Lee S. Shulman, "Those Who Understand: Knowledge Growth in Teaching,"Educational Researcher15, no. 2 (1986): 4-14.
2.
Joe Shively has taught me to use learning and teaching to describe what one needs to know about education-putting learning before teaching to emphasize the importance of rooting teaching practice in what we know about the ways people learn. He first published this perspective in Joseph L. Shively, "Learning and Teaching in the Beginning Instrumental Classroom," in Dimensions of Musical Learning and Teaching, ed. Eunice Boardman (Reston, VA: MENC, 2000), 169-85.
3.
See, for example, Jacqueline Grennon Brooks and Martin G. Brooks, In Search of Understanding: The Case for Constructivist Classrooms ( Alexandria, VA : ASCD, 1993/ 2001); Jerome S. Bruner, The Culture of Education ( Cambridge, MA: Harvard University Press, 1996); Catherine Twomey Fosnot, ed., Constructivism: Theory, Perspective, Practice ( New York: Teachers College Press, 1996/2005); Howard Gardner, The Unschooled Mind (New York: Basic Books, 1991); Barbara Rogoff, Apprenticeship in Thinking ( New York: Oxford University Press, 1990); and Steven Zemelman, Harvey Daniels, and Arthur Hyde, Best Practice: New Standards for Teaching and Learning in Americas Schools, 2nd ed. (Portsmouth, NH: Heinemann Press, 1998/2005).
4.
Colleagues Deborah Blair, Gregory Cunningham, Danny Jordan, Alex Ruthmann, Joseph Shively, and I shared many of the ideas in this article in a joint presentation at the Symposium on Music Teacher Education sponsored by the Society for Music Teacher Education, hosted by the School of Music, University of North Carolina at Greensboro, September 15-17, 2005.
5.
For example, John Dewey, Democracy and Education ( New York: The Free Press, 1916), 146; and Bennett Reimer, A Philosophy of Music Education: Advancing the Vision, 3rd ed. (Upper Saddle River, NJ: Prentice Hall , 2003), 204.
6.
Jerome S.Bruner, The Process of Education (Cambridge, MA : Harvard University Press, 1960 ).
7.
For example, Lee R. Bartel, Questioning the Music Education Paradigm (Toronto: CMEA, 2004); David J. Elliott, Music Matters: A New Philosophy of Music Education (New York: Oxford University Press, 1995); J. Terry Gates, Music Education in the United States: Contemporary Issues (Tuscaloosa: University of Alabama Press, 1988); J. Terry Gates, ed., "Critiques of David Elliott's Music Matters: The Dallas Papers of the MayDay Group," special issue, Bulletin of the Council for Research in Music Education, no. 144 (2000).
8.
George Lakoff and Mark Johnson, Metaphors We Live By ( Chicago: The University of Chicago Press , 1980/2003). A gestalt is a whole idea that is considered to be greater than its constituent parts. A musical work can be considered a gestalt.
9.
9. This perspective might also make it easier to envision ways of teaching non-Western musics whose creators may not conceive of the same kinds of musical elements. All music can be understood from a variety of dimensions that may or may not parallel the dimensions of Western music.
10.
This perspective came about through extensive discussions with colleagues and students at Oakland University: Joseph Shively, Deborah Blair, Alex Ruthmann, and Steven Bizub. The idea of identifying metadimensions as frames for instruction came from Joe Shively.
11.
The idea of using dimensions, multidimensions, and metadimensions to frame learning and teaching of music was first shared at the Conference on Music Learning and Teaching, sponsored by the Center for Applied Research in Musical Understanding, Oakland University , November 12, 2005.
12.
Contemporary Music Project, Comprehensive Musicianship: An Anthology of Evolving Thought (Washington, DC: MENC, 1971).
13.
Rogoff, Apprenticeship in Thinking.
14.
Jerome S.Bruner, Toward a Theory of Instruction (Cambridge, MA: Harvard University Press, 1966 ).
15.
Thanks to Joe Shively for this description of his vision of the introductory course he teaches.
16.
Deborah Blair articulated this idea in her portion of our presentation at the SMTE conference. ■
