Music education is a well-established and flourishing area of research and study. It is also a complex and contested area in which there is a considerable variety of published work, ranging from the justificatory to the critical, and from advice on pedagogical practice to provocative alternative paradigms. The proliferation and range of these publications stems from the complexity of music and music education itself. Along with multiple perspectives on the nature and value of music, music education is much more socially interwoven than most school subjects. It is also very complex organizationally, with multiple sources of funding.
This new four-volume collection from Routledge’s acclaimed Major Themes in Education series meets the need for an authoritative, up-to-date, and comprehensive reference work to make sense of the area’s voluminous literature. Indeed, the dizzying scale of the research output—and the breadth of the field—makes this new Routledge title especially welcome. It provides a one-stop collection of classic and contemporary contributions to facilitate ready access to the most influential and important scholarship.
Fully indexed and with an introduction, newly written by the editor, which places the collected material in its historical and intellectual context, Music Education is an essential work of reference. It is destined to be valued by specialists in music education and scholars working in related areas—as well as by educational policy-makers and professionals—as a vital research tool.
Volume I: Theoretical Issues
1. Eckart O. Altenmüller, ‘How Many Music Centers Are in the Brain? In the Biological Foundations of Music’, Annals of the New York Academy of Sciences, 2001, 930, 273–80.
2. Keith Swanwick, ‘The Arts in Education: Dreaming or Wide Awake?’ (University of London, Institute of Education, 1983), pp. 7–28.
3. Louis Arnaud Reid, ‘Understanding Art’, Ways of Understanding and Education (Heinemann, 1986), pp. 50–65.
4. John Paynter, ‘Introduction’, Sound and Structure (Cambridge University Press, 1992), pp. 9–22.
5. Harry S. Broudy, ‘The Arts as Basic Education’, Journal of Aesthetic Education, 1978, 12, 4, 21–9.
6. Susanne K. Langer, ‘On Significance in Music’, Philosophy in a New Key (Harvard University Press, 1942), pp. 204–45.
7. Bennett Reimer, ‘Experiencing Music’, A Philosophy of Music Education (Prentice Hall, 1989), pp. 119–47.
8. Keith Swanwick, ‘The Feelingfulness of Music’, A Basis for Music Education (Routledge, 1979), pp. 24–39.
9. Pentti Määttänen, ‘Reimer on Musical Meaning’, Action, Criticism, and Theory for Music Education, 2003, 2, 1, 2–11.
10. Wayne Bowman, ‘Music as Ethical Encounter? The Charles Leonhard Lecture’ (17 April 2000), School of Music, University of Illinois, Urbana-Champaign, pp. 1–15.
11. Thomas A. Regelski, ‘Social Theory, and Music and Music Education as Praxis’, Action, Criticism, and Theory for Music Education, 2004, 3, 3, 2–52.
12. David Elliott, ‘Putting Matters in Perspective: Reflections on a New Philosophy’, Quarterly Journal of Music Teaching and Learning, 1997, VII, 2–4, 20–35.
13. Heidi Westerlund, ‘Reconsidering Aesthetic Experience in Praxial Music Education’, Philosophy of Music Education Review, 2003, 11, 1, 45–62.
14. Margaret Barrett, ‘Towards a ‘Situated’ View of the Aesthetic in Music Education’, Journal of Aesthetic Education, 2002, 36, 3, 67–77.
15. J. Scott Goble, ‘Perspectives on Practice: A Pragmatic Comparison of the Praxial Philosophies of David Elliott and Thomas Regelsky’, Philosophy of Music Education Review, 2003, 11, 1, 23–44.
16. John Blacking, ‘Music, Culture and Experience’, Selected Papers of John Blacking, ed. R. Byron (University of Chicago Press, 1995), pp. 223–42.
17. Lucy Green, ‘Musical Experience’, Music on Deaf Ears: Musical Meaning, Ideology and Education, 2nd edn. (Arima Publishing, 2008), pp. 51–70.
18. Marie McCarthy, ‘Gendered Discourse and the Construction of Identity: Toward a Liberated Pedagogy in Music Education’, Journal of Aesthetic Education, 1999, 33, 4, 109–25.
19. Graham Vulliamy and John Shepherd, ‘The Application of a Critical Sociology to Music Education’, British Journal of Music Education, 1984, 1, 3, 247–66.
20. David J. Elliott, ‘"Socializing" Music Education’, Action, Criticism, and Theory for Music Education, 2007, 6, 4, 60–95.
21. David J. Hargreaves and Adrian C. North, ‘The Functions of Music in Everyday Life: Redefining the Social in Music Psychology’, Psychology of Music, 1999, 27, 1, 71–83.
Volume II: Psychology and Musical Development
22. Robert Gjerdingen, ‘The Psychology of Music’, in T. Christensen (ed.), The Cambridge History of Western Music Theory (Cambridge University Press, 2002), pp. 956–81.
23. Carl E. Seashore, The Psychology of Music (McGraw Hill, 1938), pp. 1–15.
24. Keith Swanwick, ‘What Makes Music Musical’, Music, Mind and Education (Routledge, 1988), pp. 19–34.
25. Leonard B. Meyer, Emotion and Meaning in Music (University of California Press, 1956), pp. 1–42.
26. Susan Hallam, ‘The Power of Music: Its Impact on the Intellectual, Social and Personal Development of Children and Young People’, International Journal of Music Education, 2010, 28, 3, 269–88.
27. Adam Ockelford Graham Welch, Fern-Chantele Carter, Sally-Anne Zimmermann and Evangelos Himonides, ‘"Sounds of Intent": Mapping Musical Behaviour and Development in Children and Young People with Complex Needs’, Psychology of Music, 2009, 37, 3, 348–70.
28. Anthony E. Kemp, ‘Individual Differences in Musical Behaviour’, in D. J. Hargreaves and A. C. North (eds.), The Social Psychology of Music (Oxford University Press, 1977), pp. 25–45.
29. John Sloboda, ‘Music—Where Cognition and Emotion Meet: The Presidents’ Award Lecture at the Society’s Annual Conference, Belfast, April 1999’, The Psychologist, 1999, 12, 9, 1–7.
30. David J. Hargreaves and Marilyn P. Zimmerman, ‘Developmental Theories of Music Learning’, in R. Colwell (ed.), Handbook of Research on Music Teaching and Learning (Macmillan, 1992), pp. 377–91.
31. Jeanne Bamberger, ‘What Develops in Musical Development’, in G. E. Macpherson (ed.), The Child as Musician: A Handbook of Musical Development (Oxford University Press, 2006), pp. 69–92.
32. Coral Davies, ‘Listen to My Song: A Study of Songs Invented by Children Aged 5 to 7 Years’, British Journal of Music Education, 1992, 9, 1, 19–48.
33. Keith Swanwick, ‘Musical Development: Revisiting a Generic Theory’, in Richard Colwell and Peter R. Webster (eds.), MENC Handbook of Research in Music Learning, Vol. 1 (Oxford University Press, 2011). pp. 140–72.
34. Johannella Tafuri, ‘The Literature on Musical Development from 0–3 Years of Age’, Infant Musicality: New Research for Educators and Parents (Ashgate Publishing, 2008), pp. 9–39.
35. David J. Hargreaves, Nigel A. Marshall, and Adrian C. North, ‘Music Education in the Twenty-First Century: A Psychological Perspective’, British Journal of Music Education, 2003, 20, 2, 147–63.
36. Margaret Barrett, ‘Musical Narratives: A Study of a Young Child’s Identity Work in and through Music-Making’, Psychology of Music, October 2010, 1–21.
37. Beatriz Ilari. ‘Mapping Musical Development in Brazil: Children’s Musical Practices in Maranhão and Pará’, 9th International Conference on Music Perception and Cognition (University of Bologna, 2006).
38. Lisa Huisman Koops, ‘"Deñuy Jàngal Seen Bopp" (They Teach Themselves): Children’s Music Learning in the Gambia’, Journal of Research in Music Education, 2010, 58, 1, 20–36.
39. Jane W. Davidson and Sophia J. Borthwick, ‘Family Dynamics and Family Scripts: A Case Study of Musical Development’, Psychology of Music, 2002, 30, 121–36.
40. Aine MacNamara, Patricia Holmes, and Dave Collins, ‘The Pathway to Excellence: The Role of Psychological Characteristics in Negotiating the Challenges of Musical Development’, British Journal of Music Education, 2006, 23, 3, 285–302.
41. Patricia Shehan Campbell, ‘Of Garage Bands and Song-Getting: The Musical Development of Young Rock Musicians’, Research Studies in Music Education, 1995, 4, 1, 12–20.
Volume III: Music Teaching and Learning
42. John Paynter, ‘Making Progress with Composing’, British Journal of Music Education, 2000, 17, 1, 5–31.
43. Brian Loane, ‘Thinking about Children’s Compositions’, British Journal of Music Education, 1984, 1, 3, 205–31.
44. Robert Bunting, ‘Composing Music: Case Studies in the Teaching and Learning Process’, British Journal of Music Education, 1988, 5, 3, 269–310.
45. John Kratus, ‘A Time Analysis of the Compositional Processes Used by Children Ages 7 to 11’, Journal of Research in Music Education, 1989, 37, 1, 5–20.
46. Pamela Burnard, ‘Investigating Children’s Meaning-Making and the Emergence of Musical Interaction in Group Improvisation’, British Journal of Music Education, 2002, 19, 2, 157–72.
47. Bill Crow, ‘Musical Creativity and the New Technology’, Music Education Research, 2006, 8, 1, 121–30.
48. Jessika Karlsson and Patrik N. Juslin, ‘Musical Expression: An Observational Study of Instrumental Teaching’, Psychology of Music, 2008, 36, 3, 309–34.
49. Kevin Thompson, ‘An Analysis of Group Instrumental Teaching’, British Journal of Music Education, 1984, 1, 2, 153–71.
50. Ryan Daniel, ‘Innovations in Piano Teaching: A Small-Group Model for the Tertiary Level', Music Education Research, 2004, 6, 1, 23–43.
51. Peter Cope, ‘Informal Learning of Musical Instruments: The Importance of Social Context’, Music Education Research, 2002, 4, 1, 93.
52. Frank Abrahams and Daniel Abrahams, ‘The Impact of Reciprocal Teaching on the Development of Musical Understanding in High School Student Members of Performing Ensembles: An Action Research’, Visions of Research in Music Education, 2010, 15, 1–33.
53. Mary A. Kennedy, ‘Listening to the Music: Compositional Processes of High School Composers’, Journal of Research in Music Education, 2002, 50, 2, 94–110.
54. Hamish Preston, ‘Listening, Appraising and Composing: Case Studies in Music’, British Journal of Music Education, 1994, 11, 15–55.
55. Keith Swanwick and Cecilia Cavalieri França, ‘Composing, Performing and Audience-Listening as Indicators of Musical Understanding’, British Journal of Music Education, 1999, 16, 1, 3–17.
56. Liane Hentschke and Luciana Del Ben, ‘The Assessment of Audience-Listening: Testing a Model in the Educational Setting of Brazil’, Music Education Research, 1999, 1, 2, 127–46.
57. Donald M. Callen, ‘Moving to Music: For Better Appreciation’, Journal of Aesthetic Education, 1985, 19, 3, 37–50.
58. Deborah A. Sheldon, ‘Listeners’ Identification of Musical Expression through Figurative Language and Musical Terminology’, Journal of Research in Music Education, 2004, 52, 4, 357–68.
59. Mary Stakelum, ‘An Analysis of Verbal Responses to Music in a Group of Adult Non-Specialists’, Music Education Research, 2011, 13, 2, 173–97.
60. Keith Swanwick, ‘Musical Knowledge in Action’, Musical Knowledge: Intuition, Analysis and Music Education (Routledge, 1994), pp. 45–54.
Volume IV: Schools and Communities
61. Paul R. Lehman, ‘Implications of National Standards’, Music Educators Journal, 1993, 80, 3, 25–8.
62. Richard J. Colwell, ‘The Future of Assessment’, Journal of Aesthetic Education, 1999, 33, 4, 53–75.
63. Vic Gammon, ‘Cultural Politics of the English National Curriculum for Music, 1991–1992’, Journal of Educational Administration and History, 1999, 31, 2, 130–47.
64. John Shepherd and Graham Vulliamy, ‘The Struggle for Culture: A Sociological Case Study of the Development of a National Music Curriculum’, British Journal of Sociology of Education, 1994, 15, 1, 27–40.
65. Wing-Wah Law and Wai-Chung Ho, ‘Values Education in Hong Kong School Music Education: A Sociological Critique’, British Journal of Educational Studies, 2004, 52, 1, 65–82.
66. John Sloboda, ‘Emotion, Functionality and the Everyday Experience of Music: Where Does Music Education Fit?’ Music Education Research, 2001, 3, 2, 243–53.
67. Betty Anne Younker and James Renwick, ‘Responses to John Sloboda: The Second International Research in Music Education Conference, Exeter, UK, April 2001’, Music Education Research, 2002, 4, 2, 244–53.
68. Malcolm Ross, ‘What’s Wrong with School Music?’, British Journal of Music Education, 1995, 12, 3, 185–201.
69. John Finney, ‘The Rights and Wrongs of School Music: Considering the Expressivist Argument and its Existential Component’, British Journal of Music Education, 1999, 16, 3, 237–44.
70. Lucy Green, ‘Group Co-operation, Inclusion and Disaffected Pupils: Some Responses to Informal Learning in the Music Classroom’, invited contribution to Music Education Research, 2008, 10, 2, 177-92.
71. Lauri Väkevä, ‘The World Well Lost, Found Reality and Authenticity in Green’s "New Classroom Pedagogy"’, Action, Criticism, and Theory for Music Education, 2009, 6, 2, 7–34.
72. Lucy Green, ‘Response to Special Issue of Action, Criticism and Theory for Music Education Concerning Music, Informal Learning and the School: A New Classroom Pedagogy’, Action, Criticism, and Theory for Music Education, 2009, 8, 2, 120–32.
73. Kathryn Marsh, ‘Mediated Orality: The Role of Popular Music in the Changing Tradition of Children’s Musical Play’, Research Studies in Music Education, 1999, 13, 2–12.
74. Randall Everett Allsup, ‘Mutual Learning and Democratic Action in Instrumental Music Education’, Journal of Research in Music Education, 2003, 51, 1, 24–37.
75. John O’Flynn, ‘Vernacular Music-Making and Education’, International Journal of Music Education, 2006, 24, 2, 140.
76. Sandra L. Stauffer, ‘Connections between the Musical and Life Experiences of Young Composers and Their Compositions’, Journal of Research in Music Education, 2002, 50, 4, 301–22.
77. Dawn Joseph and Jane Southcott, ‘Retaining a Frisson of the "Other": Imperialism, Assimilation, Integration and Multiculturalism in Australian Schools’, Music Education Research, 2007, 9, 1, 35–48.
78. Chi Cheung Leung, ‘Building a New Music Curriculum a Multifaceted Approach’, Action, Criticism, and Theory for Music Education, 2004, 2–28.
79. Christopher Small, ‘Musicking—the Meanings of Performing and Listening. A Lecture’, Music Education Research, 1999, 1, 1, 9–21.
80. Martin Cloonan, ‘The Hidden Musicians: Music-Making in an English Town’ (review), Popular Music and Society, 2009, 32, 5, 671–3.
81. Peter Dunbar-Hall, ‘Children’s Learning of Music and Dance in Bali: An Ethnomusicological View of the Cultural Psychology of Music Education’, in M. S. Barrett (ed.), A Cultural Psychology of Music Education (Oxford University Press, 2011).
82. John Baily, ‘"Music is in Our Blood": Gujarati Muslim Musicians in the UK’, Journal of Ethnic and Migration Studies, 2006, 32, 2, 257–70.
83. Patricia Shehan Campbell, ‘The Many-Splendored Worlds of Our Musical Children’, Update: Applications of Research in Music Education, 1999, 18, 1, 7–14.
84. Peter Renshaw, ‘Simply Connect: "Next Practice" in Group Music Making and Musical Leadership: Shaping Music Education, An Emerging Vision’, Paul Hamlyn Foundation Special Project, 2005, pp. 1–25.
85. Keith Swanwick, ‘Music Education: Closed or Open?’, Journal of Aesthetic Education, 1999, 33, 4, 127–41.
'This is a stunning constellation of bright stars, over several generations and meaningful topics'.- Patricia Campbell, University of Washington, USA
