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Enlightenment natural jurisprudence in Scotland is commonly seen as a subject that quickly became old-fashioned and was rejected by the high Enlightenment, except as an introduction to university study. This perception derives in part from a teleological notion of Enlightenment as a tally of ‘contributions’ towards modernity. This chapter argues that, at the time, natural jurisprudence was a modern, practically relevant subject right through the Enlightenment, as shown in teaching practice, publications, and the demands of the legal profession. Through an overview of the publications of natural law, it is argued that, while certainly an academic discipline, it was also part of the wider civic culture. This was made possible by the character of natural jurisprudence as not itself a definite philosophy, but a genre, or practical language, that could be employed by a variety of very different religious and philosophical doctrines according to the shifting demands of successive generations.

Chapter ten reports on the findings of the fieldwork conducted for this book, including a cross-national study of teaching practices in Japan, China, Singapore, and the U.S. The chapter pays particular attention to American teachers’ opinions about a sample of lessons that were videotaped in Japan. Their responses to those videos suggest that the goals of educators in the U.S. and Japan overlap in many areas. Heightened pressures associated with high stakes tests, however, are making it difficult for American teachers to use methods designed to enhance children’s creativity, critical thinking skills, and problem solving abilities.

Of all the subskills that make up music performance, the ones associated with emotional communication are often viewed as the most elusive. They go right to the core of why people engage in musical behavior, either as performers or as listeners. The performance of a piece of music is crucial in shaping its emotional expression. Thus, the emotional impact of particularly expressive performers — for example, C. P. E. Bach, Niccolò Paganini, and Jimi Hendrix — has always been a source of great fascination. This chapter illustrates how psychological research on emotional communication in music performance might contribute to the development of more efficient teaching strategies aimed at the expressive aspects of performance. First, it summarizes relevant research. Then, it describes a framework for organizing the findings. Finally, it considers how theory and research on expression might inform day-to-day teaching practice.

In the afterword, the author uses her findings to make recommendations for education policy and teaching practice. The author also questions how given the United State’s entrenchment in competition and marketization of schools, and given the way in which racial meaning is tied into this, what is one to do besides critique the status quo? The political spectacle in which staff, students, families, and parents participate at College Preparatory Academy is undergirded by the requirements of federal and local accountability mandates. These mandates often dictate the ways in which funds are transferred from the government and other public institutions to private organizations, or vice versa (Burch 2006, 2009; Koyama 2010). In this section the author wonders about how in this educational climate and current, what are the opportunities for reworking these relationships that allow for the possibility of democratic and equitable education, antiracism, and the strengthening of civil society (C. Katz 2004)?

Interdisciplinary teaching and learning are mutually aligned with interdisciplinary research, and they flourish from the same roots: an initial focus on a real-world question whose answer lies beyond a clearly defined set of disciplinary boundaries. That interdisciplinary teaching is flourishing is evidenced by the number of long-established interdisciplinary undergraduate and graduate programs and by the continuing initiatives of new interdisciplinary programs, courses, and opportunities at the undergraduate and graduate levels. The best chances for successful interdisciplinary teaching require significant resources, of course. More specifically, successful programs are characterized by at least three conditions: (1) a clear and well-constructed rationale; (2) dedicated faculty supported with positive incentives; and (3) strong administrative support to facilitate course coordination. Collectively these enable credible program development. The chapter includes a series of best practices in undergraduate teaching to exemplify these points.

This introductory chapter takes a look at the current state of college teaching in the United States. It first embarks on a review of the literature dedicated to exploring the serious challenges faced by higher education in the United States. From there, the chapter links scholarship to teaching and discusses further significant research about teaching practices that can lead to deeper and more enduring student learning. Next, the chapter addresses the current student demographics in colleges and universities today, tackling challenges related to a growing diversity of students on campus. Finally, the chapter describes the workshops, research, and advocacy which has shaped the ideas formed in this book. It briefly explores the extent of teaching recommendations and reflections on the art and science of teaching and learning.

To better understand the larger scope of voice classification systems and other foundational ideas in choral music education, the chapter explores some of the most eminent works in the profession by Emil Behnke and Lennox Browne, Duncan McKenzie, Irvin Cooper and Karl O. Kuersteiner, Richard Luchsinger and Godfrey E. Arnold, Frederick J. Swanson, John Cooksey, and Lynne Gackle. Such examination shows how cornerstone ideas have been fostered and how varying perspectives influenced the creation of new frameworks for working with changing voices. Also revealed is the deep dedication to certain beliefs about adolescent voices over the years. The chapter challenges choral educators to consider voice classification systems more as guidelines for helping teachers assist singers through voice change than as steadfast stages through which all voices pass. The systems are best utilized as supporting tools to help guide the process of voice change rather than label adolescent singers’ changing voices.