Summary

In the first part of the chapter, Allsup begins to discuss how music educators shape the
environment and how the music is made within the environment the teacher set up. Music
education today is still largely based on eighteenth century instruments, techniques, and ways
of thinking, which is not conducive to self-learning, hence reaffirming the master-apprentice
teaching style. However, with the advent of technology, music is now more accessible than ever,
and the modern music educator must understand that a strict adherence to the masterapprentice teaching style is slowly becoming less and less effective. Allsup then suggests
looking at music education as a combination of a museum and a laboratory, where the
museum aspect seeks to preserve tradition, and the laboratory aspect is constantly refining
and exploring new ways. To keep up with the ever-changing society around us, music education
must also learn to adapt to the changing musical environment around it. To preserve tradition, a
sense of innovation and connection to the present world must also exist.
In the second portion of this chapter, Allsup begins characterizing different forms of
education through the ideas of John Dewey. The idea of a Learning Laboratory is introduced
and is compared to the interpretation of a laboratory in a more scientific sense. Describes the
specific qualities of this chapter on page 89. An important concept in Learning Laboratories is
that old information is valued and used to fuel exploration and creativity. The importance of a
classroom that is both structured and open-formed is outlined in six propositions on pages 92
and 93. In these propositions, the values of reflective thinking and discussion is encouraged.
Allsup ends this chapter with different examples of activities that can be used to practice the
concepts outlined in Learning Laboratories.
Discussion Questions
How does music education as a whole in public education break out of its band-orchestrachorus formula and include other critical aspects of music to adapt to society and include so
many other students that are interested in music, just not necessarily in Western Classical
repertoire?
What can music educators learn from educators of other subjects to refine teaching techniques
and, on a larger scale, music education as a whole?
In what specific ways can a classroom be both structured and open-formed?
How do we create an environment that fosters exploration during a time when our education
systems would rather value opportunities to score highly in competitions and tests?