequently incorrect.
References on the reference page frequently have errors that are not consistent
with APA style.
D or F work is inadequate in most of its elements and is unacceptable for
meeting the curriculum requirement for obtaining licensure or endorsement.
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