Music Education as Craft

​Kari Holdhus, PhD is Professor of Music Education at the Western Norway University of Applied Sciences. Her research interests include relational pedagogy, dialogic musical encounters, creative teaching and learning as well as pedagogical improvisation. As a teacher, Kari emphasises research-based approaches, which means that her teaching and supervision is often based on recent research deemed relevant for student discussion and critique. Conversely, many of the research projects that Kari engages with focus on practical applications to educational contexts.Regina Murphy, PhD is Associate Professor and Head of the School of Arts Education and Movement at the Institute of Education, Dublin City University. As a teacher educator at undergraduate, postgraduate and doctoral levels, she is concerned with the interplay between teacher knowledge, teacher identity, inquiry and critical reflection, and its expression through a range of subject matter.Her most recent research focuses on the development of social inclusion and social justice in music education. Regina served as an elected board member for the International Society for Music Education (ISME) from 2008-2012. In 2016, she hosted the ISME Commission Seminar: Music in Schools and Teacher Education (MISTEC) at St Patrick’s Campus, DCU. Magne I. Espeland is Professor of Music and Education at Western Norway University of Applied Sciences (WNUAS). His areas of specialisation include curriculum development and innovation in music and arts education, educational design studies, quantitative and qualitative research methodologies for education, masters and PhD supervision, and research project leadership. He currently leads the Center of Creativities, Arts and Science in Education (CASE), which is home to research at the intersection of arts, science and creative education. He is one of the founders of the Grieg Research School in Interdisciplinary Music Studies, a multi-institutional cooperation in Western Norway. Internationally, Magne has had a long relationship with the International Society for Music Education (ISME). He has researched and published in a variety of fields within music education and beyond, spanning music listening, music composition, creative pedagogies, pedagogical improvisation and relational pedagogy.

• I Opening.- Craftmanship in academia: Skilled improvisation in research, teaching and leadership.- Conceptualising music education as "Craft": Responses to an invitation.- II "Music Education" as a Sustainable Craft in Society.- The craft of music teaching in a changing society.- Crafting music education for all? The composite knowledge base of music education in times of cultural diversity and social polarisation.- Music education in England as a political act: Reflections on a craft under pressure.- Educating music teachers for the future: The crafts of change.- III Music Education Practices Reframed.- The craft of music teaching in a changing society: Singing as meaning, education and craft - Reflections on Lithuanian singing practices.- Artistic citizenship and the crafting of mutual musical care.- Music listening: An evolution of craft.- The craft of (Re-)presenting musical works.- Developing craftsmanship in music education in a Palestinian refugee camp and Lebanese schools.- A creative global science classroom: Crafting the global science opera.- The craft of teaching musical improvisation improvisationally: Towards a theoretical framework.- Phronesis in music education.- Approaching vulnerability through contemporary music: The Gelland approach.- The Kraptr of aging folk musicians: Mental practice for the future.- Music education as craft: Reframing a rationale.