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This short chapter is an introduction to my 2018 book: The Ethics of Surveillance: An Introduction (Macnish, 2018). It is provided at the start of this PRO-RES collection of essays because it anticipates and supplements the range of issues covered in this collection and lays out some of the fundamental considerations necessary to ensure if surveillance must be conducted, it will be done as ethically as possible.

When is surveillance justified? We can largely agree that there are cases in which surveillance seems, at least prima facie, to be morally correct: police tracking a suspected mass murderer, domestic state security tracking a spy network, or a spouse uncovering partner’s infidelity. At the same time, there are other cases in which surveillance seems clearly not to be justified: the mass surveillance practices of the East German Stasi, an employer watching over an employee to ensure that they do not spend too long in the toilet, or a voyeur watching the subject of his lust undress night after night.

As an introductory text, my book does not seek to provide a list of necessary and sufficient conditions for ethical surveillance. What it does provide is an overview of the current thinking in surveillance ethics, looking at a range of proposed arguments about these questions, and how those arguments might play out in a variety of applied settings. It hence provides a useful and accessible volume for policymakers wishing to rapidly get up to speed on developments in surveillance and the accompanying ethical discussions.

The purpose of this paper is to show that lesson study by including elements from music and music education can sustainably expand and improve the dialogical space for teaching and learning in higher education, especially for primary and secondary teacher education students.

For the first time under the topic “Lesson Study: Music in Dialogue,” corresponding study programs were prepared at the University College of Teacher Education, Lower Austria. The data material from which answers to research questions can be generated are the “Didactic Design Pattern” and classical research lesson planning, observation and discussion instruments. Moreover, discussion protocols of the reflection meetings offered insights the participants gained through sharing their experience of a series of lesson study cycles including focussed collaboration between mentors, teachers, teacher education students and primary school pupils.

Within the lesson study groups, the space for cooperation and dialogue widened considerably and the interest in the work and expertise of each other increased. Based on the principles of a “community of practice,” this study shows the positive effects of professional collaboration on primary and secondary teacher education students and a lasting impact on their pupils’ learning. Thereby, the dialogical principle was found to play a central and important role. In connection with music- and art-related processes, previous limitations in teaching and learning with music can be exceeded for pupils, teacher education students and teachers.

This study, therefore, provides new insights into questions of organization and implementation, as well as scientific and didactic support in professional learning communities.

So far, there has been little practitioner research through lesson study in the field of music education. In particular, lesson study enhancing the cooperation between music education and other subject areas through dialogical-integrative work has brought about knowledge and insights of great importance for the further development of an appropriate didactic approach in dialogic music education.