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Build teamwork skills through collaboration

Encourages student engagement in activities

Allows students to learn from each other and share ideas

Applies communication skills to education

Encourages students to ask questions; which builds confidence

Allows students to collaborate with classmates of diverse backgrounds

Blend knowledge of various cultures

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Theory is loosely organized

Very broad in its definition

Disregards biological factors and is quick to say environment is the only major factor.

Students may be encouraged to leave the work to other students (when working in teams)

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https://www.growthengineering.co.uk/what-is-social-learning-why-do-we-love-it/

https://www.think-learning.com/employee-engagement/benefits-social-learning/

https://www.britannica.com/science/observational-learning

https://sphweb.bumc.bu.edu/otlt/mph-modules/sb/behavioralchangetheories/behavioralchangetheories5.html

https://www.growthengineering.co.uk/7-benefits-of-social-learning/#:~:text=Bandura%20noted%20that%20learning%20is,of%20a%20knowledge%20sharing%20culture.

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He as been a major influence on the theory and practice of music education

In 1987 he became the first Chair of the British National Association for Education in the Arts

From 1991 to 1995 Chaired the Music Education Council

“A musical development sequence is proposed based on the psycho-logical concepts of mastery, imitation, imaginative play and meta-cognition.” - abstract from “The Sequence of Music Development: A Study of Children's Composition.”

Received the ISM Lifetime Achievement Award for his international work in Music Education

He has been invited to over 20 countries to give presentations, conduct workshops, or advise as a consultant.

Influence the advancement of music in primary and secondary schools in the UK

“Music is a way of knowing and a complex symbol system that can only be fully understood through the educational experiences offered in school.”

“Swanwick has probed the nature of the musical experience and the maturational changes across children's development that necessitate various pedagogical techniques for allowing natural musical intuition to grow into greater musical insights.” Campbell, P. S. (2007). Musician and teacher: An orientation to music education. W. W. Norton Co.

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https://sites.google.com/site/keithswanwick/home

https://imerc.org/people/18-professor-keith-swanwick

https://www.cambridge.org/core/journals/british-journal-of-music-education/article/abs/sequence-of-musical-development-a-study-of-childrens-composition/F59212F54A1909DB5DCD3FE0EF3F64D6

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American education philosopher born 1859, died 1952

Pragmatic learning

Practical application of what is being learned is most important

Real-life scenarios and contexts are best for learning

Learn by interaction with the world

Engaging interests of the learner helps them retain the info

Also has to do with their emotional response to the info

Less lecture-based and more “doing”

Experiencing is better because it has a consequential and emotional impact on the learner

Emotional response makes learners curious and wanting more info

Give learners the opportunity to discover the solutions to problems and other information instead of having a teacher explain them

Practical benefits of problem solving

Transaction: Student does something, followed by a Undergoing: student sees the consequences of that action

Traditional subject matter is important, but should be taught to match the interests of the learner

Arts help bring an individual into a community through discussion (Campbell 2007)

The individual is part of the “collective heritage” from that art

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https://www.britannica.com/summary/pragmatism-philosophy

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John Dewey is credited as founding a philosophical approach to life called 'pragmatism', and his approaches to education and learning have been influential internationally and endured over time. He saw the purpose of education to be the cultivation of thoughtful, critically reflective, socially engaged individuals rather than passive recipients of established knowledge. He rejected the rote-learning approach driven by predetermined curriculum which was the standard teaching method at the time. However, importantly, he also rejected child-centred approaches that followed children's uninformed interests and impulses uncritically. While he used the term 'progressive education', this has since been misappropriated to describe, in some cases, a hands-off approach to children's learning which was not what Dewey proposed. Dewey believed that traditional subject matter was important, but should be integrated with the strengths and interests of the learner.
He developed a concept of inquiry, prompted by a sense of need and followed by intellectual work such as defining problems, testing hypotheses, and finding satisfactory solutions, as the central activity of such an educational approach. This organic cycle of doubt, inquiry, reflection and the reestablishment of sense or understanding contrasted with the 'reflex arc' model of learning popular in his time. The reflex arc model thought of learning as a mechanical process, measurable by standardised tests, without reference to the role of emotion or experience in learning.Dewey was critical of the reductionism of educational approaches which assume that all the big questions and ideas are already answered, and need only to be transmitted to students. He believed that all concepts and meanings could be open to reinvention and improvement, and all disciplines could be expanded with new knowledge, concepts and understandings.

The m ain features of Dewey's theory of education

Dewey suggested that individuals learn and grow as a result of experiences and interactions with the world. These interactions and experiences lead individuals to continually develop new concepts, ideas, practices and understandings, which, in turn, are refined through and continue to mediate the learner's life experiences and social interactions. According to Dewey:

Interaction s and communication s focused on enhancing and deepening shared meanings increase potential for learning and development. When students communicate ideas and meanings within a group, they have the opportunity to consider, take on and work with the perspectives, ideas and experiences of other students.

Shared activities are an important context for learning and development. Dewey valued real-life contexts and problems as educative experiences. If students only passively perceive a problem and do not experience the consequences in a meaningful, emotional and reflective way, then they are unlikely to adapt and revise their habits or construct new habits, or will do so only superficially.

Students learn best when their interests are engaged. It is important to develop ideas, activities and events that stimulate students' interest and to which teaching can be geared. Teaching and lecturing can be highly appropriate as long as they are geared towards helping students to analyse or develop an intellectual insight into a specific and meaningful situation.

Learning always begins with a student's emotional response, which spurs further inquiry.Dewey advocated for what he called 'aesthetic' experiences: dramatic, compelling, unifying or transforming experiences in which students feel enlivened and absorbed.

Students should be engaged in active learning and inquiry. Rather than teach students to accept any seemingly valid explanations, education ought to give students opportunities to discover information and ideas by their own effort in a teacher-structured environment, and to put knowledge to functional use by defining and solving problems, and determining the validity and worth of ideas and theories. As noted above, this does not preclude explicit instruction where appropriate.

Inquiry involves students in reflecting intelligently on their experiences in order to adapt their habits of action. Experience should involve what Dewey called 'transaction': an active phase, in which the student does something, as well as a phase of 'undergoing', where the student receives or observes the effect that their action has had. This might be as simple as noticing patterns when adding numbers, or experimenting to determine the correct proportions for papier mâché.

E ducation i s a key way of developing skills for democratic activity. Dewey was positive about the value of recognising and appreciating differences as a vehicle through which students can expand their experiences, and open up to new ways of thinking rather than closing off to their own beliefs and habits.

What e mpirical evidence is there for this philosophy in practice?

While there is no direct evidence that Dewey's approach improves student outcomes, Dewey's theory of students' learning aligns with current theories of education which emphasise how individuals develop cognitive functioning by participating in sociocultural practices ¹, and with empirical studies examining the positive impact of interactions with peers and adults ² on students' learning. Quantative research also underlines a link between heightened engagement and children's learning outcomes, with strategies such as making meaningful connections to students' home lives and encouraging student ownership of their learning found to increase student engagement ³. A few empirical studies which examined the effectiveness of aesthetic experiences for students confirmed that students experienced those lessons as more meaningful, compelling and connected than a comparison group. ⁴

Dewey's influence on teaching practice

Dewey's theory has had an impact on a variety of educational practices including individualised instruction, problem-based and integrated learning, dialogic teaching, and critical inquiry. Dewey's ideas also resonate with ideas of teaching as inquiry.

I ndividualised instruction

Dewey's ideas about education are evident in approaches where teaching and learning are designed to be responsive to the specific needs, interests, and cultural knowledge of students. Teachers therefore learn about students and their motivating interests and desires in order to find subject matter, events and experiences that appeal to students and that will provoke a need to develop the knowledge, skills and values of the planned curriculum. Students are encouraged to relate learning to their lives and experiences.

Problem-based learning and integrated learning approaches

Dewey's principles of learning are evident also in problem-based learning and project approaches to learning. These approaches begin with a practical task or problem which is complex, comprehensive, multi-layered, collaborative, and involves inquiry designed to extend students' knowledge, skills and understandings. Problem-based learning should:

start by supporting students to intellectualise exactly what the problem is

encourage controlled inquiry by helping students to develop logical hypotheses (rather than depending on their habits of thinking to jump to conclusions), for example, by connecting or disconnecting ideas they already have encountered

encourage students to revise their theories and reconstruct their concepts as their inquiry unfolds.

Student engagement

Dewey's theory has also been extended to the problem of enhancing student engagement. Some strategies that have been found to increase student engagement and that align with Dewey's concept of aesthetic experiences include:

engaging students in deeper perception - going beyond the simple recognition of objects to look carefully at colours, lines and textures, question perceptions, and use new understandings to perceive things in new ways

building intellectual, sensory, emotional or social connections to a topic, such as connecting to the topic of space travel through intellectual connections to the concepts of speed, power and force, sensory connections to the sounds, fire and vibrations, and emotional or social connections to the feelings of astronauts involved

encouraging risk-taking, such as suggesting a calculation, or experimenting to make papier mâché

encouraging sensory exploration

using a theme or metaphor to illuminate powerful ideas and to produce a sense of wonder, imagination and anticipation, such as 'rocks have a story to tell'

provoking anticipation with evocative materials or suggestive situations, enabling students to unravel a mystery rather than follow a recipe.

Engagement can be heightened when students have ownership of their learning, for example, by being engaged in curriculum planning and cooperatively build curriculum themes, or by selecting a topic to research rather than being assigned a topic. Students can take responsibility for judging the value, significance and meaning of their experiences as well as next steps.

Dialogic teaching

Dialogic teaching emphasises the importance of open student dialogue and meaning-making for learning, and builds on Dewey's ideas about the importance of communication and social interaction. In this approach, students are encouraged to form habits of careful listening and thoughtful speaking: for example, they might be discouraged from raising their hand to speak in a lesson, as that action triggers anticipatory thought rather than full attention to the current speaker. Attention is paid to issues of power, privilege and access that may hinder open dialogue.

Dewey's approach to education is evident in curricula focused on critial thinking skills in which students engage in intellectual reflection and inquiry, critique, test and judge knowledge claims, make connections, apply their understandings in a range of different situations, and go into depth, rather than be given quick answers or rushed through a series of content. Dewey's philosophy of education highlights the importance of imagination to drive thinking and learning forward, and for teachers to provide opportunities for students to suspend judgement, engage in the playful consideration of possibilities, and explore doubtful possibilities.

Teaching as inquiry

Dewey's perspective on teaching and learning encourages a teaching as inquiry mindset. His principles for teaching and learning suggest that teachers should cultivate an energetic openness to possibilities alongside a commitment to reflectively learning from experiences, be willing to experience ambiguity and use problems as an opportunity to get deeper into an understanding of self, students, the subject and the context.

References

Dewey, J. (1980). Democracy and education. In J. A. Boydston (Ed.), John Dewey: The middle works 1899-1924: Vol 15, 1923-1924 (pp. 180-189). Carbondale: Southern Illinois University Press.

Dewey, J. (1988). Experience and education. In J. A. Boydston (Ed.), John Dewey: The later works 1925-1953: Vol 13, 1938-1939 (pp. 1-62). Carbondale: Southern Illinois University Press.

Girod, M., & Wong, D. (2002). An aesthetic (Deweyan) perspective on science learning: Case studies of three fourth graders. Elementary School Journal, 102 (3), 199-224.

Hickman, L., Neubert, S., & Reich, K. (2009). John Dewey between pragmatism and constructivism. Fordham University Press.

Moroye, C. M., & Uhrmacher, P. B. (2009). Aesthetic themes of education. Curriculum and Teaching Dialogue, 11 (1&2), 85-101.
End Notes
1 Tomasello 1999, 2008, cited in Garrison, J. W., Neubert, S., Reich, K. (2012). John Dewey's philosophy of education: An introduction and recontextualization for our times. New York: Palgrave Macmillan.

² Göncü, A., & Rogoff, B. (1998)Children's categorization with varying adult support. American Educational Research Journal, 35(2), 333-349; Rogoff, B. (2003). The cultural nature of human development. Oxford University Press.

³ Turner, J. C. (2014). Theory-based interventions with middle-school teachers to support student motivation and engagement. Motivational interventions. 341-378.

⁴ Girod, M., Rau, C., Schepige, A. (2003). Appreciating the beauty of science ideas: Teaching for aesthetic understanding. Science Education, 87 ( 4), 574-87.

By Dr Vicki Hargraves

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Dewey's educational philosophy - THE EDUCATION HUB

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An introduction to the key principles underpinning John Dewey's philosophy of education

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Is the emphasis on music being studied and understood in cultural context

Acting and reflecting on actions,

Analyzing and adapting on teachings in aesthetic formalism

An effort made to redefine the traditional bounds of philosophical discourse in music.

Focuses on music in different cultures

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https://www.jstor.org/stable/10.2979/pme.2010.18.2.171?seq=12

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If you've arrived at this web site after reading the first chapter of Praxial Music Education, then you know what it's about. If you've arrived via another route, you probably don't. Either way, a few words of introduction are in order.

Elliott, David J. (Ed.). (2005). Praxial Music Education: Reflections and Dialogues. New York: Oxford University Press.

Elliott, David J. (1995). Music Matters: A New Philosophy. New York: Oxford University Press.

In 1995 I published Music Matters: A New Philosophy of Music Education (or MM, for short). MM offers a praxial philosophy of music education. In 2005 I organized a collection of essays about MM titled Praxial Music Education: Reflections and Dialogues (or PME, for short). The essays in PME discuss many issues in the field of music education with particular attention to my views on these issues MM.

Why bother publishing a book like PME and asking colleagues to critique my work? I give several reasons in the first chapter of PME (p. 4). The main reason is that all fields of study must continuously study and critically appraise their foundational beliefs if they are to avoid stagnation or death. Taken together, the combination of PME and this web site is an effort to contribute to critical thinking about the foundations of music education. Also, by opening MM to critical commentaries, my colleagues and I have an important opportunity to clarify our views with and for each other, and for music educators-at-large, and for students of music education who are developing their professional

Why is it difficult to build foundations, articulate fundamental issues, and grasp alternative viewpoints in music education? There are many reasons. First, as I said in MM:

"the questions raised by music teaching and learning form a kind of philosophical hub at the center of practical life. Like the spokes of a wheel, they take us to the heart of what it means to be human. They raise complex issues of knowing, meaning, thinking, feeling, teaching, learning, acting and believing. As Aristotle emphasized centuries ago: 'It is not easy to determine the'" (p. 5).

Needless to say, if Aristotle was challenged by the problems involved in explaining music and music education, it's not surprising that the rest of humanity would, too.

Regelski (2004) offers other reasons why it's difficult to think and write about foundational issues in music education: "In the act of offering his or her ideas, every author risks a minefield of problems, especially if his or her ideas challenge traditional beliefs, draw on new sources, and/or offer alternative."

As the authors in PME point out, the ideas in Music Matters and the issues it raises do all of the above. For example, as Bowman says in his essay, "the praxial view is not so much an alternative music philosophy as a dramatic effort to redefine the traditional bounds of music philosophical discourse. Clearly, the praxial turn draws into the 'musical' fold" (p. 56).

Another set of themes in MM concern complicated issues

Among the first analyses of the moribund status of traditional curricular thinking in music education is David Elliott's innovative Music Matters (1995). Elliott offers a comprehensive challenge to traditional aesthetic philosophies of music education and an in-depth analysis of curriculum theory. His critique of abstract, atomistic content and isolated skills of the conventional objectives-oriented and structure-of-the discipline approaches to music curriculum drew upon and thus reflected the most recent trends in curriculum theory in the early 1990s. He also advanced a provocative and incisive theory of curriculum-as-practicum, designed and organized "to engage learners in musical actions, transactions, and interactions that closely parallel real music cultures" and making, in consequence, "the music classroom . . . a reflective musical practicum, a close representation of viable music-practice " (PME, p. 219)

And so it is that many details of the praxial philosophy of music education are susceptible to misunderstandings and/or invite further clarification and elaboration. This is my purpose here. I will discuss a number of key topics and issues in ways that were not possible at the time I wrote MM in the early 1990s. Indeed, because MM has been "out there" for ten years, and because I've received many valuable comments during this past decade, including (now) the feedback of the authors in PME, I believe I can engage these issues with the benefit of hindsight

I've organized this site in terms of several major topics: for example, Musicing-and-Listening, Values and Affect, Music and Identity, and so forth. The main reason for doing so is that different authors in PME discuss the same topics from different viewpoints. A topical approach allows me to group my views and replies to authors' competing ideas under the same heading. Also, I believe this approach will be more valuable and interesting than replying to each author/essay directly, or in chronological order.

Specifically, I will do two things under each topic. I will begin by summarizing my views on that topic as I stated them in MM. Following this, I'll discuss, "dialogue-with," and/or debate the ideas of PME authors who discuss the same topic from their own perspectives. So, for example, if you wish to read what I say in reply to one or more authors who critique my praxial concept of music listening, please look under Musicing-and-Listening and Values.

The eight topics I will use to discuss the essays in PME take the form and order listed below. I could have added more topics and more reflections on each, but this would require another book. In fact, I intend to update this web site at regular intervals as I receive feedback from the authors in PME, and others. So, if something is omitted from this web site at the moment, please do not assume that I've overlooked an issue, or that I tacitly agree with any objections or interpretations I have not discussed. This is just Version 1.0 of this site.

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If you've arrived at this web site after reading the first chapter of Praxial Music Education, then you know what it's about. If you've arrived via another route, you probably don't. Either way, a few words of introduction are in order. Elliott, David J. (Ed.). (2005). Praxial Music Education: Reflections and Dialogues.

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Affiliated with Northwestern University

American Music Educator and Philosopher

Leading Voice in the 1970’s to early 2000’s (Campbell, 2007)

Basic mode of cognition, but a complex function of the mind (Link)

Wrote A Philosophy of Music Education (link)

Students cannot truly experience an art form without learning Aesthetically (Campbell, 2007)

Wants students to capture the depth feelings experiences in life through music (Campbell, 2007)

General focus on aesthetic education and nature

Aesthetic reasoning behind why schools should have music as its curriculum (Campbell, 2007)

Understanding of music comes from experiencing (Campbell, 2007)

Music education is adaptable and changes over time due to culture. Music gives opportunities to share culture (Campbell, 2007).

We must find the purpose and meaning of music (Campbell, 2007)

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Related to appreciation of beauty and sensory perception (Link)

Music for music sake (link)

Music itself is the value, not whether it makes you better at something else

Curriculum should use high-quality music

Emotional response is key

Developing sensitivity to aesthetics should be a goal of music education (Link)

Listening In practice is key. The goal of music education is to make students aware of how music affects their emotions. (Campbell 2007)

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Born in Australia, 1945

Professor Emerita of Music Education at Indiana University Jacobs School of Music

Has written several books link

Emphasized world music and ethnomusicology as equals

Educators focus on alternative views in the classroom to make the job more enriching for students, widening perspectives

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Born in Toronto, Canada 1948 - Present

Professor of Music and Music Education at Steinhardt School of Culture, Education, and Human Development at NYU

He believes in the Praxial Philosophy of music education which offers an explanation of the nature and values in music.

“I argue for a multidimensional concept of music and musical works, a multidimensional concept of musical understanding, a multidimensional concept of music’s values in human life and a multiple approach to achieving these values” - David Elliot

He wrote Music Matters, Music Matters, 2nd Edition, Community Music Today, Praxial Music Education

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After beginning her presentation with a performance of Debussy's Syrinx at Royal Albert Hall, Balsom explains and illustrates-with real-life examples-how children's active musical participation can "engage, empower, and repair" their personal, social, and community lives. At one point, she argues that music has the potential to "heal" in numerous ways, a statement that receives considerable support from numerous contemporary researchers in a wide range of fields (*see below).

Toward the end of her presentation, Balsom shows a short film of her work with AfroBrass that focuses on facilitating children's personal and community flourishing and overall health and well being through active music making and educationally caring relationships between Balsom, her colleagues, and the children. The children's narratives detail how AfroBrass has made significant differences in their lives.

Among the many films being screened at the Tribeca Film Festival is a documentary story that unfolded right here in New York. It's called "Once In a Lullaby" and tells the story of Staten Island's most well known school choir - and their journey to perform at the 83rd annual Academy Awards. We'll hear all about it from the film's director, Jonathan Kalafer, and PS22 chorus teacher Gregg Breinberg.

1. "If a tree falls in the forest and no one hears it, I hope it lands on a philosophy professor." Stephen Colbert

2. Descartes walks into a pub. The bartender asks, "Will you have a beer?" Descartes answers, "I think not," and he evaporates.

3. How many Marxists does it take to change a lightbulb? None. The lightbulb contains the seeds of its own revolution.

4. How many existentialists does it take to change a lightbulb? Two. One to change the bulb and one to observe how the lightbulb symbolizes an incandescent beacon of subjectivity in a netherworld of Cosmic Nothingness.

5. First Law of Philosophy: For every philosopher, there exists an equal and opposite philosopher.

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After beginning her presentation with a performance of Debussy's Syrinx at Royal Albert Hall, Balsom explains and illustrates-with real-life examples-how children's active musical participation can "engage, empower, and repair" their personal, social, and community lives.