Following the brutal murder of George Floyd by police office Derek Chauvin in summer 2020, interest in so-called “diversity” initiatives in schools of music across the U.S. and Canada has exploded. In this article, I put forward Derrick Bell’s (1995) principle of interest convergence—a key tenet of critical race theory (CRT)— in order to explore a possible convergence of interests in “diversity work” between white and Black, Indigenous, and People of Color (BIPOC) groups in higher education music institutions. I examine music institutions’ performances of “wokeness” at this time and then consider what Sara Ahmed (2012) calls the “nonperformative” to interrogate the convergence of white interests with the interests of BIPOC communities. To conclude, I put forward ways to capitalize on this interest convergence through curricular and policy change in higher education music institutions.
{"title":"The Surge Toward “Diversity”: Interest Convergence and Performative “Wokeness” in Music Institutions","authors":"Juliet Hess","doi":"10.22176/act21.2.126","DOIUrl":"https://doi.org/10.22176/act21.2.126","url":null,"abstract":"Following the brutal murder of George Floyd by police office Derek Chauvin in summer 2020, interest in so-called “diversity” initiatives in schools of music across the U.S. and Canada has exploded. In this article, I put forward Derrick Bell’s (1995) principle of interest convergence—a key tenet of critical race theory (CRT)— in order to explore a possible convergence of interests in “diversity work” between white and Black, Indigenous, and People of Color (BIPOC) groups in higher education music institutions. I examine music institutions’ performances of “wokeness” at this time and then consider what Sara Ahmed (2012) calls the “nonperformative” to interrogate the convergence of white interests with the interests of BIPOC communities. To conclude, I put forward ways to capitalize on this interest convergence through curricular and policy change in higher education music institutions.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89659124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this editorial essay, I bring forth the Derridian concept of time and its spectral relationship to music education to do the labour of the anti- work in the field. I ask three questions specifically: what does time have to do with anti-racist, anti-fascist, and anti-discriminatory work? What does time have to do with music education? And does time, and in this case, the contemporary historical moment, make the field of music education obsolete or all the more necessary? To put it differently and bluntly, what is the fate of music education? Considering the field’s place in the current historical moment, I ponder the field from an alternate position: that music education is not good for anything, nor is it transformative, or an agent of social change. By taking that burden away and taking itself less seriously, one is faced with a slate uninhibited by righteous urgency without yielding to a felt experience of time constraint, and instead can finally breathe and be. It is in this temporal space of being and “out-of-jointness of time” that the authors of this special issue enter and leave their mark and do the anti- work, not because it is necessary or relevant or timely, but because they feel committed to doing this work out of a felt sense of collective responsibility. I invite the readers to pause, take a moment of hesitation, and contemplate the questions posed in this essay and by the authors of this special issue, which leave behind the convention of crisis-management or the urgency-oriented actions and reactive responses to human and environmental crises. I conclude that perhaps it is time to shift from the better world discursive practices to a let’s “unleash overflowing” constancy.
{"title":"Wherein Apocalypse: The Time Being in Music Education","authors":"Nasim Niknafs","doi":"10.22176/act21.2.1","DOIUrl":"https://doi.org/10.22176/act21.2.1","url":null,"abstract":"In this editorial essay, I bring forth the Derridian concept of time and its spectral relationship to music education to do the labour of the anti- work in the field. I ask three questions specifically: what does time have to do with anti-racist, anti-fascist, and anti-discriminatory work? What does time have to do with music education? And does time, and in this case, the contemporary historical moment, make the field of music education obsolete or all the more necessary? To put it differently and bluntly, what is the fate of music education? Considering the field’s place in the current historical moment, I ponder the field from an alternate position: that music education is not good for anything, nor is it transformative, or an agent of social change. By taking that burden away and taking itself less seriously, one is faced with a slate uninhibited by righteous urgency without yielding to a felt experience of time constraint, and instead can finally breathe and be. It is in this temporal space of being and “out-of-jointness of time” that the authors of this special issue enter and leave their mark and do the anti- work, not because it is necessary or relevant or timely, but because they feel committed to doing this work out of a felt sense of collective responsibility. I invite the readers to pause, take a moment of hesitation, and contemplate the questions posed in this essay and by the authors of this special issue, which leave behind the convention of crisis-management or the urgency-oriented actions and reactive responses to human and environmental crises. I conclude that perhaps it is time to shift from the better world discursive practices to a let’s “unleash overflowing” constancy.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"518 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77159214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Drawing on DisCrit—disability studies and critical race theory (Annamma, Ferri, and Connor 2013) and Beaudry’s (2020) framework for accounts of disability, we (the authors) examine the lived experiences of Jason and Gift as disabled and racialized musicians. Echoing the DisCrit maxim that ableism and racism are intertwined, we assert that, like disability studies in general, disability research in music education is characterized by unmarked whiteness (Bell 2006, 2011). As a result, disability research in music education has a deep deficit of epistemologies of disabled and racialized people. To address this issue, we adhere to the fourth tenet of DisCrit by centering the perspectives of disabled and racialized people, presenting the experiences of Jason and Gift with music teaching and learning in the form of conversational interviews.
利用残疾研究和批判种族理论(Annamma, Ferri, and Connor 2013)以及Beaudry(2020)的残疾描述框架，我们(作者)研究了Jason和Gift作为残疾和种族化音乐家的生活经历。为了呼应DisCrit的格言，即残疾主义和种族主义是交织在一起的，我们断言，就像一般的残疾研究一样，音乐教育中的残疾研究的特点是没有明显的白人化(Bell 2006,2011)。因此，音乐教育中的残疾研究存在着对残疾人和种族化人群认识论的严重缺失。为了解决这个问题，我们坚持DisCrit的第四个原则，以残疾人和种族化人群的视角为中心，以对话访谈的形式呈现Jason和Gift在音乐教学中的经历。
{"title":"Disabled and Racialized Musicians: Experiences and Epistemologies","authors":"Adam Bell, Jason Dasent, Gift Tshuma","doi":"10.22176/act21.2.17","DOIUrl":"https://doi.org/10.22176/act21.2.17","url":null,"abstract":"Drawing on DisCrit—disability studies and critical race theory (Annamma, Ferri, and Connor 2013) and Beaudry’s (2020) framework for accounts of disability, we (the authors) examine the lived experiences of Jason and Gift as disabled and racialized musicians. Echoing the DisCrit maxim that ableism and racism are intertwined, we assert that, like disability studies in general, disability research in music education is characterized by unmarked whiteness (Bell 2006, 2011). As a result, disability research in music education has a deep deficit of epistemologies of disabled and racialized people. To address this issue, we adhere to the fourth tenet of DisCrit by centering the perspectives of disabled and racialized people, presenting the experiences of Jason and Gift with music teaching and learning in the form of conversational interviews.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"384 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84968097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Drawing upon Maxine Greene’s concepts of wide awakeness and social imagination, I argue for the necessity of re-imagining “The Star-Spangled Banner” (U.S. national anthem) to account for a plurality of American perspectives and to de-legitimize ways in which racism and White privilege have dictated “correct interpretations” of the anthem throughout U.S. history. Toward these ends, in this essay I explore the patriotic re-imaginings of the U.S. national anthem by Black musicians Jimi Hendrix, René Marie, and Jon Batiste—two of whom incorporated “Lift Ev’ry Voice and Sing,” otherwise known as “the Black national anthem,” into their musical renderings. I also look reflexively at my experience with the song as a White American music teacher striving to work toward anti-racist pedagogy and engagements with patriotic music in the classroom. While there are a variety of musical recordings linked throughout the essay, I recommend that the reader view the three video recordings list below before reading the essay.
{"title":"Playing Upon the Blue Guitar: Toward Re-imaginings of the U.S. National Anthems","authors":"M. Scarlato","doi":"10.22176/act21.2.89","DOIUrl":"https://doi.org/10.22176/act21.2.89","url":null,"abstract":"Drawing upon Maxine Greene’s concepts of wide awakeness and social imagination, I argue for the necessity of re-imagining “The Star-Spangled Banner” (U.S. national anthem) to account for a plurality of American perspectives and to de-legitimize ways in which racism and White privilege have dictated “correct interpretations” of the anthem throughout U.S. history. Toward these ends, in this essay I explore the patriotic re-imaginings of the U.S. national anthem by Black musicians Jimi Hendrix, René Marie, and Jon Batiste—two of whom incorporated “Lift Ev’ry Voice and Sing,” otherwise known as “the Black national anthem,” into their musical renderings. I also look reflexively at my experience with the song as a White American music teacher striving to work toward anti-racist pedagogy and engagements with patriotic music in the classroom. While there are a variety of musical recordings linked throughout the essay, I recommend that the reader view the three video recordings list below before reading the essay.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73774202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I draw from my experience working as a Korean American music teacher in the US. I reflect on what it means to be Asian American and to bring Asian narratives to the forefront. I examine the distinct challenges of social justice in the context of Asians and Asian Americans’ lives—particularly through the lens of the “model minority.” The COVID-19 pandemic has spotlighted Asians and Asian Americans’ lived experiences in ways unlike before. I discuss perceptions of Asians throughout US history and the current representativeness of Asian music in the framework of multicultural education. Grounded in Erving Goffman’s notion of covering, Kenji Yoshino’s extension of this concept (the four axes of covering), and Edward Said’s Orientalism, I make seven recommendations to empower Asians and Asian educators in this time of crisis. The article explores and situates the current challenges of anti-Asian racism, connecting it to aforementioned theories and briefly proposes the concept of 홍익인간 (Hongik-Ingan) to course-correct, support, and acknowledge Asian educators’ multiplicity of identities as allies.
{"title":"Empowering Asian Educators in the Time of Crisis","authors":"Clara Haneul Yoon","doi":"10.22176/act21.2.57","DOIUrl":"https://doi.org/10.22176/act21.2.57","url":null,"abstract":"In this article, I draw from my experience working as a Korean American music teacher in the US. I reflect on what it means to be Asian American and to bring Asian narratives to the forefront. I examine the distinct challenges of social justice in the context of Asians and Asian Americans’ lives—particularly through the lens of the “model minority.” The COVID-19 pandemic has spotlighted Asians and Asian Americans’ lived experiences in ways unlike before. I discuss perceptions of Asians throughout US history and the current representativeness of Asian music in the framework of multicultural education. Grounded in Erving Goffman’s notion of covering, Kenji Yoshino’s extension of this concept (the four axes of covering), and Edward Said’s Orientalism, I make seven recommendations to empower Asians and Asian educators in this time of crisis. The article explores and situates the current challenges of anti-Asian racism, connecting it to aforementioned theories and briefly proposes the concept of 홍익인간 (Hongik-Ingan) to course-correct, support, and acknowledge Asian educators’ multiplicity of identities as allies.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"87 (2017) 3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80394018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Although academic discussions of whiteness in music education have been prevalent for over a decade, critical examinations of whiteness in world music education have been disproportionately lacking. One specific world music ensemble that warrants examination is the steelband within American schools. The steelpan was introduced in the United States in the 1940s–1950s, and currently there are over 750 known school steelbands in the US. Many of these school ensembles have unintentionally distanced themselves from West Indian community ensembles and AfroTrinidadian traditions. In this paper, I explore the “whitening” of American steelband through ethnographic research conducted as a participant-observer. Through analysis of fieldnotes, interviews with participants, and current steelband resources, I examine approaches to pedagogy, membership, and performance. The article concludes with implications and recommendations for US-based steelpan ensemble directors and other world music ensemble directors.
{"title":"Playing with A Different Beat: The Whitening of American Steelband","authors":"S. Espie","doi":"10.22176/act21.2.182","DOIUrl":"https://doi.org/10.22176/act21.2.182","url":null,"abstract":"Although academic discussions of whiteness in music education have been prevalent for over a decade, critical examinations of whiteness in world music education have been disproportionately lacking. One specific world music ensemble that warrants examination is the steelband within American schools. The steelpan was introduced in the United States in the 1940s–1950s, and currently there are over 750 known school steelbands in the US. Many of these school ensembles have unintentionally distanced themselves from West Indian community ensembles and AfroTrinidadian traditions. In this paper, I explore the “whitening” of American steelband through ethnographic research conducted as a participant-observer. Through analysis of fieldnotes, interviews with participants, and current steelband resources, I examine approaches to pedagogy, membership, and performance. The article concludes with implications and recommendations for US-based steelpan ensemble directors and other world music ensemble directors.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89566684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Conservatories and orchestras based in the US have attempted to become more diverse by increasing their recruitment of students of color. This approach, however, fails to acknowledge that the aesthetic environments of these institutions, having been designed by and for a White majority, require these students to assimilate into environments that may be aesthetically foreign. This article argues that culturally situated aesthetic differences are key to understanding the lack of diversity within classical music. Because the aesthetics of western classical music do not broadly appeal to communities of color, the demographic diversification of classical music would be greatly aided by a corresponding diversification of performance aesthetics. I provide a contrast between African American and European musical aesthetics to specify racially delimited aspects of classical music performance and to suggest possible solutions.
{"title":"Assimilation and Integration in Classical Music Education","authors":"C. Jenkins","doi":"10.22176/act21.2.156","DOIUrl":"https://doi.org/10.22176/act21.2.156","url":null,"abstract":"Conservatories and orchestras based in the US have attempted to become more diverse by increasing their recruitment of students of color. This approach, however, fails to acknowledge that the aesthetic environments of these institutions, having been designed by and for a White majority, require these students to assimilate into environments that may be aesthetically foreign. This article argues that culturally situated aesthetic differences are key to understanding the lack of diversity within classical music. Because the aesthetics of western classical music do not broadly appeal to communities of color, the demographic diversification of classical music would be greatly aided by a corresponding diversification of performance aesthetics. I provide a contrast between African American and European musical aesthetics to specify racially delimited aspects of classical music performance and to suggest possible solutions.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"36 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88511790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Although the practice of peer mentoring has had a place in education for many years, it has not routinely served as a platform for racialized students to use their voice in constructing their classroom learning. The history of music programs in the United States, with their dependence on Eurocentric music and disregard for the music of racialized persons, is a reminder that through the years, and continuing today, many programs only pay attention to some of the voices in the classroom. In this article, I investigate the promise that peer mentoring holds in equalizing the conversation. Although researchers have found many benefits in peer mentoring for racialized students and their teachers, their findings are contradictory and create paradoxes. These anomalies involve power structures in the classroom, othering of students, reproductive vs. transformational learning, and the potential for peer mentoring to reaffirm whiteness in school music programs. Drawing upon feminist pedagogy, with its collaborative construct of knowledge, inclusive sharing of experiences, and empowerment of all voices, I explore and critique how music teachers can use peer mentoring to create brave spaces for learning where racialized students share their knowledge and experiences while learning.
{"title":"Valuing Racialized Student Voices: Transforming Learning Through Peer Mentoring","authors":"Andrew Goodrich","doi":"10.22176/act21.1.142","DOIUrl":"https://doi.org/10.22176/act21.1.142","url":null,"abstract":"Although the practice of peer mentoring has had a place in education for many years, it has not routinely served as a platform for racialized students to use their voice in constructing their classroom learning. The history of music programs in the United States, with their dependence on Eurocentric music and disregard for the music of racialized persons, is a reminder that through the years, and continuing today, many programs only pay attention to some of the voices in the classroom. In this article, I investigate the promise that peer mentoring holds in equalizing the conversation. Although researchers have found many benefits in peer mentoring for racialized students and their teachers, their findings are contradictory and create paradoxes. These anomalies involve power structures in the classroom, othering of students, reproductive vs. transformational learning, and the potential for peer mentoring to reaffirm whiteness in school music programs. Drawing upon feminist pedagogy, with its collaborative construct of knowledge, inclusive sharing of experiences, and empowerment of all voices, I explore and critique how music teachers can use peer mentoring to create brave spaces for learning where racialized students share their knowledge and experiences while learning.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"105 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90671902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cultural humility has gained traction as a potentially transformative construct in social justice work, compelling practitioners to engage in a lifelong process of self-reflection and self-critique to recognize the limitations of their knowledge, practice openness toward others, and actively work to mitigate systemic inequities. In this paper, we draw theoretical interpretations from an empirical study of cultural humility as negotiated and developed through dialogues within a preservice music education course. By considering cultural humility through an iterative analysis of both empirical findings and theoretical perspectives, we propose that cultural humility comprises a fluid interrelation of intrapersonal, interpersonal, and transformative dimensions. We further articulate the significant internal struggles and challenges that emerged from this work as students navigated the various complications and contradictions that materialized through the process.
{"title":"Cultural Humility in Music Teacher Education: Toward Transformative Dialogues on Power, Privilege, and Social (In)equity","authors":"William J. Coppola, Donald M. Taylor","doi":"10.22176/act21.1.110","DOIUrl":"https://doi.org/10.22176/act21.1.110","url":null,"abstract":"Cultural humility has gained traction as a potentially transformative construct in social justice work, compelling practitioners to engage in a lifelong process of self-reflection and self-critique to recognize the limitations of their knowledge, practice openness toward others, and actively work to mitigate systemic inequities. In this paper, we draw theoretical interpretations from an empirical study of cultural humility as negotiated and developed through dialogues within a preservice music education course. By considering cultural humility through an iterative analysis of both empirical findings and theoretical perspectives, we propose that cultural humility comprises a fluid interrelation of intrapersonal, interpersonal, and transformative dimensions. We further articulate the significant internal struggles and challenges that emerged from this work as students navigated the various complications and contradictions that materialized through the process.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72948361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I explore the theoretical and analytical potential of the concept of genring, which here refers to productive acts of temporary interpretation and signification, wherein existing classification systems and genre categories in the social are operationalized and (re)negotiated. Foucault and Butler’s theories of discursive subjection serve as a theoretical framework to consider how genring works as a performative mode of action: a discursive, reiterative, and citational practice that establishes ontological effects of truth, reality, and naturalness. This performative mode of action is not a “discursive practice” in itself; rather, it might be understood as one of the ways discourse practices itself. To probe the analytical value of the concept genring, I take as my case the field of music education, where genring seems to be a common strategy for associating music with music, music with people, and people with people for educational purposes.
{"title":"Genre and “Genring” in Music Education","authors":"L. Ellefsen","doi":"10.22176/act21.1.56","DOIUrl":"https://doi.org/10.22176/act21.1.56","url":null,"abstract":"In this article, I explore the theoretical and analytical potential of the concept of genring, which here refers to productive acts of temporary interpretation and signification, wherein existing classification systems and genre categories in the social are operationalized and (re)negotiated. Foucault and Butler’s theories of discursive subjection serve as a theoretical framework to consider how genring works as a performative mode of action: a discursive, reiterative, and citational practice that establishes ontological effects of truth, reality, and naturalness. This performative mode of action is not a “discursive practice” in itself; rather, it might be understood as one of the ways discourse practices itself. To probe the analytical value of the concept genring, I take as my case the field of music education, where genring seems to be a common strategy for associating music with music, music with people, and people with people for educational purposes.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90902081","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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