Book review: Cslovjecsek, M., & Zulauf, M. (Eds.). Integrated music education. Challenges for teaching and teacher training

Abstract

The book Integrated Music Education: Challenges of Teaching and Teachers Training, edited by Markus Cslovjecsek and Madeleine Zulauf (2018), gathers the insights of 18 experts in music education. Their informed reflections on cultural traditions, interdisciplinary approaches, arts integration, and psychology, combined with evidence from recent experiments and studies, conjoin in two convictions: (1) that music education is an "incomparable cultural good" and (2) that students must be prepared to use their knowledge coherently, constructively, and participatively in society.The journey sets out from a Starting Point. Rudolf Künzli, in The School's Disciplinary Learning Scaffold (Chapter 1), begins with a denouncement of the "scaffold" of learning, or the logic of the school as an institution, which, being opposed to everyday life, poses a barrier to learning. The editors then oppose this with The Intertwining of Music, Education, and Integration (Chapter 2), in which they trace the evolution of integrated music education (IME). They compare the effects of simply increasing the time spent on music to a more student-centered model that abolishes the boundaries between the arts and other subjects and opens the way to integrated learning. The reader then embarks on a trip through five "steps" in which the value of IME is appraised from 14 different viewpoints. As they advance along the route, readers will note that the challenging but rewarding teaching practices that are described may require some training. Each step contains an introduction and two or three chapters. In Step 1, Approaching Integrated Music Education by Exploring Distant Horizons, Joan Russell (Chapter 3) travels to Brazil to observe the arts collective Grupo Mundaréu. She muses on the freedom of such groups, which are unconstrained by the usual institutional boundaries, to enrich education. She presents their colorful performances, analyzes the social and cultural contexts, and wonders about the broader feasibility of this model for IME. Ludwig Pesch (Chapter 4) paints an edifying portrait of Carnatic music from South India, from its prehistoric origins to the present day. As the ancient techniques slowly built a foundation of theoretical rules, the music began to be taught using codified instructions, mnemonic pitch syllables, and visual aids. The author envisages this music as an interdisciplinary concept that connects all people. He chronicles the age-old cultural and religious traditions of the music and describes how it is still transmitted through a mishmash of styles that are at once traditional and modern, regional and Westernized. Colleen Richardson (Chapter 5) extolls the richness of interdisciplinarity through a detailed inspection of the aesthetic parallels between the music of Edgard Varèse and the visual art of Marcel Duchamp. The struggles of these iconoclasts as they trampled over the preconceived ideas and 952854P OM0010.1177/0305735620952854Psychology of MusicBook review book-review2020 Book review

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