Table of Contents
Table of Contents for Critical Perspectives in Canadian Music
Education, edited by Carol A. Beynon and Kari K. Veblen
Foreword: Questioning Traditional Teaching and Learning in
Canadian Music Education R. Murray Schafer
Preface and Acknowledgments Carol Beynon and Kari Veblen
Chapter 1: The “Roots†of Canadian Music Education:
Expanding Our Understanding Betty Hanley
Chapter 2: Cross-Country Checkup: A Survey of Music Education
in Canada’s Schools Benjamin Bolden
Chapter 3: Canadian Music in Education: “Sounds Like
Canada†Patricia Martin Shand
Chapter 4: Manitoba’s Success Story: What Constitutes
Successful Music Education in the Twenty-First Century? Wayne D.
Bowman
Chapter 5: Traditional Indigenous Knowledge: An Ethnographic
Study of Its Application in the Teaching and Learning of
Traditional Inuit Drum Dances in Arviat, Nunavut Mary Piercey
Chapter 6: Looking Back at Choral Music Education in Canada: A
Narrative Perspective Carol Beynon
Chapter 7: Re-Membering Bands in North America: Gendered
Paradoxes and Potentialities Elizabeth Gould
Chapter 8: Community Music Making: Challenging the Stereotypes
of Conventional Music Education Kari Veblen
Chapter 9: Still Wary after All These Years: Popular Music and
the School Music Curriculum June Countryman
Chapter 10: E-Teaching and Learning in Music Education: A Case
Study from Newfoundland and Labrador Andrea Rose, Alex Hickey, and
Andrew Mercer
Chapter 11: Focusing on Critical Practice and Insights in the
Music Teacher Education Curriculum Betty Anne Younker
Chapter 12: Marching to the World Beats: Globalization in the
Context of Canadian Music Education Carol Beynon, Kari Veblen, and
David Elliott
Chapter 13: Epistemological Spinning: What Do We Really Know
about Music Education in Canada? Carol Beynon, Kari Veblen, and
Anne Kinsella
About the Authors
Index
Contributors’ Bios
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. Her research focuses on teacher development,
teacher identity, and gender issues in music education; she is the
first author of the book Learning to Teach (Pearson, 2001). She is
currently a co-investigator on two federally funded SSHRC funded
projects in music education and singing. Carol was named the Woman
of Excellence in Arts, Culture and Heritage 2007.
Benjamin Bolden, music educator and composer, is an Assistant
Professor of music education at Queen's University. His research
interests include the teaching and learning of composing, community
music, and Web 2.0 technologies in education. As a teacher, Ben has
worked with preschool, elementary, secondary, and university
students in Canada, England, and Taiwan. An associate composer of
the Canadian Music Centre, Ben has seen his works performed by a
variety of professional and amateur performing ensembles. He is
editor of the Canadian Music Educator, official journal of the
Canadian Music Educators' Association/L'Association canadienne des
musiciens éducateurs.
Wayne D. Bowman's work is extensively informed by pragmatism,
critical theory, and conceptions of music and music education as
social practices. He is particularly concerned with music's
socio-political power and ethically informed understandings of
musical practice. His publications include Philosophical
Perspectives on Music (1998), the Oxford Handbook of Philosophy in
Music Education (2012), numerous book chapters, and articles in
prominent scholarly journals. The former editor of the journal
Action, Criticism, and Theory [ACT] for Music Education, his
university teaching experience includes positions at Brandon
University (Manitoba), Mars Hill College (North Carolina), the
University of Toronto, and New York University.
June Countryman teaches aural skills and music education
courses in the Music Department at UPEI. She holds B.Mus., B.A.,
and B.Ed. degrees (Mount Allison), M.Mus. (UWO), and Ed.D
(OISE/UT). She has lengthy experience as an elementary music
teacher, a curriculum writer and program consultant, and a high
school choral teacher. Her research interests include improvisation
as a tool for musical growth, children's informal musicking on
school playgrounds, sharing power in teaching contexts, and teacher
professional development. Dr. Countryman was awarded UPEI's Hessian
Award for Teaching Excellence in 2008.
David J. Elliott joined NYU in 2002 after twenty-eight years as
Professor and Chair of Music Education at the University of
Toronto. He has also served as a Visiting Professor of Music
Education at Northwestern University, the University of North
Texas, Indiana University, the University of Cape Town, and the
University of Limerick. He is the author of Music Matters: A New
Philosophy of Music Education (1995) and editor of Praxial Music
Education: Reflections and Dialogues (2005/2009). He has published
numerous journal articles and book chapters and presented more than
200 invited lectures and conference papers worldwide.
Elizabeth Gould serves as Associate Professor at the University
of Toronto Faculty of Music. Her research in gender and sexuality
in the context of feminisms and queer theory has been published
widely, including Philosophy of Music Education Review, Women and
Music: A Journal of Gender and Culture, Educational Philosophy and
Theory, and the Brazilian journal labrys: études féministes
estudos feministas. She served as lead editor for the book
Exploring Social Justice: How Music Education Might Matter (2009)
and organized the conference musica ficta: A Conference on
Engagements and Exclusions in Music, Education, and the Arts
(2008).
Betty Hanley is Professor Emeritus at the University of
Victoria, BC, Canada. An outstanding contributor to arts and music
education in Canada, Dr. Hanley has organized symposia and
conferences, written and edited books, and conducted research in
music pedagogy and arts policy. She has published articles in the
Canadian Music Educator, British Journal of Music Education, Arts
Education Policy Review, Canadian Journal of Education,
International Journal of Community Music, Journal of Music Teacher
Education, and Journal of the Canadian Association for Curriculum
Studies. She is an honorary member of the Canadian Music Educators
Association and has received its Jubilate Award.
Alex Hickey has a broad scope of experience in K-12 education
and teaches part-time in the Faculty of Education at Memorial
University. He has worked as a sole-charge teacher in a one-room
school, as a high school art teacher, as an art and technology
education coordinator at the school district level, and as a
curriculum consultant at Department of Education. He is a former
Director of Program Development (English and French) for the
Department of Education in Newfoundland and Labrador and is
currently Coordinator of the Virtual Teacher Centre, an online
professional development entity for teachers. Alex is a practising
visual artist with a fascination for digital technology, media
education, and peering over the horizon of invisibility.
Elizabeth Anne Kinsella is Associate Professor in the Faculty
of Health Sciences and the Faculty of Education at the University
of Western Ontario, Canada. Her work draws on social science
perspectives in the study of professional education and practice,
with a particular focus on the health professions, epistemologies
of practice, and reflexivity in professional life.
Andrew Mercer has taught music in Newfoundland and Labrador
since 1994 and has been involved with Internet-based music
education since 1995. In 2004 he joined the Centre for Distance
Learning and Innovations, where he pioneered the practice of
teaching of high school music via the Internet. His work on
Internet-based music education has been featured in Canadian Music
Educator, Popular Science, The Wall Street Journal, CNN, Nippon TV,
and elsewhere. He has presented his work on web-based music
education at numerous conferences, including the 2008 ISME
Conference, the MTNA National Conference, and the MENC. Andrew's
most recent work explores the educational uses of such new
technologies as Second Life and Apple's iPhone.
Mary Piercey is a Ph.D candidate in Ethnomusicology at Memorial
University of Newfoundland. Her research explores how the Inuit of
Arviat, Nunavut, use their musical practices to negotiate social
diversity within the community in response to the massive
sociocultural changes caused by resettlement in the 1950s. Ms.
Piercey lived and taught music at Qitiqliq High School in Arviat,
Nunavut, founding and directing the Arviat Imngitingit Community
Choir, a mixed-voiced group specializing in traditional and
contemporary Inuit music originating from the Kivalliq region of
Nunavut. Mary now lives in Iqaluit, Nunavut, where she directs the
Inuksuk Drum Dancers and teaches music at Inuksuk High School.
Andrea Rose is Professor of Music Education at the Faculty of
Education at Memorial University of Newfoundland, Canada. Artistic
Director of Festival 500 International Choral Festival and
Co-Director of The Phenomenon of Singing International Symposia,
Dr. Rose is active as musician, educator, lecturer, and
collaborator. Her primary research interests include the
development of critical pedagogy, leadership, and citizenship in
music/ arts education, the nature and role of indigenous music/arts
in school curricula, the development of web-based contexts for
music/arts education and dialogue-based education.
R. Murray Schafer is a noted Canadian composer of
interdisciplinary works performed worldwide. Author, iconoclast,
and founder of soundscape ecology, R. Murray Schaefer has
contributed to educational thought and practice. Murray's books The
Composer in the Classroom (1965), Ear Cleaning (1967), The New
Soundscape (1969), The Tuning of the World (1977), A Sound
Education, and The Thinking Ear: On Music Education continue to
catalyze educational thinking in Canada and elsewhere.
Patricia Martin Shand taught at the University of Toronto
Faculty of Music from 1968 to 2011. She has published ten books and
more than fifty articles on Canadian music in education, music
curriculum, string pedagogy, and music performance. She has served
on the boards of OMEA, CMEA, and ISME, and has chaired the ISME
Music in Schools and Teacher Education Commission. She received the
Jubilate Award of Merit for outstanding contribution to music
education in Canada, and the Friends of Canadian Music Award for
lifetime achievement in Canadian music scholarship.
Kari Veblen, Assistant Dean of Research, teaches cultural
perspectives in music education, elementary methods, and graduate
courses at the Don Wright Faculty of Music, University of Western
Ontario. Musician and educator, Veblen studies international trends
in Community Music. She also pursues a twenty-five-year fascination
with transmission of traditional Irish/Celtic/diasporic musics.
Lectures and learning have taken her worldwide.
Betty Anne Younker is Dean and Professor of Music Education of
the Don Wright Faculty, University of Western Ontario. Previously,
Betty Anne was Associate Dean for Academic Affairs and Associate
Professor of Music Education at the University of Michigan. Her
research interests include critical and creative thinking within
the disciplines of music philosophy and psychology. Publications
include articles in national/international journals and chapters in
several books. Dr. Younker was teacher in band, choral, and general
music settings in the public school system. Presently she serves on
several editorial boards and committees for a variety of
professional organizations.
About the Author
Musician, educator, researcher, and advocate, Carol Beynon
serves as the vice provost of graduate and post-doctoral studies at
the University of Western Ontario. She is co-artistic director of
the award-winning Amabile Boys Choirs. Her research interests
include Canadian music education, arts education, teacher identity,
and gender issues.
Kari Veblen, the associate dean of graduate studies and
research at the Don Wright Faculty of Music, University of Western
Ontario, teaches cultural perspectives in music education,
elementary methods, and graduate courses. Musician and educator,
Veblen studies international trends in community music.
Reviews
``Anyone committed to music education would profit greatly from
this book. But clearly it is a call for change and therefore must
be a topic of discussion among policy makers.'' -- John J. Picone
-- Canadian Association of Music Libraries Review, 41, no. 3,
November 2013
``The examination of the work of school music teachers ... is
incisive, thoughtful, and exciting. A foreword by R. Murray Schafer
sets the tone, as he points out that many of the difficulties
encountered in the school system cannot be solved by purchases and
possessions, but will be swept aside by the excitement of creative
activity.... Passion and commitment to sharing a love for music
underlies each of the essays. The authors question attitudes about
popular music, Canadian music, gender roles in bands, e-teaching of
music, music in non-European establishment traditions, native
transmission of musical knowledge, the place of choral groups in
society, the role of class and gender stereotypes in the choice of
instrumental and voice options, the need for music specialists, and
the tentative nature of the support given to music programs.... The
Canadian perspective comes through loud and clear in each article
and is necessary to understanding the points of view presented. It
also allows for the kind of attitude that will best serve young
musicians. In the words of R. Murray Schafer, ââ¬ÅAllowing
children to become creative does not require genius; it requires
humility.'' -- E.A. Breen -- The Music Times, July-August 2012
