Springer Music Education as Craft: Reframing Theories and Practices: 30 (Landscapes: the Arts, Aesthetics, and Education, 30)

This book is a collection of leading international authors in the field of music education taking the concept of 'craft' as a starting point to deconstruct and reconstruct their understanding of the practices and theories of music education. Their insights draw from deep wells of resources located in historical, philosophical, epistemological, musicological and educational traditions that lead to rich and complex insights on the evolving field of music education. In so doing, they generate a constellation of new understandings and illustrations of what crafts can mean in this field. Historically, the idea of craft was typically associated with a skill or experience in knowing how to do or make something, or an activity of some kind that requires specific professional skills. In Old Norse, the  concept for craft was kraptr, meaning strength and virtue, while Old English and continental use was associated with power and physical strength, as well as skill. When these definitions of ‘crafts’ are infused into contemporary understandings of the field of music education as a professional field, a whole new set of possible interpretations are unearthed. Such insights are not exhaustive, but rather, point the way in which this professional, diverse, inclusive and ambiguous field might continue to evolve in the 21st century. From the Back Cover This book is a collection of leading international authors in the field of music education taking the concept of 'craft' as a starting point to deconstruct and reconstruct their understanding of the practices and theories of music education. Their insights draw from deep wells of resources located in historical, philosophical, epistemological, musicological and educational traditions that lead to rich and complex insights on the evolving field of music education. In so doing, they generate a constellation of new understandings and illustrations of what crafts can mean in this field. Historically, the idea of craft was typically associated with a skill or experience in knowing how to do or make something, or an activity of some kind that requires specific professional skills. In Old Norse, the  concept for craft was kraptr, meaning strength and virtue, while Old English and continental use was associated with power and physical strength, as well as skill. When these definitions of ‘crafts’ are infused into contemporary understandings of the field of music education as a professional field, a whole new set of possible interpretations are unearthed. Such insights are not exhaustive, but rather, point the way in which this professional, diverse, inclusive and ambiguous field might continue to evolve in the 21st century. About the Author Kari Holdhus, PhD is Professor of Music Education at the Western Norway University of Applied Sciences. Her research interests include relational pedagogy, dialogic musical encounters, creative teaching and learning as well as pedagogical improvisation. As a teacher, Kari emphasises research-based approaches, which means that her teaching and supervision is often based on recent research deemed relevant for student discussion and critique. Conversely, many of the research projects that Kari engages with focus on practical applications to educational contexts. Regina Murphy, PhD is Associate Professor and Head of the School of Arts Education and Movement at the Institute of Education, Dublin City University. As a teacher educator at undergraduate, postgraduate and doctoral levels, she is concerned with the interplay between teacher knowledge, teacher identity, inquiry and critical reflection, and its expression through a range of subject matter. Her most recent research focuses on the development of social inclusion and social justice in music education. Regina served as an elected board member for the International Society for Music Education (ISME) from 2008-2012. In 2016, she hosted the ISME Commission Seminar