In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education ed. by David J. Elliott, Marissa Silverman and Gary E. McPhersonCara Faith BernardDavid J. Elliott, Marissa Silverman, and Gary E. McPherson, eds., The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education (New York, NY: Oxford University Press, 2019)Three leading voices in music education, David J. Elliott, Marissa Silverman, and Gary E. McPherson, consistently work to (...) reconceive how music educators create and challenge the discourses of music learning and the ways in which people engage with music. The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education furthers their contributions and serves as a break from the familiar and common “default philosophy of assessment” of tests, standards, regimens, and rankings to invite new ways of approaching music assessment.1 They, along with their coauthors, apply their theoretical, research, and teaching experience to examine music assessment through social praxis and how individuals and communities “deepen their growth as knowing and compassionate human beings.”2 In short, this Handbook is an invitation for music educators of all levels to reengage with their values and name them in their current and future practices.Using the current neoliberal state of education as a backdrop, Elliott, Silverman, and McPherson portray schools as spaces that yield corporate types of learning practices and assessments which “place little value on arts education.”3 Countering these realities, the diverse cadre of authors examines assessment [End Page 123] from different settings, roles, policies, and practices, organized around four themes. The first theme examines assessment through theoretical ideas including critical pedagogy, pragmatism, and Deleuzean frameworks. Next, in methodological practices, new ideas for assessment are considered through teacher evaluation, working with students with disabilities, and incorporating habits of mind. Creativity explores assessment through technological possibilities, popular music, and drawing, among others. Closing with international perspectives, the authors explore assessment through German and Scandinavian bildung/bildning, care as a driving force of assessment in South Africa, and an Iranian non-regulated perspective of assessment.Alexandra Kertz-Welzel asks: “Who decides what is assessed? How it is assessed? By whom is it assessed?”4 These questions are embraced and challenged throughout the Handbook. Instead of conceiving of assessment as something diagnostic—reaching musical benchmarks and aptitudes deemed by outside authorities—the authors welcome an epistemological shift of assessment. What might happen when music educators replace written self-assessments, quizzes, and playing tests in favor of, say, habits of mind (as Jillian Hogan and Ellen Winner describe in their chapter5) such as listening, noticing, being part of a community, persisting, expressing oneself, imagining, and making decisions? These changes might transform a community, one where students and teachers embrace music making beyond mere replication.6 The authors suggest ways of engaging in acts of subversion, resistance, care, and pragmatism to push past the product-driven view of assessment dictated by neoliberal and for-profit discourses.Historically, assessment has been contextualized, discussed, and critiqued through its practices; its purpose has been to gain information which aids in making decisions about teaching. In many contexts, particularly in the U.S., assessment practices stem from current educational policies, namely those noted in teacher evaluation systems.7 Such practices are intended to show student growth and drive instruction, to better label teaching quality and student success.8 In my own research on teacher evaluation, I found that music educators struggle with definitions and strategies of assessment; as a result, they defer to assessments based on hierarchies of musical skill and technique.9 Yet, Charlotte Danielson, a creator of many U.S. teacher evaluation frameworks, reminds that teaching “is not simply a matter of following a script of carrying out other people’s instructional designs.”10 Having to uphold the demands of assessment and evaluation forced many of the participants in my research to become compliant, even when they knew their teaching strategies were ancillary to who the students were and what they needed. They fabricated their assessments— often in the form of exit slips and inauthentic writing and musical compositional activities—to comply with policies. As a result, teachers’ values for music [End Page 124] teaching and learning were omitted from... (shrink)

This paper offers a critique of the Bayesian interpretation of quantum mechanics with particular focus on a paper by Caves, Fuchs, and Schack containing a critique of the “objective preparations view” or OPV. It also aims to carry the discussion beyond the hardened positions of Bayesians and proponents of the OPV. Several claims made by Caves et al. are rebutted, including the claim that different pure states may legitimately be assigned to the same system at the same time, and the (...) claim that the quantum nature of a preparation device cannot legitimately be ignored. Both Bayesians and proponents of the OPV regard the time dependence of a quantum state as the continuous dependence on time of an evolving state of some kind. This leads to a false dilemma: quantum states are either objective states of nature or subjective states of belief. In reality they are neither. The present paper views the aforesaid dependence as a dependence on the time of the measurement to whose possible outcomes the quantum state serves to assign probabilities. This makes it possible to recognize the full implications of the only testable feature of the theory, viz., the probabilities it assigns to measurement outcomes. Most important among these are the objective fuzziness of all relative positions and momenta and the consequent incomplete spatiotemporal differentiation of the physical world. The latter makes it possible to draw a clear distinction between the macroscopic and the microscopic. This in turn makes it possible to understand the special status of measurements in all standard formulations of the theory. Whereas Bayesians have written contemptuously about the “folly” of conjoining “objective” to “probability,” there are various reasons why quantum-mechanical probabilities can be considered objective, not least the fact that they are needed to quantify an objective fuzziness. But this cannot be appreciated without giving thought to the makeup of the world, which Bayesians refuse to do. Doing this on the basis of how quantum mechanics assigns probabilities, one finds that what constitutes the macroworld is a single Ultimate Reality, about which we know nothing, except that it manifests the macroworld or manifests itself as the macroworld. The so-called microworld is neither a world nor a part of any world but instead is instrumental in the manifestation of the macroworld. Quantum mechanics affords us a glimpse “behind” the manifested world, at stages in the process of manifestation, but it does not allow us to describe what lies “behind” the manifested world except in terms of the finished product—the manifested world, for without the manifested world there is nothing in whose terms we could describe its manifestation. (shrink)

Historical development of Muslim leaders organization in Burma.

Tom 1. Lekt︠s︡ii. Vospominanii︠a︡ -- t. 2. Filosofskai︠a︡ ontologii︠a︡ -- t. 3. Filosofskai︠a︡ ontologii︠a︡ segodni︠a︡; Nauchnye statʹi.

There’s a possibly more interesting general question: does technology transform and extend the mind and our mental powers? In a widely discussed 1998 paper titled “The Extended Mind”, Andy Clark and David Chalmers argue that mind and cognition can extend outside the head and can include items and processes in the world. In their thought experiment, Otto has alzheimer’s syndrome but does not lose his ability to function because he records information he learns in a notebook that he always carries. (...) Thus, C&C claim, Otto continues to have beliefs. The notebooks function as his memory. C&C propose a "parity principle": a part of the world is part of a cognitive process if it "functions as a process which, were it done in the head, we would have no hesitation in recognizing [it] as part of the cognitive process .... Cognitive processes ain't (all) in the head!" (in Menary p. 29, original emphasis). (shrink)

Mnogogolosie -- Ritm, dinamika, tembr -- Garmonii︠a︡ -- Stilʹ i zhanr.