InhaltsangabeChapter 1 Why a musical world? 1.1 Theoretical Background 1.1.1 Cultural sensitivities 1.1.2 Music emanates from communities of music practice drawn upon cultural landscapes 1.2 Educational theory principles Chapter 2 Thinking music: Processes of musical cognition 2.1 Sociocultural processes of musical thinking 2.1.1 Classifying musical sounds into categories 2.1.2 Recognition, identification, selection, and anticipation 2.1.3 Memory 2.1.4 Development of templates 2.1.5 Cultural immersion and creative thinking 2.1.6 Understanding symbols and value systems A Musician's Narrative by Koji Matsonobu Chapter 3 A functioning musical world 3.1 Social musical organization 3.2 Musical Practice and Behavior 3.3 Musical systems 3.3.1 Macroorganization determined by society and its systems Counterpoint and interlock by Magne Espeland 3.3.2 Mesoorganization into Repertoires Counterpoint and interlock by Emmanuelle Olivier 3.3.3 Microorganizatio Counterpoint and interlock by Trevor Wiggins 3.3.4 Framework with its parameters and rules Counterpoint and Interlock by Rena Upitis A Musician's Narrative by Jackson Kaujeua Chapter 4 Inhabiting a Musical World 4.1 Identity 4.1.1 Interpretations of cultural and musical identities Counterpoint and Interlock by Even Ruud 4.2 Normative and aesthetic values invoked by musical worlds 4.2.1 Values and music 4.2.2 Aesthetic evaluations 4.3 Meaning 4.4 Perspectives on musical worlds located in complex cultural-political settings 4.4.1 African metropolitan versus rural worlds by Meki Nzewi (South Africa and Nigeria) 4.4.2 Multicultural Europe by Eva Fock (Denmark) 4.4.3 Modern and traditional Asia by Koji Matsunobu(Japan) 4.4.4 A South American melting pot by Alda Oliveira (Brazil) 4.4.5 Sociocultural contexts of music education: One North American perspective by Kari Veblen (Canada) Chapter 5 Educating in living musical worlds * 5.1 The relation of arts education to cultural musical worlds. 5.2 Musical development in classrooms? 5.3 Cultural intersections or collisions? 5.4 Creativity and issues of continuity and change Counterpoint and interlock by Boh Wah Leung 5.5 Music as social practice and normative education through music 5.6 Suggestions for enhancing musical learning processes within musical worlds Counterpoint and interlock by Roger Avenstru 5.7 Assessment issues in complex musical worlds Counterpoint and interlock by Regina Murphy 5.8 Teacher education A Musician's Narrative by Eva Sæther Chapter 6. Concluding thoughts - aluta continua References Endnotes Author biographies Index