Sociology for Music Teachers: Perspective for Practice / Edition 1 available in Paperback
the latter of which includes music sociology. The second tradition, that of education as a field of study, relies mostly on pedagogical principles rooted equally in psychology and sociology. Hildegard Froehlich bases the book upon the premise that a music teacher's work is equally shaped by both traditions. The more music teachers become aware of how societal structures shape their own lives as well as the lives of their students,
colleagues, and superiors; the more "reality-based" their teaching will become. Society is a composite of communities in which different social classes, groups, and reference groups co-exist-to varying degrees of compatibility due to real or perceived differences in norms and values as well as hierarchies of power. Informed or intuitive choices made by an individual indicate allegiances to particular groups, how those groups are structured hierarchically; and where and how each individual fits into those hierarchies. This is true for the music world as it is true for the world of education.
Table of Contents
Introduction: Why Look at Music Education from a Sociological Perspective?
1. Sociological Concepts Relevant to Music Education.
2. Texts in the Sociology of Music and Their Relevance for Music Education.
3. Thoughts of Selected Ethno-Musicologists, Music Sociologists, and Cultural Theorists: Implications for Curricular Questions.
4. Sociology of Education: An Introduction to Major Theories.
5. Important Constructs in the Sociology of Education: Their Application to Music Schooling.
6. Teaching as Work: Basic Aspects of Occupational Socialization.
7. Becoming Professionals in Music and Music Education: Issues of Identity Construction.
Conclusion: Implications for the Sociologically Informed Music Teacher.