This volume will contain selected proceedings from the 2013 Symposium on Music Teacher Education, sponsored by NAfME’s Society for Music Teacher Education and hosted at University of North Carolina. After an introduction written by SMTE Chair, Doug Orzolek, the initial chapter will represent the keynote address of the symposium by Karen Hammerness, Director of Program Research for the Bard Master of Arts in Teaching Program. Hammerness will bring her comparative work with music teacher educators in Finland and Norway to bear in her address: From Inspiring Visions to Everyday Practices: Exploring Vision and Practice in Music Teacher Education. Hammerness’s research distills into three main themes. To mitigate against the fragmentation that characterizes so much of contemporary education, teacher education programs must: 1) promote a clear vision of teachers and teaching; 2) be coherent, reflecting shared understanding of teaching and learning among faculty and students; 3) be built around a strong, core curriculum that is deeply tied to the practices of teaching. These three themes will orient the remainder of chapters in the volume, which will come from invited primary presenters at the 2013 Symposium. Due to selectivity of blind peer review (twenty-one percent accept rate), these presentations represent the most rigorous research, and best practices grounded in research, that the music education profession has to offer.

The coursework requirements for an undergraduate music education degree in the U.S. have remained relatively unchanged since its inception in the early twentieth-century. In light of the changing milieu of the twenty-first century music learner, some scholars and researchers have suggested redesigning particular components of the music education degree. A few universities in the U.S. have reacted by implementing changes to their undergraduate music education curricula. Preliminary data and reviews of literature revealed that limited investigations into these programs existed. The purpose of this research was to investigate two established music education degree programs in the U.S. where the faculty had redesigned their curricula, while extracting similarities and differences among them. Furthermore, this study was designed to investigate the impact of these curricular changes on students and faculty. Qualitative data were collected through interviews and observations. Lewins (1947) Change Theory was used as the framework guiding the investigation. Data analyses and a cross-case synthesis suggested the redesigns took two to four years, which included removing courses in the general music study areas. There were four main themes extracted from these data: (1) faculty-directed process, (2) tension, (3) impetus, and (4) outcomes. These themes illuminated the challenges associated with the work and the influence of the redesign on student dispositions, experiences, musicianship, and future careers. Implications for the field of music education and suggestions for future research are provided in conclusion.

This open access book highlights the importance of visions of alternative futures in music teacher education in a time of increasing societal complexity due to increased diversity. There are policies at every level to counter prejudice, increase opportunities, reduce inequalities, stimulate change in educational systems, and prevent and counter polarization. Foregrounding the intimate connections between music, society and education, this book suggests ways that music teacher education might be an arena for the reflexive contestation of traditions, hierarchies, practices and structures. The visions for intercultural music teacher education offered in this book arise from a variety of practical projects, intercultural collaborations, and cross-national work conducted in music teacher education. The chapters open up new horizons for understanding the tension-fields and possible discomfort that music teacher educators face when becoming change agents. They highlight the importance of collaborations, resilience and perseverance when enacting visions on the program level of higher education institutions, and the need for change in re-imagining music teacher education programs.

This book surveys emerging music and education landscapes to present a sampling of the promising practices of music teacher education that may serve as new models for the 21st century. Contributors explore the delicate balance between curriculum and pedagogy, the power structures that influence music education at all levels, the role of contemporary musical practices in teacher education, and the communication challenges that surround institutional change. Models of programs that feature in-school, out-of-school and beyond school contexts, lifespan learning perspectives, active juxtapositions of formal and informal approaches to teaching and learning, student-driven project-based fieldwork, and the purposeful employment of technology and digital media as platforms for authentic music engagement within a contemporary participatory culture are all offered as springboards for innovative practice.

The Oxford Handbook of Preservice Music Teacher Education in the United States identifies the critical need for change in Pre-K-12 music education. Collectively, the handbook's 56 contributors argue that music education benefits all students only if educators actively work to broaden diversity in the profession and consistently include diverse learning strategies, experiences, and perspectives in the classroom. In this handbook, contributors encourage music teachers, researchers, policy makers, and music teacher educators to take up that challenge. Throughout the handbook, contributors provide a look at ways music teacher educators prepare teachers to enter the music education profession and offer suggestions for ways in which new teachers can advocate for and adapt to changes in contemporary school settings. Building upon students' available resources, contributors use research-based approaches to identify the ways in which educational methods and practices must transform in order to successfully challenge existing music education boundaries.

This open access book highlights the importance of visions of alternative futures in music teacher education in a time of increasing societal complexity due to increased diversity. There are policies at every level to counter prejudice, increase opportunities, reduce inequalities, stimulate change in educational systems, and prevent and counter polarization. Foregrounding the intimate connections between music, society and education, this book suggests ways that music teacher education might be an arena for the reflexive contestation of traditions, hierarchies, practices and structures. The visions for intercultural music teacher education offered in this book arise from a variety of practical projects, intercultural collaborations, and cross-national work conducted in music teacher education. The chapters open up new horizons for understanding the tension-fields and possible discomfort that music teacher educators face when becoming change agents. They highlight the importance of collaborations, resilience and perseverance when enacting visions on the program level of higher education institutions, and the need for change in re-imagining music teacher education programs. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.

Through this book, the author examines the role of music education within the larger global education movement. Specifically, the author argues music education has unique potential to foster positive global identity and to promote higher levels of intercultural sensitivity during adolescence. Music educators can use the framework in this book to craft lessons that will help their adolescent students develop positive global identities as they progress towards higher levels of intercultural sensitivity within the context of musical learning experiences. The book also offers a framework that can help practicing and pre-service music educators to engage in the type of cultural and musical self-reflection needed to resist deeply engrained hegemonic tendencies. As such, more students have access to an inclusive, flexible, and meaningful musical education. Within the final two chapters, the author proposes - and provides concrete examples of - a new curricular planning strategy for music educators which synthesizes the information presented in the preceding chapters and provides a concrete vision for (re)imagining music education as global education.