David Teachout , "From the Chair: A Call for Action in Music Teacher Education," in "The Future of Music Teacher Education," special issue , Journal of Music TeacherEducation14, no. 2 (2005): 5-7.
2.
Sharon Feiman-Nemser , "From Preparation to Practice: Designing a Continuum to Strengthen and Sustain Teaching,"Teachers College Record103, no. 6 (2001):1013-55.
3.
Charles Leonhard and Robert W.House, Foundations and Principles of Music Education ( New York: McGraw-Hill, 1959).
4.
Sharon Feiman-Nemser, "From Preparation to Practice,"1014.
5.
5. I use the term lived gestalt to refer to the experiential nature of the way individuals make sense of the world-in this case, the musical world. More specifically, a lived gestalt refers to the way human beings understand phenomena through relational contexts and how knowledge is configured into meaningful wholes, with the sum of experience greater than any one part. A contrasting description of human meaning-making suggests that the accumulation and amalgamation of distinct skills and separate bodies of knowledge leads to understanding.
6.
See, for example, Elliot W Eisner, The Educational Imagination: On the Design and Evaluation of School Programs (New York: Macmillan, 1994).
7.
See, for example, George N. Heller, ed., Society for Music Teacher Education: Professional Literature Project (Reston, VA: MENC, 1999 /2003), www.menc.org/publication/books/smte/intro.htm; Russell L. Robinson, ed., Preparing to Teach Music in Today's Schools: The Best of MEJ (Reston, VA: MENC, 1993 ), www.menc.org/networks/collegiate/bom.htm; and Gerald B. Olson, Music Teacher Education: Partnership and Process (Reston, VA: MENC, 1987 ). ■
