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dc.contributor.authorTreacy, Danielle Shannon
dc.contributor.authorTimonen, Vilma
dc.contributor.authorKallio, Alexis Anja
dc.contributor.authorShah, Iman Bikram
dc.contributor.editorElliott, David J
dc.contributor.editorSilverman, Marissa
dc.contributor.editorMcPherson, Gary E
dc.date.accessioned2020-08-10T22:20:41Z
dc.date.available2020-08-10T22:20:41Z
dc.date.issued2019
dc.identifier.isbn9780190265182
dc.identifier.doi10.1093/oxfordhb/9780190265182.013.33
dc.identifier.urihttp://hdl.handle.net/10072/396141
dc.description.abstractThe intensifying diversity and fast-paced social change characterizing contemporary societies requires music education policy and practice to contend with various and at times conflicting musical and cultural values and understandings. In Nepal this situation is intensified, with a music education curriculum adopted by the Ministry of Education in 2010 guiding music teaching and learning for 77 national districts and over 125 caste/ethnic groups within a rapidly globalizing society. In this context assessment plays a key role in framing the knowledge and pedagogical approaches deemed useful or desirable for Nepali music students, and contributes to the legitimation of music as a subject and as a career. Assessment is therefore of ethical concern and warrants critical reflection if music education is to uphold democratic ideals, such as participation and equal opportunity. In this chapter we identify four institutional visions framing music education in Nepali schools. Considering these visions through John Dewey’s Theory of Valuation (LW13), we suggest that ethical deliberations regarding assessment focus on the relationships between means and ends in learning processes and thereby the quality of student experience. Leaning on Arjun Appadurai’s theories of the imagination (1996) and the capacity to aspire (2004) we then propose that imagining ends-not-yet-in-view may allow for ethical engagements with values different to one’s own and encourage reflection upon the inclusive and exclusive processes of assessment that frame whose ends-in-view count, when, how, and what for.
dc.description.peerreviewedYes
dc.publisherOxford University Press
dc.publisher.placeUnited Kingdom
dc.relation.ispartofbooktitleThe Oxford Handbook of Philosophical and Qualitative Assessment in Music Education
dc.relation.ispartofchapter21
dc.relation.ispartofpagefrom409
dc.relation.ispartofpageto429
dc.subject.fieldofresearchPerforming Arts and Creative Writing
dc.subject.fieldofresearchcode1904
dc.titleImagining Ends-Not-Yet-in-View: The ethics of assessment as valuation in Nepali music education
dc.typeBook chapter
dc.type.descriptionB1 - Chapters
dcterms.bibliographicCitationTreacy, DS; Timonen, V; Kallio, AA; Shah, IB, Imagining Ends-Not-Yet-in-View, The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education, 2019, pp. 409-429
dc.date.updated2020-08-04T00:18:29Z
dc.description.versionAccepted Manuscript (AM)
gro.rights.copyright© 2019 OUP. This is an Accepted Manuscript of a book chapter, pp. 409-429, published in The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education Edited by David J. Elliott, Marissa Silverman, and Gary E. McPherson, Sep 2019, reproduced by permission of Oxford University Press, 10.1093/oxfordhb/9780190265182.013.33
gro.hasfulltextFull Text
gro.griffith.authorKallio, Alexis A.


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