Praxial Philosophy of Music Education

2017
Pre-publication proof of "Prelude" ...
Link: https://isbnsearch.org/isbn/0415792576
On Routledge: https://www.routledge.com/Eco-Literate-Music-Pedagogy/Shevock/p/book/9780415792578
On Amazon.com: https://www.amazon.com/Eco-Literate-Music-Pedagogy-Philosophy-Autoethnography/dp/0415792576/
On Amazon.co.uk: https://www.amazon.co.uk/Eco-Literate-Music-Pedagogy-Routledge-Education/dp/0415792576/

Published by Routledge

2017
This essay extends an open philosophy with a philosophy of music education on soil. An open philosophy emerges from analysis of Kafka's parable " Before the Law. " I explore what " the law " might be, what it could mean for how people relate to " the law, " and how critiquing " the law " allows music teachers and learners to challenge the institutionalization of musical values. Extended with a metaphor of soil, music educators recognize " the law " is unsustainable and deserving skepticism. Institutions require continual skepticism. Through skepticism, ways of being and musicking together emerge.

This chapter integrates philosophical reflections on community music (CM) with analyses of two neglected concepts and practices in music education and CM: love-as-action and social justice. It explains the ways CM may adopt, adapt, and benefit from the practices of community facilitators working in various circumstances. It discuss some prerequisites for, and dimensions of, these concepts in the context of Western societies generally and the United States particularly. The final section connects the concept of love-as-social justice to a practical example in New York City's urban environment.

Keywords: community music, music education, love, social justice, urban environment

Being with A/r/tography is a collection of essays that explain and exemplify the arts-based research methodology called a/r/tography. Edited by four scholars who are artists, researchers, and teachers (a/r/tographers), this book is a methodology book for practitioners in arts-based educational research. In addition to an introductory essay which contextualizes and theorizes the methodological framework of a/r/tography, the book is divided into three main thematic sections that are integral to a/r/tographical research: (1) self-study and autobiography; (2) communities of a/r/tographic practice; (3) ethics and activism. The book concludes with a consideration of issues related to assessment, validity, and interpretation.

Being with A/r/tography will be an excellent core text in graduate courses that focus on arts-based educational research, as well as a valuable text in pre-service teacher education programs. The book will also be significant for qualitative research courses in all the social sciences and the health sciences, including communication studies, nursing, counseling psychology, and arts therapy.

The book provides a clear and comprehensive introduction to a/r/tography. Even though a/r/tography as a research methodology is relatively new in the scholarly field, Being with A/r/tography spells out how scholarly practitioners who are artists and researchers and teachers have been pursuing this kind of research for a long time.

If music education is going to meet its full potential in the twenty-first century, then people may need to rethink their assumptions about the central values of school music. The author fully supports all effective, educative, and ethical ways of teaching and learning music, as well as students' critically reflective and democratic engagement with a reasonable diversity of musical styles and pieces. In this article, he suggests that educators may have unrealized opportunities and responsibilities to integrate traditional means and ends--to integrate musical processes, products, experiences, and outcomes--in the service of additional or alternative aims. He points out that anything in the world, including worthy endeavors like music education, can be seen and interpreted in many ways. Regardless of the ways educators choose to interpret the what and how of music education, the logically prior question they must always keep asking themselves is "why" are they doing the things they do? There is a wide range of options. Some teachers may answer by saying that they teach music to motivate students' love of creative music-making and listening, or deepen students' musical-affective experiences, or win state festivals, or raise students' math scores and future salary prospects, or prepare students for lifelong musical learning. The author suggests another answer, which teachers may or may not wish to consider when they envision the aims and values of music and education. The term he uses to label his answer and to indicate where he is heading is "music education as/for artistic citizenship."

This article documents and discusses how music teachers become educated in Japan and how educational policies in Japan are related to the career path of school music teachers from an insider’s perspective. The article intends not only to reveal aspects of the real lives of music students and teachers but also to tie music education policies to music teachers’ minds and behaviors. The career path was divided into three periods: from young age until high school, time during college as a music education major, and time as a music teacher in the public schools. The case study analysis reveals that it is likely that educational policy is introduced at the college level for the first time, permeates music teachers’ lives gradually throughout their careers, and almost becomes invisible for in-service music teachers as they internalize it.

Keywords: career path in music education, music teacher education in Japan, national music curriculum in Japanese schools

This article deals with the philosophical idea of worldmaking pursued through techné, meaning the fusion of the technical means of artistic creation, theorizing, and analysis, but specifically occurring in a feedback loop involving introspection and computation (cybernetic phenomenology). The discussion ranges over a wide variety of topics, including (1) the history of music theory from Ancient Greece to the present (including a rebuttal to Daniel Chua’s (2001) account of music history); (2) emergent properties in music arising from self-organization (explored through the Ancient Chinese abstract strategy board game go); (3) the ontology of musical qualities (properties) and categories (including their relation to visual, tactile, and olfactory qualities and categories). 
Various repertoires, artists, and philosophies are referenced. The essay analyzes aspects of Ligeti’s Violin Concerto, Carter’s String Quartet No. 5, and Lachenmann’s Kinderspiel.  Connections to the author’s own previous analytical and theoretical work are also discussed in relation to his interactive algorithmic audio-visual works (such as Fluxations and FluxNOISations). The techné of these is discussed in terms of logistics as well as aesthetic influences, including Wagner, Liszt, Stravinsky, Schoenberg, Crawford, Babbitt, Carter, Xenakis, Parker, Reich, Ligeti, Truax, Oliveros, Kandinsky, Miro, Pollock, Pollock, Hofmann, Rothko, Louis, Frankenthaler, Moholy-Nagy, Newman, Richter, and Brakhage.  The essay touches on philosophical ideas of Bergson, Whitehead, Deleuze, Harman, and Bogost, and more fully engages the philosophies of Nelson Goodman and Hannah Arendt in connection with artistic creation as relating to the theorizing and analysis of artistic works.     

Contact the author at jmailman@alumni.uchicago.edu
Download the article through JSTOR: http://www.jstor.org/stable/10.7757/persnewmusi.54.1.0005
or http://tinyurl.com/zdvkllr

The enactive approach to cognition is developed in the context of music and music education. I discuss how this embodied point of view affords a relational and bio-cultural perspective on music that decentres the Western focus on language, symbol and representation as the foundations of cognition and meaning. I then explore how this 'life-based' approach to cognition and meaning-making offers a welcome alternative to standard Western academic approaches to music education. More specifically, I consider how the enactive perspective may aid in developing deeper ecological understandings of the transformative, extended and interpenetrative nature of the embodied musical mind; and thus help (re)connect students and teachers to the lived experience of their own learning and teaching. Following this, I examine related concepts associated with Buddhist psychology in order to develop possibilities for a contemplative music pedagogy. To conclude, I consider how an enactive-contemplative perspective may help students and teachers awaken to the possibilities of music education as ontological education. That is, through a deeper understanding of ‘music as a manifestation of life’ rediscover their primordial nature as autopoietic and world-making creatures and thus engage more deeply with musicality as a means of forming richer and more compassionate relationships with their peers, their communities and the ‘natural’ and cultural worlds they inhabit.

Resumo: os termos música e musicalidade, por sua evidente proximidade, podem sugerir uma relação muito similar, ou até mesmo semelhante, no que se refere a sua conceituação. O presente trabalho se propõe a oferecer possíveis delimitações quanto a sua definição, apontando que a compreensão das diferenças conceituais entre música e musicalidade pode interferir diretamente nos pressupostos teóricos do âmbito educacional da música, por exemplo. Propõe-se ainda uma compreensão de ambos os fenômenos em sua gênese, buscando distinguir, mesmo que de forma breve, suas dinâmicas.

Palavras-chave: Música; Musicalidade; Educação Musical.

The text is published in German (Abstract in German below). The text places the model Musikpraxen erfahren und vergleichen (Model for Comparative Praxial Music Education) in the context of intercultural music pedagogy.  The concept of third space developed by Homi K. Bhabha is connected with a praxeological concept of culture. It plays a key role in the description of culturally mixed and open situations, which the model generates at various levels of music pedagogical practice. The text proceeds from the presentation of theoretical basic assumptions at the macro level to the description of central features of third spaces, to the exemplary presentation of micro practices of an “auditive Wissenskultur” (auditory culture of knowledge): Jazz, to finally derive a proposal for a ‘pupil-related cultural reflexive music teaching’.

Der Text stellt das Modell Musikpraxen erfahren und vergleichen (kurz: Mev) in den Kontext der Interkulturellen Musikpädagogik.  Dabei spielt das von Homi K. Bhabha entwickelte Konzept des Dritten Raumes in Verbindung mit einem praxeologischen Kulturbegriff eine Schlüsselrolle zur Beschreibung von kulturell gemischten und offenen Situationen, die das Modell Mev auf verschiedenen Ebenen musikpädagogischer Praxis generiert. Der Text schreitet von der Darstellung theoretischer Grundannahmen auf der Makro-Ebene weiter zur Beschreibung zentraler Merkmale Dritter Räume bis zur exemplarischen Darstellung von Mikropraktiken einer ‚auditiven Wissenskultur Jazz‘, um schließlich einen Vorschlag für einen ‚schülbezogenen kulturreflexiven Musikunterricht’ abzuleiten.

The text - written in German - explores potentials of practice theory (or praxeology) for research in music education by first outlining the use of the term practice in music education and then showing in relation to the example of a music lesson on video, how analysis from a praxeological perspective can work and which profit it provides. (The exemplary lesson has been published on DVD.)  At the same time the article addresses fundamental questions resulting from the praxeological position, such like the meaning of feelings, phenomena and aesthetic practice.

Der Text erkundet das Potential von Praxistheorie (oder Praxeologie) für die musikpädagogische Forschung, indem er einleitend verschiedene bisher in der Musikpädagogik verwendete Begriffe von Praxis umreißt und dann am Beispiel eines auf Video vorliegenden Unterrichtsbeispiels zeigt, wie eine praxistheoretisch geleitete Analyse verfahren und welchen Ertrag sie bringen kann. Parallel werden einige Grundfragen thematisiert, die sich aus einer praxistheoretischen Positionierung ergeben.

During the 2010 Conference XXII of the MayDay Group at the John J. Cali School of Music at Montclair State University, Frank Abrahams invited me to examine the connections between the philosophies of John Dewey (1859-1952) and James Mursell (1893-1962) toward the production of this special issue of Visions of Research in Music Education. It has allowed me to revisit and examine both the familiar and the lesser known aspects of these scholars' lives, dispositions, and arguments. It has also allowed me to engage with several ...

The field of interactive music systems (IMSs), beginning in the 1980s, is still relatively young and fast moving. The field of music theory-analysis, during the same period (since 1980), has undergone a major transformation in terms of technological innovations, flexibility, and breadth. The two fields have not really caught up with each other. It will be interesting to see what arises as they do — especially as both fields have become more concerned with the role of the body and embodied cognition. Framed in terms of contrasting epistemological orientations, this essay considers some relevant developments in IMSs, music cognition, and music theory and analysis, leading up to the present.  The most popular approaches to music cognition and to IMS design are rationalist (Ashby 2010), exploiting the ‘correct’ embodiments of music (Godøy 2004, Leman 2007, Paine 2009) based on affordances (Gibson 1977, Kelso 1998). This essay, however, advocates a pragmatist (Ashby 2010) approach inspired by music analysis and exploiting the potential of kinesthetic learning (associative learning). Prompted by a progressive approach to music analysis, theory, perception, and cognition (Dubiel 1999, Mailman 2007), interactive music technology can also be constructive, flexible, and progressive, by exploiting kinesthetic learning from immersion in new and unusual motion-to-sound mappings derived from dynamic formal processes in analysed music. In this way, immersive interactive systems offer an opportunity systematically to learn new associations based on principles theorised in response to analysis. Experience of these systems essentially ‘rewires the brain’, thereby exemplifying what Korsyn (2004) has attributed to Lewin’s (1986, 1987) approach to music perception: the ironist approach, as formulated by Rorty (1989). Thus a pragmatist ironist experimental (PIE) approach is articulated. Rather than committing to any particular ways music is already embodied, this approach acknowledges the flexible nature of embodied musical experience. It forges and uses interactive music technologies continually to redescribe and therefore reform how music is embodied, thereby disembodying to re-embody music, expanding how music is heard, contemplated and experienced.

Lesson Planing as Composing. (Written in German)  According to the model "Experiencing and comparing Music Practices" ("Musikpraxen erfahren und vergleichen") students compose their own lessons. Using the meaning of composing in music education the article reflects Experimental Music in two respects, first in its essential features being characteristically for an aesthetic theory of music as practice, and second in its detailed characteristics being contently exemplary for one family of music practices beside others in the concept "Experiencing and comparing Music Practices".                                                                                       

Die zentrale musikdidaktische These des Textes sagt schon sein Titel, nämlich dass Komponieren nicht nur als ein möglicher Inhalt von Musikunterricht, sondern die Gestaltung von Musikunterricht selbst als Komponieren zu verstehen ist. Diese These wird erstens aus dem Kontext historischer produktionsdidaktischer Konzeptionen und ihrer Theorie hergeleitet. Zweitens wird der Begriff von Musik als einer ästhetischen Praxis, welcher der These zugrunde liegt, anhand der ungefähr seit den 1950er/60er Jahren sogenannten Neuen Musik dargestellt. Drittens erscheint dann der-selbe Musikbegriff mit einigen stilistischen Anreicherungen als "nur" eine mögliche Musikpraxis unter anderen im Rahmen des musikdidaktischen Modells Musikpraxen erfahren und vergleichen. Das Modell sieht es als Musikunterricht vor, dass Schüler*innen-unterstützt von einer Lehrkraft-nacheinander verschiedene Musikpraxen komponieren. In der Neuen Musik, wie sie in den 1950er und 60er Jahren historisch bestimmend in Erscheinung trat, wurden Veränderungen im Selbstverständnis der Kunst artikuliert, wie sie bis heute auch in der Theorie ästhetischer Praxis und Erfahrung kaum deutlicher formuliert werden. Diese Neue Musik kann insofern als Vorlage für ein allgemeines Modell musikalisch-ästhetischer Praxis und Erfahrung gelesen werden, von dem sich Gestaltungsprinzipien für den gesamten Musikunterricht ableiten lassen. Zugleich aber ist diese Neue Musik auch "nur" eine unter ganz anderen historisch und global zu findenden Musiken. Von daher ist sie ein Inhalt von Musikunterricht unter anderen (sofern man davon ausgeht, dass Musikunterricht nicht nur-wie manchmal religiöse Unterweisung-in eine spezielle Musik einführen soll). Die Grundzüge und Begründungszusammenhänge des Modells Musikpraxen erfahren und verglei-chen wurden andernorts dargestellt. 1 Im vorliegenden Text wird anhand des Begriffs Komponieren der genannte doppelte Bezug des prozess-produkt-didaktischen Modells Musikpraxen erfahren und vergleichen zur Neuen Musik in drei Spots umrissen: • Neue Musik öffnet den Blick dafür, dass alles Kunst sein kann. Mit anderen Worten, dass Komponieren nicht notwendig das Gestalten von Werken bedeutet, sondern letztlich nur das Gestalten von Erfahrungssituationen bzw. Praxen.

The Chapter is written in German. The text uses three examples of music lessons – found and documented in Bavaria, Scotland, and Thuringia – to explore the relationship between mastery and mystery. Mastery is understood in the sense of precisely describable (and measurable) practices or techniques, mystery in the sense of holistic phenomena that arise in successful praxis (praxis understood as a performed constellation of practices). Because the Bavarian lesson is guided by an open music concept and the Scottish lesson by a learning and control-oriented pedagogical concept, different aspects of the mastery-mystery concept pair emerge in each case, ranging from concrete teaching practices to ideological-anthropological preconditions. Against the background of the first two examples, a further section uses the Thuringian lesson as a basis for a music pedagogical critique of long-term mastery-focused courses in general education schools. From this criticism, reasons are derived for a model of music instruction that places its emphasis on mysteries (in the plural!) that only appear in successful praxis, and then, starting from the phenomena, the practices are compared with each other. The model is called “Musikpraxen erfahren und vergleichen” (Comparative Praxial Music Education).
----- Der Text sucht an drei Beispielen von Musikunterrichtgefunden und dokumentiert in Bayern, Schottland und Thüringenjeweils das Verhältnis von Mastery und Mystery auf. Mastery wird verstanden im Sinne von exakt beschreibbaren (und messbaren) Praktiken oder Techniken, Mystery im Sinne von ganzheitlichen Phänomenen, die in gelingender Praxis (Praxis verstanden als performte Konstellation von Praktiken) entstehen oder emergieren. Dadurch, dass die Bayern-Stunde von einem offenen Musik-und die Schottland-Stunde von einem lern-und kontrollorientierten Pädagogikbegriff geleitet ist, treten jeweils unterschiedliche Aspekte des Mastery-Mystery-Begriffspaars hervor, die von konkreten Unterrichtspraktiken bis zu weltanschaulich-anthropologischen Voraussetzungen reichen. Vor dem Hintergrund der ersten beiden Beispiele folgt in einem weiteren Abschnitt anhand der Thüringen-Stunde eine musikpädagogische Kritik an langfristig aufbauenden, auf Mastery fokussierten Lehrgängen in der allgemein bildenden Schule. Aus der Kritik werden Gründe für ein Modell von Musikunterricht abgeleitet, der seinen Akzent auf Mysteries (im Plural!) legt, die nur in gelingender Praxis erscheinen, und dann ausgehend von den Phänomenen die Praxen miteinander vergleicht: "Musikpraxen erfahren und vergleichen" (Mev).

Der Text setzt sich aus didaktischer Perspektive mit der Unterrichtbarkeit von Frieden in der Musikpädagogik und politischen Bildung auseinander.  Er wurde auf einer Ringvorlesung im Sommersemester 2021 gehalten und hat aufgrund des Angriffskrieges von Russland auf die Ukraine im Februar 2022 ungeahnte Aktualität erhalten. Thematisch wird v.a. an das in der Musikdidaktik der 1980er Jahre diskutierte Modell der Angstverarbeitung angeknüpft und mit aktuellen Aspekten der Konfliktbearbeitung in Bezug gesetzt. Dabei lassen sich konkrete Perspektiven für die Musikpädagogik und die politische Bildung aufzeigen. Der vorliegende Text ist ein Vorveröffentlichung eines Beitrags in einem Sammelband, der die Vorträge auf einer transdisziplinären Ringvorlesung an der PH Weingarten zum Thema "Pendelbewegungen. Erkundungen im Spannungsfeld musikalischer und Politischer Bildung" im Sommersemester 2021 bündelt. Das Buch wird 2022 im Waxmann-Verlag unter der Herausgeberschaft von Christoph Stange, Werner Friedrichs, Sven Rößler und Andreas Höftmann erscheinen.

The praxial philosophy of music education in Music Matters (2015) argues that music educators should teach democratically, creatively, and ethically toward empowering students' abilities to achieve full human flourishing through critically reflective music making and listening of all kinds. Moreover, Music Matters contends that teachers have a civic responsibility to develop students' awareness of why and how they should engage in music making for self-and community transformation. Thus, praxial music teachers resist all forms of oppression and defend pupils against their own personal influence. Also, toward the growth of pre-service and in-service music teachers' creative and educational abilities, Music Matters provides multidimensional, porous, and open concepts of musics, " educations, " personhood, musical understanding, musical products, musical-emotional experiences, creativity, and curriculum. Therefore, our discussion refutes Randall Allsup's numerous misrepresentations of praxialism as an oppressive, uncreative, archaic, Master-apprentice, performance-centered philosophy that cultivates obedient students, and represents the worst abuses of " institutional " music teaching.

What do musicians, critics, and listeners mean when they use emotion-words to describe a piece of instrumental music? How can ‘pure’ musical sounds ‘express’ emotions such as joyfulness, sadness, anguish, optimism, and anger? Sounds are not living organisms; sounds cannot feel emotions. Yet many people around the world believe they hear emotions in sounds and/or feel the emotions expressed by musical patterns. Is there a reasonable explanation for this dilemma?These issues gain additional importance when we ask them in the context of music education. For example, can we, or should we, teach music students to listen-for musical expressions of emotion? If so, how?My contention is that listeners can and do hear emotions in musical patterns; musical sounds can be expressive of emotions. Accordingly, I offer ideas for teaching students how to hear and create musical expressions of emotions.

2015, inaugural article for TOPICS.
Link to the Article: http://topics.maydaygroup.org/articles/2015/Shevock2015.pdf
Facing the prospect of global ecological crises, how can music education matter? With the advent of ecomusicology, the connection between music and environment raises many new challenges. Ecological literacy has become an important topic in educational philosophy, but it is largely missing from music education literature. The question guiding this inquiry is: What might music education for ecological literacy be like? To answer this question, I consider some possible ecological theories—including ecological literacy, ecomusicology, indigenous knowledge, and spirituality—that can provide a stable starting point and framework of music education for ecological literacy.

This paper proposes that educative and ethical music making and teaching, which is based on a praxial philosophy of music education (Elliott and Silverman, 2015), can be carried out in a variety of ways that create places and spaces, in schools and community settings, for a variety of human values or “goods” that include, but go beyond, making and listening to classical instrumental music, or any other kind of music, for “the music itself.” One premise of this philosophical discussion is that music does not have one value; music has numerous values, depending on the ways in which it is conceived, used, and taught by people who engage in specific musical styles. For example, when music education is ethically guided—when we teach people not only in and about music, but also through music—we achieve what Aristotle and many other philosophers consider the highest human value—eudaimonia—which is a multidimensional term we explain the body of this paper. Following an examination of three community music settings that exemplify educative and ethical musical interactions, the paper provides a brief explanation of the nature of personhood that draws from embodied, enactive, empathetic, and ecological concepts put forth by several contemporary cognitive scientists and philosophers of mind nature. This sections leads to an examination to main constituents of eudaimonia: happiness and well- being as conceived by various scholars during the last 2500 years. The discussion ends by integrated the above themes with a discussion of a praxial philosophy of music education and its implications for school and community music education.

This article provides a view of rural music teacher preparation through the lens of critical social theory, drawing from literature about rural schools and social class, and the author’s experience as a rural student, teacher, and music teacher educator. It brings to light patterns of privilege and oppression within current ideals, standards, and practices, particularly as they might relate to “shared visions” in music education and/or music teacher education. The overall aim, nonetheless, is practical—identifying specific problems in preparing rural music teachers and suggesting a range of possible
solutions.

The Chapter is written in German. The text uses three examples of music lessons – found and documented in Bavaria, Scotland, and Thuringia – to explore the relationship between mastery and mystery. Mastery is understood in the sense of precisely describable (and measurable) practices or techniques, mystery in the sense of holistic phenomena that arise in successful praxis (praxis understood as a performed constellation of practices). Because the Bavarian lesson is guided by an open music concept and the Scottish lesson by a learning and control-oriented pedagogical concept, different aspects of the mastery-mystery concept pair emerge in each case, ranging from concrete teaching practices to ideological-anthropological preconditions. Against the background of the first two examples, a further section uses the Thuringian lesson as a basis for a music pedagogical critique of long-term mastery-focused courses in general education schools. From this criticism, reasons are derived for a model of music instruction that places its emphasis on mysteries (in the plural!) that only appear in successful praxis, and then, starting from the phenomena, the practices are compared with each other. The model is called “Musikpraxen erfahren und vergleichen” (Comparative Praxial Music Education). ----- Der Text sucht an drei Beispielen von Musikunterrichtgefunden und dokumentiert in Bayern, Schottland und Thüringenjeweils das Verhältnis von Mastery und Mystery auf. Mastery wird verstanden im Sinne von exakt beschreibbaren (und messbaren) Praktiken oder Techniken, Mystery im Sinne von ganzheitlichen Phänomenen, die in gelingender Praxis (Praxis verstanden als performte Konstellation von Praktiken) entstehen oder emergieren. Dadurch, dass die Bayern-Stunde von einem offenen Musik-und die Schottland-Stunde von einem lern-und kontrollorientierten Pädagogikbegriff geleitet ist, treten jeweils unterschiedliche Aspekte des Mastery-Mystery-Begriffspaars hervor, die von konkreten Unterrichtspraktiken bis zu weltanschaulich-anthropologischen Voraussetzungen reichen. Vor dem Hintergrund der ersten beiden Beispiele folgt in einem weiteren Abschnitt anhand der Thüringen-Stunde eine musikpädagogische Kritik an langfristig aufbauenden, auf Mastery fokussierten Lehrgängen in der allgemein bildenden Schule. Aus der Kritik werden Gründe für ein Modell von Musikunterricht abgeleitet, der seinen Akzent auf Mysteries (im Plural!) legt, die nur in gelingender Praxis erscheinen, und dann ausgehend von den Phänomenen die Praxen miteinander vergleicht: "Musikpraxen erfahren und vergleichen" (Mev).

Popular music education can ease or worsen the waste problem. Waste refers to things with "no value," and the Global North produces a lot of waste. Not limited to material, waste can be seen as a dominant metaphor in rock music. The guiding question for this essay is, what opportunity does rock music present for cultivating eco-literacy through music? Before we can find solutions though, we need to recognize rock's distinctive ecological challenges. Popular music is both implicated in the challenge of waste, and can help music educators explore opportunities for resistance. In music education, qualitative research suggests instrument-making increases knowledge, interest, creativity, and builds attachment to an instrument, in addition to reducing material waste. In our field's move to incorporate popular musics, instrument-making can be a part of eco-literate music pedagogy.

α τελευταία χρόνια, η διαμόρφωση της επαγγελματικής
ανάπτυξης των εκπαιδευτικών αντιμετωπίζεται στη χώρα
μας ως προϋπόθεση βαρύνουσας σημασίας για τη βελτίωση
του επαγγέλματός τους. Αφορά σε μία εξελικτική
διαδικασία μέσω της οποίας οι εκπαιδευτικοί αναπτύσσουν
τις γνώσεις και τις δεξιότητες που τους είναι απαραίτητες
στη διαμόρφωση επαγγελματικής κουλτούρας καθώς και
στην πρακτική τους άσκηση με τους μαθητές/τριες αλλά
και τους/τις συναδέλφους τους. Η προσδοκία της
επαγγελματικής ανάπτυξης συνδέεται με τη διαμόρφωση
ενός φιλοσοφικού πλαισίου που διαμορφώνει την Πράξη
εντός του σχολικού χώρου και βασίζεται σε αλλαγές στις
εκπαιδευτικές πρακτικές και πεποιθήσεις των
εκπαιδευτικών. Στο πλαίσιο αυτό, τα σχολικά εγχειρίδια
συνιστούν στοιχείο της εκπαιδευτικής πρακτικής τους
διαμορφώνοντας εκ νέου την επαγγελματική κουλτούρα
τους.