Allsup Reading Response: Learning in Laboratories

MUED 273
For this assignment, I collaborated with Zach Winkworth
Chapter 3 Summary:
In Allsups third chapter, Learning in Laboratories, Allsup delves into detail about the
metaphors of Laboratories and Museums in the context of a formal Music Education. As Allsup
defined it, museums record innovation and laboratories are spaces where new knowledge is
looked for possibly discovered. Our jobs as future music educators becomes to incorporate
these ideas into our teaching environments because it this tension between the two opposites,
preservation and modernization, culture and exploration, the creativity can really begin to
flourish.
Throughout the chapter, Learning in Laboratories, there was a specific focus on the
differences between teaching in a traditional classroom environment, and teaching in more of a
laboratory environment. Allsup went into great detail throughout the chapter describing how the
characteristics between the two environments differed, and how they impacted student learning.
For instance, within a traditional classroom environment, there is specific rules and structure,
which can be beneficial in maintaining order in certain circumstances. However, within a
laboratory setting, there is much more of an emphasis on experimenting with the unknown and
discovering new concepts without as many rules and boundaries. Both have their advantages, but
serve completely different purposes.
Also within the chapter, Allsup discussed the master-apprentice model, and its
importance within these different environments. While it's important for the teacher to serve as a
mentor, and pass knowledge to the student, it is also important for the student to discover new
ideas and concepts and apply them in their own learning. The master-apprentice model differs
slightly with relation to a traditional classroom setting and a laboratory setting, but it still serves
as a good structure between both.

Pages 66-85 Individual Response:

For me, this chapter was really exciting to read about because I was able to connect the
gist of what Allsup was trying to get at with the educational theory, Progressivism, which I
learned about in another class. Progressivism is a child-centered educational theory that John
Dewey popularized that states that children learn the best by doing instead of being taught at.
This theory really struck me when I learned about it in the other class because I immediately
recognized it as the teaching style that most of my favorite teachers used and the teaching style
that I learned the best in. Reading this chapter helped me realize the great possibilities that could
come out of trying to incorporate Progressive techniques into music education and it also helped
me realize the great challenges that would also come out of it.
This was also fun to read because it had me questioning myself. Before I read the chapter,
I knew and understood that value of a child-centered education that no two students would have
the same interests and ambitions so it made sense that the teacher should be flexible enough in
their curriculum so that each student can get the most out being in the classroom. What was so
fun was that I hadnt realized how this could apply to music education and it opened my eyes to
possibilities that music education could lead to. Now I wasnt tied down to teaching band,
orchestra, or choir in the same way that I was taught. I now had the freedom to decide how
whether or not I wanted to teach using the master-apprentice approach or the expert guide
approach so that I can teach music to my students in a way that would work best for my students.
4 Discussion Questions:
1. Allsup mentioned that the laboratory setting would work very well in a music
technology class. Do you think similar success could be achieved in other music
related classes that follow a laboratory setting? Why?
2. When thinking about the master-apprentice model, do you think it would be more
significant within an open-classroom setting, or more of a laboratory setting? Why?
3. How can we, as future music educators, continue to make music and music making
as accessible as possible and prevent it from becoming closed off?
4. What traditions have we as music educators assumed of importance and why do you
think we think it is so important?