PlayTheGroove

PlayTheGroove is grounded in modern educational thought and packed with current, culturally diverse content (sheet music, recordings, and teacher resources). Designed to work seamlessly in concert with traditional instruction, PlayTheGroove is a supplemental program that increases engagement and retention. The approach is rooted in social and emotional learning (SEL), student-led initiatives, modern learning competencies, and 21st century skills. PlayTheGroove supports equality, equity, inclusion, liberation, and much more.

For secondary rhythm-based classrooms (“jazz band”), PlayTheGroove goes well beyond the buzzwords and offers real, practical approaches with its holistic, results-oriented approach.

This method reflects a 10-year personal and professional journey informed by hundreds of educators and in-class clinics, two national research studies, deep academic research, and careful observation of multiple approaches regarding the implementation of modern educational thought in the music classroom. We distilled our “blended” approach to music education by combining formal attributes and informal inquiry and experimentation. Using jazz instruction as an initial focus, we incorporated insights and recommendations from countless conversations with educators at all academic levels. We also initiated surveys, research studies, clinic feedback, and academic study. Insights from published “academic” sources (listed below) reflect research papers from around the world, published by well-known (and lesser-known) academics and thought leaders. Background material ranges from books, educational journals, and conference presentations to blogs, webinars, and even email conversations.

The scope of our research is too expansive for a truly all-inclusive list of sources (advisors are listed here). However, the academic sources we referenced on our own research papers, reports, and various applications can be viewed below.

Other sources of highly vetted, or peer-reviewed, articles and research are national associations, organizations, and institutions, include the National Association for Music Education (NAfME), Buck Institute for for Education (Problem Based Learning), Edutopia, Collaborative Classroom, KnowledgeWorks, Applied Educational Systems, Primary Connections, National Core Arts Standards (NCAS), National Association of Music Merchants (NAMM) Foundation, Collaborative for Academic, Social, and Emotional Learning (CASEL), numerous state and regional guidelines and curriculums, and many others.

We are always interested in learning about new research and experience when it comes to music pedagogy. Perhaps you have a specific journal article or research paper you like that addresses secondary music education, modern learning competencies, influencing social change, or some other pertinent subject? Please forward it to solutions@playthegroove.com. We’d love to know what you’re finding interesting and useful. Finding practical applications and modern thought applicable to Global Jams and Jazz is a goal of ours.

Select Bibliography:

Abramo, J. M., & Austin, S. C. (2014). The trumpet metaphor: A narrative of a teacher’s mid-career pedagogical change from formal to informal learning practices. ​Research

Akbar, M. Bilal, French, J. & Lawson, A. (2019). Critical review on social marketing planning approaches. Social Business. ​https://doi.org/10.1362/204440819X15633617555894

Alber, Rebecca. “6 Scaffolding Strategies to Use with Your Students.” Edutopia, George Lucas Educational Foundation, 24 Jan. 2014, https://www.edutopia.org/blog/scaffolding-lessons-six-strategies-rebecca-alber.

Albert, D. (2006). Strategies for the Recruitment and Retention of Band Students in Low Socioeconomic School Districts. ​Contributions to Music Education,​ ​33(​ 2), 53-72.

Alexis Anja Kallio (2017): Popular Outsiders: The Censorship of Popular Music in School Music

Allsup, R. (2015). Music Teacher Quality and the Problem of Routine Expertise. ​Philosophy of Music Education Review,​ ​23​(1), 5-24.

Allsup, R. E. (2016). Remixing the classroom: Toward an open philosophy of music education. Bloomington: Indiana University Press.

Allsup, Randall Everett, & Benedict, Cathy. (2008). The Problems of Band: An Inquiry into the

Anne Younker, B., & Hickey, M. (2007). Examining the profession through the lens of social justice: Two music educators’ stories and their stark realizations. ​Music Education Research,​ ​9​(2), 215-227.

Barrett, M. S. (2016). ​Collaborative Creative Thought and Practice in Music​. London: Routledge. Bennett Reimer, “What Is ‘Performing with Understanding?’” in ​Performing with Understanding: The Challenge of the National Standards for Music Education,​ ed. Bennett Reimer (Reston, VA: Music Educators National Conference [now National Association for Music Education], 2000), 11–29.

Bates, Vincent C. “Rethinking Cosmopolitanism in Music Education.” Action, Criticism & Theory for Music Education, vol. 13, no. 1, Mar. 2014.

Belfiore, E. (2018). Whose cultural value? Representation, power and creative industries. International Journal of Cultural Policy, 26(3), 383–397. https://doi.org/10.1080/10286632.2018.1495713

Berman, A. (2016). The New Alternatives: New Modes of Learning and Performing Are Stretching the Boundaries of What It Means to be “Alternative” In The Music Classroom. ​Teaching Music,​ ​24​(2), 32.

Braae, Nick ; Hansen, Kai Arne. On Popular Music and Its Unruly Entanglements. Cham: Springer International, 2019. Pop Music, Culture and Identity. Web.

Burstein, Scott, and Bryan Powell. “Approximation and Scaffolding in Modern Band.” Music Educators Journal, vol. 106, no. 1, 2019, pp. 39–47., doi:10.1177/0027432119857801.

Cain, Melissa, Lindblom, Shari, & Walden, Jennifer. (2013). Initiate, Create, Activate: Practical Solutions for Making Culturally Diverse Music Education a Reality. ​Australian Journal of Music Education,​ (2), 79-97.

Clements, A. C., & MENC, the National Association for Music Education. Abrahams, F., Abramo, J., Abril, C., Bartolome, S., Beitler, N., . . . Younker, B. (2010). ​Alternative Approaches in Music Education: Case Studies from the Field​. Lanham: R & L Education.

Collins, A. (2014). How playing an instrument benefits your brain – Anita Collins. Retrieved from https://ed.ted.com/lessons/how-playing-an-instrument-benefits-your-brain-anita-collins Culp, Mara E. (2016). Improving Self-Esteem in General Music. ​General Music Today,​ ​29​(3), 19-24.

Culp, M. E. (2015). Improving Self-Esteem in General Music. General Music Today, 29(3), 19– 24. doi: 10.1177/1048371315619962

Department Curriculum and Instruction, School of Education, University of Colorado Colorado Springs, 1420 Austin Bluffs Pkwy, Colorado Springs, CO 80918

Dillon, S. C. (2001). The student as maker: An examination of the meaning of music to students in a school and the ways in which we give access to meaningful music education (Doctoral dissertation, Institute for Education LaTrobe University, 2001) [Abstract].

Droe, Kevin. “Music Preference and Music Education: A Review of Literature.” Update: Applications of Research in Music Education 24.2 (2006): 23-32. Web.

Eddy, M., Blatt-Gross, C., Edgar, S. N., Gohr, A., Halverson, E., Humphreys, K., & Smolin, L. (2021). Local-level implementation of Social Emotional Learning in arts education: Moving the heart through the arts. Arts Education Policy Review, 122(3), 193-204.

Edgar, S. N. (2013). Introducing social emotional learning to music education professional development. Update: Applications of Research in Music Education, 31(2), 28-36.

Edgar, Scott N. Music Education and Social Emotional Learning. G.I.A. Publishing, 2017.

Edgar, S. N., & Morrison, B. (2020). A vision for social emotional learning and arts education policy. Arts Education Policy Review, 1-6.

Education, Popular Music and Society, DOI: 10.1080/03007766.2017.1295213

Educational Conditions. ​Thinking Skills and Creativity,27​, 160-166. doi:10.1016/j.tsc.2017.12.007

Enacting Project-Based Learning in Music Programs. ​Music Educators Journal,​ ​102​(2), 39-47. Topoğlu, O. (2014). Critical Thinking and Music Education. ​Procedia – Social and Behavioral Sciences,116,​ 2252-2256. doi:10.1016/j.sbspro.2014.01.554

Finnish National Board of Education. (2016). National core curriculum for general upper secondary schools 2015: National core curriculum for general upper secondary education intended for young people.

Future of Instrumental Music Education. ​Philosophy of Music Education Review,​ ​16(​ 2), 156-173.

Gifford, Cody, & Johnson, Erik. (2015). Mini-Concerts: Creating Space for Student-Initiated Performance. Music Educators Journal, 102(2), 62-68.

Gorfinkel, L. (2010). Pushing the boundaries of ‘music’: cross-cultural and cross-disciplinary possibilities for ‘other’ musics in the Australian music classroom. In P. Dunbar-Hall (Ed.) Proceedings of the 10th International Conference on Cultural Diversity in Music Education, Sydney

Grant, Christina, & Lerer, Arlene. (2011). Revisiting the traditional classroom band model: A differentiated perspective. (principal themes) (Report). Canadian Music Educator, 53(1), 24- 27.

Green, L. (2003). Why ‘Ideology’ is Still Relevant for Critical Thinking in Music Education. ​The ACT Journal, the MayDay Group, 2​(2), 1-24.

Green, Lucy. How Popular Musicians Learn: a Way Ahead for Music Education. Routledge, 2017.

Halpern, D., & Fowler, Raymond D. (1998). ​Teaching Critical Thinking for Transfer Across Domains,​ ​53​(4), 449-455

Hebert, David, and Sidsel Karlsen. “Musiikkikasvatus.” The Finnish Journal of Music Education (FJME), vol. 13, no. 1, 2010, pp. 6–11.

Holley, S., Smith, G. D., & Kratus, J. (2019). Coaching a popular music ensemble: blending formal, non-formal, and informal approaches in the rehearsal. McLemore Ave Music.

Hsu, C.-C. & Sandford, B.A., 2012. The Delphi Technique. ​Online Research Methods in Urban and Planning Studies,​ pp.173–192.

Ilari, B., Chen-Hafteck, L., & Crawford, L. (2013). Singing and cultural understanding: A music education perspective. International Journal of Music Education, 31(2), 202–216. doi: 10.1177/0255761413487281

Iyengar, S. S., & Lepper, M. R. (n.d.). When Choice Is Demotivating: Can One Desire Too Much of a Good Thing? The Construction of Preference, 300-322. doi:10.1017/cbo9780511618031.017

Kallio, A. (2015). Navigating (Un)Popular Music in the Classroom: Censure and Censorship in an Inclusive, Democratic Music Education. 1-252.

Kangas, Marjaana. (2010). Creative and Playful Learning: Learning through Game Co-Creation and Games in a Playful Learning Environment. ​Thinking Skills and Creativity,​ ​5(​ 1), 1-15.

Kindall-Smith, M., McKoy, C. L., & Mills, S. W. (2011). Challenging exclusionary paradigms in the traditional musical canon: Implications for music education practice. International Journal of Music Education, 29, 374–386.

Kokkidou, May. (2013). Critical Thinking and School Music Education: Literature Review, Research Findings, and Perspectives. ​Journal for Learning Through the Arts,​ ​9(​ 1), Journal for Learning Through the Arts, 2013, Vol.9(1).

Lin, V., & Renick, J. S. (2010). Democratic Jazz: Two Perspectives on a Collaborative Improvisation Jazz Workshop (A. C. Clements, Ed.). In ​Alternative Approaches in Music Education : Case Studies from the Field​(pp. 191-200). 0: R&L Education.

Menard, Elizabeth. (2013). Creative Thinking in Music: Developing a Model for Meaningful Learning in Middle School General Music. ​Music Educators Journal,​ ​100(​ 2), 61-67.

Miksza, Peter, and Erik Johnson. “Theoretical Frameworks Applied in Music Education Research: A Content Analysis of the Journal of Research in Music Education, 1979 to 2009.” Bulletin of the Council for Research in Music Education, vol. 193, no. Summer 2012, 2012, pp. 7–30., doi:10.5406/bulcouresmusedu.193.0007.

Nylund, M., 2013. Mapping Challenges in Media Management J. Karlsson & M. Westerlund, eds. ​Proceedings of Seminar on Current Topics in Business, Information Technology and Analytics,​ 2, pp.45–48.

Parsad, B., Spiegelman, M., & Coopersmith, J. (2011, May). U.S. Department of Education: A Snapshot of Arts Education in Public Elementary and Secondary Schools: 2009–10. Retrieved September, 2016, from ​https://nces.ed.gov/pubs2011/2011078.pdf

Partti, H., & Westerlund, H. (2012). Democratic musical learning: How the participatory revolution in new media challenges the culture of music education. Learning from Cosmopolitan Digital Musicians, 181–191.

Powers, Keith. (2011). Going mental: How Music Education Can Help Develop Critical Thinking. ​Teaching Music,​ ​18(​ 6), 1-5.

Powers, Keith. (2012). Around the World in Six Class Periods. ​Teaching Music,​ ​20​(1), 38-40. Preparing 21st Century Students for a Global Society: An Educator’s Guide to the “Four Cs” (pp. 1-37, Publication). (2019). Washington, D.C.: National Education Association (NEA). Reflective Thinking: RT. (n.d.). From http://www.hawaii.edu/intlrel/pols382/Reflective%20Thinking%20-%20UH/reflection.html – University of Hawaii

Reichl, Lori Schwartz et al. “The Promise of Artistic Process: Social Emotional Learning (SEL) Aligns the Standards.” NAfME National Association for Music Education 13 Oct. 2020 https://nafme.org/promise-artistic-process/.

Schippers, Huib. Facing the Music: Shaping Music Education from a Global Perspective. Oxford University Press, 2010.

Shieh, Eric, & Allsup, Randall Everett. (2016). Fostering Musical Independence. ​Music Educators Journal,​ ​102​(4), 30-35.

Shuck, C., & Mullen, Carol. (2005). ​Music Integration: Educators’ Perceptions of Implementation and Student Achievement in Public School Elementary Education,​ ProQuest Dissertations and Theses.

Sinek, S., 2019. ​Start with why: how great leaders inspire everyone to take action​, London: Penguin Business.

Smith, D. (2013). ​An independent report for the Welsh Government into Arts in Education in the Schools of Wales, 2013, (​ pp. 1-54, Rep.).

Statista Research Department. (2017, May 3). Preferred music genres among teenagers in the U.S. 2012. Retrieved January 11, 2020, from https://www.statista.com/statistics/245743/preferred-music-genres-among-teenagers-in-the-us

Stefanova, M. (2011). Developing Critical Thinking and Assessment in Music Classrooms. ​American String Teacher,​ ​61(​ 2), 29-31.

Steiner, D. (2017). Curriculum Research: What We Know and Where We Need to Go. Johns Hopkins Institute for Education Policy, 1–13. Retrieved from https://edpolicy.education.jhu.edu/curriculum-research-what-we-know-and-where-we-need-to-go-by-dr-david-steiner/

Studies in Music Education,36​(1), 57-73. doi:10.1177/1321103×14528454 Achievement Motivation and the Adolescent Musician: A Synthesis of the Literature. (2011). ​Research and Issues in Music Education,​ ​9​(1), Np.

Sydykova, R., Kakimova, L., Ospanov, B., Tobagabylova, A., & Kuletova, U. (2018). A Conceptual Approach to Developing the Creativity of a Music Teacher in Modern

The Glossary of Educational Reform. (2013, August 13). Retrieved April, 2018, from https://www.edglossary.org/multicultural-education​ – Great Schools Partnership Tobias, Evan S., Campbell, Mark Robin, & Greco, Phillip. (2015). Bringing Curriculum to Life.

Thomson, Nathan Riki (2021). RESONANCE: (Re)forming an Artistic Identity through Intercultural Dialogue and Collaboration. Sibelius Academy of the University of the Arts Helsinki. EST 57.

Tobias, E. (2013). Composing, songwriting, and producing: Informing popular music pedagogy. ​Research Studies in Music Education,​ ​35​(2), 213-237.

Tobias, Evan S. (2013). Toward Convergence: Adapting Music Education to Contemporary Society and Participatory Culture. ​Music Educators Journal,​ ​99​(4), 29-36.

Tobias, Evan S. (2014). Reflecting on the Present and Looking Ahead: A Response to Shuler. Arts Education Policy Review, 115(1), 26-33.

Tobias, Evan S. (2015). Crossfading Music Education: Connections between SecondaryStudents’ In- and Out-of-School Music Experience. ​International Journal of Music Education,​ ​33(​ 1), 18-35.

Väkevä, L., & Kurkela, V. (2012). Rhythm Masters: Developing a Master Program in Popular Music and Folk Music in Provincial Areas in Finland. US-China Education Review, B2.

Webster, P. (2008). Children as Creative Thinkers in Music. ​Oxford Handbook of Music Psychology,​ Oxford Handbook of Music Psychology.

Wenger, E., Trayner, B., & de Laat, M. (2011). Promoting and Assessing Value Creation in Communities and Networks: A Conceptual Framework, 2–63.

Westerlund, H., Karlsen, S. & Partti, H., 2020. Introduction. ​Visions for Intercultural Music Teacher Education,​ pp.1–12.

Westerlund, Heidi, and Sidsel Karlsen. “Knowledge Production Beyond Local and National Blindspots: Remedying Professional Ocularcentrism of Diversity in Music Teacher Education.” Action, Criticism, and Theory for Music Education, vol. 16, no. 3, Jan. 2017, pp. 78–107., doi:10.22176/act16.3.78.

Westerlund, Heidi, et al. Visions for Intercultural Music Teacher Education. Springer Open, 2020.

Williams, D. (2015). The Baby and The Bathwater. ​College Music Symposium,​ ​55,​ Np. Younker, B. (2014). Critical thinking and Musical Futures. ​The Recorder (OMEA),​ ​56​(2), 26.

Zapata-Barrero, R. (2013). Interculturalism: main hypothesis, theories and strands. Interculturalism in Cities, 3–19. doi: 10.4337/9781784715328.00007

Select Bibliography:

Abramo, J. M., & Austin, S. C. (2014). The trumpet metaphor: A narrative of a teacher’s mid-career pedagogical change from formal to informal learning practices. ​Research

Akbar, M. Bilal, French, J. & Lawson, A. (2019). Critical review on social marketing planning approaches. Social Business. ​ https://doi.org/10.1362/204440819X15633617555894

Albert, D. (2006). Strategies for the Recruitment and Retention of Band Students in Low Socioeconomic School Districts. ​Contributions to Music Education,​ ​33(​ 2), 53-72.

Alexis Anja Kallio (2017): Popular Outsiders: The Censorship of Popular Music in School Music

Allsup, R. (2015). Music Teacher Quality and the Problem of Routine Expertise. ​Philosophy of Music Education Review,​ ​23​(1), 5-24.

Allsup, R. E. (2016). Remixing the classroom: Toward an open philosophy of music education. Bloomington: Indiana University Press.

Allsup, Randall Everett, & Benedict, Cathy. (2008). The Problems of Band: An Inquiry into the

Anne Younker, B., & Hickey, M. (2007). Examining the profession through the lens of social justice: Two music educators’ stories and their stark realizations. ​Music Education Research,​ ​9​(2), 215-227.

Barrett, M. S. (2016). ​Collaborative Creative Thought and Practice in Music​. London: Routledge. Bennett Reimer, “What Is ‘Performing with Understanding?’” in ​Performing with Understanding: The Challenge of the National Standards for Music Education,​ ed. Bennett Reimer (Reston, VA: Music Educators National Conference [now National Association for Music Education], 2000), 11–29.

Bates, Vincent C. “Rethinking Cosmopolitanism in Music Education.” Action, Criticism & Theory for Music Education, vol. 13, no. 1, Mar. 2014.

Belfiore, E. (2018). Whose cultural value? Representation, power and creative industries. International Journal of Cultural Policy, 26(3), 383–397. https://doi.org/10.1080/10286632.2018.1495713

Berman, A. (2016). The New Alternatives: New Modes of Learning and Performing Are Stretching the Boundaries of What It Means to be “Alternative” In The Music Classroom. ​Teaching Music,​ ​24​(2), 32.

Braae, Nick ; Hansen, Kai Arne. On Popular Music and Its Unruly Entanglements. Cham: Springer International, 2019. Pop Music, Culture and Identity. Web.

Burstein, Scott, and Bryan Powell. “Approximation and Scaffolding in Modern Band.” Music Educators Journal, vol. 106, no. 1, 2019, pp. 39–47., doi:10.1177/0027432119857801.

Cain, Melissa, Lindblom, Shari, & Walden, Jennifer. (2013). Initiate, Create, Activate: Practical Solutions for Making Culturally Diverse Music Education a Reality. ​Australian Journal of Music Education,​ (2), 79-97.

Clements, A. C., & MENC, the National Association for Music Education. Abrahams, F., Abramo, J., Abril, C., Bartolome, S., Beitler, N., . . . Younker, B. (2010). ​Alternative Approaches in Music Education: Case Studies from the Field​. Lanham: R & L Education.

Collins, A. (2014). How playing an instrument benefits your brain – Anita Collins. Retrieved from https://ed.ted.com/lessons/how-playing-an-instrument-benefits-your-brain-anita-collins Culp, Mara E. (2016). Improving Self-Esteem in General Music. ​General Music Today,​ ​29​(3), 19-24.

Culp, M. E. (2015). Improving Self-Esteem in General Music. General Music Today, 29(3), 19– 24. doi: 10.1177/1048371315619962

Dillon, S. C. (2001). The student as maker: An examination of the meaning of music to students in a school and the ways in which we give access to meaningful music education (Doctoral dissertation, Institute for Education LaTrobe University, 2001) [Abstract].

Droe, Kevin. “Music Preference and Music Education: A Review of Literature.” Update: Applications of Research in Music Education 24.2 (2006): 23-32. Web.

Education, Popular Music and Society, DOI: 10.1080/03007766.2017.1295213

Educational Conditions. ​Thinking Skills and Creativity,27​, 160-166. doi:10.1016/j.tsc.2017.12.007

Enacting Project-Based Learning in Music Programs. ​Music Educators Journal,​ ​102​(2), 39-47. Topoğlu, O. (2014). Critical Thinking and Music Education. ​Procedia – Social and Behavioral Sciences,116,​ 2252-2256. doi:10.1016/j.sbspro.2014.01.554

Finnish National Board of Education. (2016). National core curriculum for general upper secondary schools 2015: National core curriculum for general upper secondary education intended for young people.

Future of Instrumental Music Education. ​Philosophy of Music Education Review,​ ​16(​ 2), 156-173.

Gifford, Cody, & Johnson, Erik. (2015). Mini-Concerts: Creating Space for Student-Initiated Performance. Music Educators Journal, 102(2), 62-68.

Gorfinkel, L. (2010). Pushing the boundaries of ‘music’: cross-cultural and cross-disciplinary possibilities for ‘other’ musics in the Australian music classroom. In P. Dunbar-Hall (Ed.) Proceedings of the 10th International Conference on Cultural Diversity in Music Education, Sydney

Grant, Christina, & Lerer, Arlene. (2011). Revisiting the traditional classroom band model: A differentiated perspective. (principal themes) (Report). Canadian Music Educator, 53(1), 24- 27.

Green, L. (2003). Why ‘Ideology’ is Still Relevant for Critical Thinking in Music Education. ​The ACT Journal, the MayDay Group, 2​(2), 1-24.

Green, Lucy. How Popular Musicians Learn: a Way Ahead for Music Education. Routledge, 2017.

Halpern, D., & Fowler, Raymond D. (1998). ​Teaching Critical Thinking for Transfer Across Domains,​ ​53​(4), 449-455

Hebert, David, and Sidsel Karlsen. “Musiikkikasvatus.” The Finnish Journal of Music Education (FJME), vol. 13, no. 1, 2010, pp. 6–11.

Holley, S., Smith, G. D., & Kratus, J. (2019). Coaching a popular music ensemble: blending formal, non-formal, and informal approaches in the rehearsal. McLemore Ave Music.

Hsu, C.-C. & Sandford, B.A., 2012. The Delphi Technique. ​Online Research Methods in Urban and Planning Studies,​ pp.173–192.

Ilari, B., Chen-Hafteck, L., & Crawford, L. (2013). Singing and cultural understanding: A music education perspective. International Journal of Music Education, 31(2), 202–216. doi: 10.1177/0255761413487281

Iyengar, S. S., & Lepper, M. R. (n.d.). When Choice Is Demotivating: Can One Desire Too Much of a Good Thing? The Construction of Preference, 300-322. doi:10.1017/cbo9780511618031.017

Kallio, A. (2015). Navigating (Un)Popular Music in the Classroom: Censure and Censorship in an Inclusive, Democratic Music Education. 1-252.

Kangas, Marjaana. (2010). Creative and Playful Learning: Learning through Game Co-Creation and Games in a Playful Learning Environment. ​Thinking Skills and Creativity,​ ​5(​ 1), 1-15.

Kindall-Smith, M., McKoy, C. L., & Mills, S. W. (2011). Challenging exclusionary paradigms in the traditional musical canon: Implications for music education practice. International Journal of Music Education, 29, 374–386.

Kokkidou, May. (2013). Critical Thinking and School Music Education: Literature Review, Research Findings, and Perspectives. ​Journal for Learning Through the Arts,​ ​9(​ 1), Journal for Learning Through the Arts, 2013, Vol.9(1).

Lin, V., & Renick, J. S. (2010). Democratic Jazz: Two Perspectives on a Collaborative Improvisation Jazz Workshop (A. C. Clements, Ed.). In ​Alternative Approaches in Music Education : Case Studies from the Field​(pp. 191-200). 0: R&L Education.

Menard, Elizabeth. (2013). Creative Thinking in Music: Developing a Model for Meaningful Learning in Middle School General Music. ​Music Educators Journal,​ ​100(​ 2), 61-67.

Miksza, Peter, and Erik Johnson. “Theoretical Frameworks Applied in Music Education Research: A Content Analysis of the Journal of Research in Music Education, 1979 to 2009.” Bulletin of the Council for Research in Music Education, vol. 193, no. Summer 2012, 2012, pp. 7–30., doi:10.5406/bulcouresmusedu.193.0007.

Nylund, M., 2013. Mapping Challenges in Media Management J. Karlsson & M. Westerlund, eds. ​Proceedings of Seminar on Current Topics in Business, Information Technology and Analytics,​ 2, pp.45–48.

Parsad, B., Spiegelman, M., & Coopersmith, J. (2011, May). U.S. Department of Education: A Snapshot of Arts Education in Public Elementary and Secondary Schools: 2009–10. Retrieved September, 2016, from ​https://nces.ed.gov/pubs2011/2011078.pdf

Partti, H., & Westerlund, H. (2012). Democratic musical learning: How the participatory revolution in new media challenges the culture of music education. Learning from Cosmopolitan Digital Musicians, 181–191.

Powers, Keith. (2011). Going mental: How Music Education Can Help Develop Critical Thinking. ​Teaching Music,​ ​18(​ 6), 1-5.

Powers, Keith. (2012). Around the World in Six Class Periods. ​Teaching Music,​ ​20​(1), 38-40. Preparing 21st Century Students for a Global Society: An Educator’s Guide to the “Four Cs” (pp. 1-37, Publication). (2019). Washington, D.C.: National Education Association (NEA). Reflective Thinking: RT. (n.d.). From http://www.hawaii.edu/intlrel/pols382/Reflective%20Thinking%20-%20UH/reflection.html – University of Hawaii

Schippers, Huib. Facing the Music: Shaping Music Education from a Global Perspective. Oxford University Press, 2010.

Shieh, Eric, & Allsup, Randall Everett. (2016). Fostering Musical Independence. ​Music Educators Journal,​ ​102​(4), 30-35.

Shuck, C., & Mullen, Carol. (2005). ​Music Integration: Educators’ Perceptions of Implementation and Student Achievement in Public School Elementary Education,​ ProQuest Dissertations and Theses.

Sinek, S., 2019. ​Start with why: how great leaders inspire everyone to take action​, London: Penguin Business.

Smith, D. (2013). ​An independent report for the Welsh Government into Arts in Education in the Schools of Wales, 2013, (​ pp. 1-54, Rep.).

Statista Research Department. (2017, May 3). Preferred music genres among teenagers in the U.S. 2012. Retrieved January 11, 2020, from https://www.statista.com/statistics/245743/preferred-music-genres-among-teenagers-in-the-us

Stefanova, M. (2011). Developing Critical Thinking and Assessment in Music Classrooms. ​American String Teacher,​ ​61(​ 2), 29-31.

Steiner, D. (2017). Curriculum Research: What We Know and Where We Need to Go. Johns Hopkins Institute for Education Policy, 1–13. Retrieved from https://edpolicy.education.jhu.edu/curriculum-research-what-we-know-and-where-we-need-to-go-by-dr-david-steiner/

Studies in Music Education,36​(1), 57-73. doi:10.1177/1321103×14528454 Achievement Motivation and the Adolescent Musician: A Synthesis of the Literature. (2011). ​Research and Issues in Music Education,​ ​9​(1), Np.

Sydykova, R., Kakimova, L., Ospanov, B., Tobagabylova, A., & Kuletova, U. (2018). A Conceptual Approach to Developing the Creativity of a Music Teacher in Modern

Tobias, E. (2013). Composing, songwriting, and producing: Informing popular music pedagogy. ​Research Studies in Music Education,​ ​35​(2), 213-237.

Tobias, Evan S. (2013). Toward Convergence: Adapting Music Education to Contemporary Society and Participatory Culture. ​Music Educators Journal,​ ​99​(4), 29-36.

Tobias, Evan S. (2014). Reflecting on the Present and Looking Ahead: A Response to Shuler. Arts Education Policy Review, 115(1), 26-33.

Tobias, Evan S. (2015). Crossfading Music Education: Connections between SecondaryStudents’ In- and Out-of-School Music Experience. ​International Journal of Music Education,​ ​33(​ 1), 18-35.

Väkevä, L., & Kurkela, V. (2012). Rhythm Masters: Developing a Master Program in Popular Music and Folk Music in Provincial Areas in Finland. US-China Education Review, B2.

Webster, P. (2008). Children as Creative Thinkers in Music. ​Oxford Handbook of Music Psychology,​ Oxford Handbook of Music Psychology.

Wenger, E., Trayner, B., & de Laat, M. (2011). Promoting and Assessing Value Creation in Communities and Networks: A Conceptual Framework, 2–63.

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