Eco-Literate Music Pedagogy examines the capacity of musiciking to cultivate ecological literacy, approaching eco-literate music pedagogy through philosophical and autoethnographical lenses. Building on the principle that music contributes uniquely to human ecological thinking, this volume tracks the course of eco-literate music pedagogy while guiding the discussion forward: What does it mean to embrace the impulse to teach music for ecological literacy? What is it like to theorize eco-literate music pedagogy? What is learned through enacting this pedagogy? How do the impulsion, the theorizing, and the enacting relate to one another? Music education for ecological consciousness is experienced in local places, and this study explores the theory underlying eco-literate music pedagogy in juxtaposition with the author’s personal experiences. The work arrives at a new philosophy for music education: a spiritual praxis rooted in soil communities, one informed by ecology’s intrinsic value for non-human being and musicking. Eco-Literate Music Pedagogy adds to the emerging body of music education literature considering ecological and environmental issues.
This volume shows music educators how music teaching and learning can help address humanity’s greatest challenge—the ecological crisis. It provides the essential background knowledge in ecomusicology, from compositions about nature, soundscape experiences, activist songs, to practical lesson ideas. Motivated by the urgent need for increased ecological awareness and sustainable practices, and the ecological aspects of music and musical aspects of ecosystems, the book explores the powerful role that music educators can play in protecting and preserving the natural environment. Each chapter includes a narrative and potential lesson ideas that include listening, singing, playing instruments, moving, and contextualizing, with the goal of translating research in ecomusicological theory into a sustainable, creative, and critical music teaching practice. Bridging the gap between recent scholarship and pedagogical work, this book will be a valuable resource for educators, P–12 classroom teachers, and music specialists, as well as in undergraduate music education methods courses.
Eco-Literate Music Pedagogy examines the capacity of musiciking to cultivate ecological literacy, approaching eco-literate music pedagogy through philosophical and autoethnographical lenses. Building on the principle that music contributes uniquely to human ecological thinking, this volume tracks the course of eco-literate music pedagogy while guiding the discussion forward: What does it mean to embrace the impulse to teach music for ecological literacy? What is it like to theorize eco-literate music pedagogy? What is learned through enacting this pedagogy? How do the impulsion, the theorizing, and the enacting relate to one another? Music education for ecological consciousness is experienced in local places, and this study explores the theory underlying eco-literate music pedagogy in juxtaposition with the author’s personal experiences. The work arrives at a new philosophy for music education: a spiritual praxis rooted in soil communities, one informed by ecology’s intrinsic value for non-human being and musicking. Eco-Literate Music Pedagogy adds to the emerging body of music education literature considering ecological and environmental issues.
This volume shows music educators how music teaching and learning can help address humanity’s greatest challenge—the ecological crisis. It provides the essential background knowledge in ecomusicology, from compositions about nature, soundscape experiences, activist songs, to practical lesson ideas. Motivated by the urgent need for increased ecological awareness and sustainable practices, and the ecological aspects of music and musical aspects of ecosystems, the book explores the powerful role that music educators can play in protecting and preserving the natural environment. Each chapter includes a narrative and potential lesson ideas that include listening, singing, playing instruments, moving, and contextualizing, with the goal of translating research in ecomusicological theory into a sustainable, creative, and critical music teaching practice. Bridging the gap between recent scholarship and pedagogical work, this book will be a valuable resource for educators, P–12 classroom teachers, and music specialists, as well as in undergraduate music education methods courses.
Who’s Using You? helps readers identify how we are used, by whom, and God’s use of us for His greater purpose. While many equate being used with a negative act, in forty short chapters, Nehrbass reminds us that to be used by God should be our deepest desire.
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