The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education

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