{"title":"When Violence and Death Touch a Children’s Choir","authors":"Katherine Norman Dearden","doi":"10.22176/act20.3.114","DOIUrl":"https://doi.org/10.22176/act20.3.114","url":null,"abstract":"","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81757003","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}
Joni Yessenia Sanchez is a (fictional) freshman music education major with the special ability to control sound waves with her mind. We meet her in her second semester as she happens upon the plot of a couple of extra-terrestrial visitors who plan to take over the world, while Joni is also deciding not to major in music education anymore. We witness her negotiation as she transitions out of music education and transforms into La Onda, a superhero for our times. She might be the hero that our profession needs. Will she actually leave the degree? Will she step up and save her classmates and the world? Is our profession ready to welcome a superhero like Joni?
{"title":"La Onda: The Gatekeepers and the Replicants","authors":"Isaac L. Bickmore","doi":"10.22176/act21.1.171","DOIUrl":"https://doi.org/10.22176/act21.1.171","url":null,"abstract":"Joni Yessenia Sanchez is a (fictional) freshman music education major with the special ability to control sound waves with her mind. We meet her in her second semester as she happens upon the plot of a couple of extra-terrestrial visitors who plan to take over the world, while Joni is also deciding not to major in music education anymore. We witness her negotiation as she transitions out of music education and transforms into La Onda, a superhero for our times. She might be the hero that our profession needs. Will she actually leave the degree? Will she step up and save her classmates and the world? Is our profession ready to welcome a superhero like Joni?","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76807173","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}
{"title":"On Narrative","authors":"S. Stauffer, M. Barrett","doi":"10.22176/act20.4.1","DOIUrl":"https://doi.org/10.22176/act20.4.1","url":null,"abstract":"","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78804947","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, we query how action is contextualized and used in music education, centering the discussion around problems of calling for change without taking action, what Paulo Freire terms “narration sickness.” Narration sickness manifests in social media, conferences, and professional development sessions—where words convey ideas as grand narratives, devoid of context, causing a division between those who present ideas from those who enact them in practice. We describe how music educators may become unintentional slacktivists, “woke” to the need for action, attempting to improve the field with limited (if any) action at all. We invite music educators to counter “wokeness” with what Maxine Greene calls being “wide awake,” offering examples of educators who demonstrate change. We seek to expand the definition of action, drawing upon what Freire and Marx term as praxis, seeking actionable approaches in teaching, researching, and learning across age levels, settings, and contexts.
{"title":"“It Depends:” From Narration Sickness to Wide Awake Action in Music Education","authors":"C. Bernard, Matthew Rotjan","doi":"10.22176/ACT20.1.53","DOIUrl":"https://doi.org/10.22176/ACT20.1.53","url":null,"abstract":"In this article, we query how action is contextualized and used in music education, centering the discussion around problems of calling for change without taking action, what Paulo Freire terms “narration sickness.” Narration sickness manifests in social media, conferences, and professional development sessions—where words convey ideas as grand narratives, devoid of context, causing a division between those who present ideas from those who enact them in practice. We describe how music educators may become unintentional slacktivists, “woke” to the need for action, attempting to improve the field with limited (if any) action at all. We invite music educators to counter “wokeness” with what Maxine Greene calls being “wide awake,” offering examples of educators who demonstrate change. We seek to expand the definition of action, drawing upon what Freire and Marx term as praxis, seeking actionable approaches in teaching, researching, and learning across age levels, settings, and contexts.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"180 1","pages":"53-83"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80189387","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}
Music teacher educators are not alone when grappling with the challenge of preparing students to navigate diversity and confront inequity and injustice. Educators and researchers from multiple disciplines face similar challenges and have responded with various approaches related to cultural multiplicity. The concept of “cultural humility” is one such approach from the health sciences (Tervalon and Murray-García 1998). I both put forward and challenge cultural humility as a process for preparing music educators to think about, work, interact, and live with cultural multiplicity. I draw on personal experiences, using a critical autoethnographic epistolary to write letters between my various selves. Existing research on cultural humility is first organized into intrapersonal and interpersonal dimensions. I then problematize the virtuous reputation of humility specifically and explore its implications for cultural humility. I suggest that cultural humility is neither “good” nor “bad” but is something to be exercised differently in different contexts.
{"title":"Cultural Humility in Music Teacher Education: A Virtuous Vice, A Vicious Virtue","authors":"Hayley Janes","doi":"10.22176/ACT20.1.84","DOIUrl":"https://doi.org/10.22176/ACT20.1.84","url":null,"abstract":"Music teacher educators are not alone when grappling with the challenge of preparing students to navigate diversity and confront inequity and injustice. Educators and researchers from multiple disciplines face similar challenges and have responded with various approaches related to cultural multiplicity. The concept of “cultural humility” is one such approach from the health sciences (Tervalon and Murray-García 1998). I both put forward and challenge cultural humility as a process for preparing music educators to think about, work, interact, and live with cultural multiplicity. I draw on personal experiences, using a critical autoethnographic epistolary to write letters between my various selves. Existing research on cultural humility is first organized into intrapersonal and interpersonal dimensions. I then problematize the virtuous reputation of humility specifically and explore its implications for cultural humility. I suggest that cultural humility is neither “good” nor “bad” but is something to be exercised differently in different contexts.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"102 1","pages":"84-120"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75790540","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 “we-mode,” a concept under investigation by social cognition researchers that emerged from John Searle’s concept of collective Intentionality. Wemode thinking captures the viewpoints of individuals engaged in social interactions and expands each individual’s potential for social understanding and action. This access to the knowledge and understandings of those with whom they collaborate creates shared knowledge and understandings that may lead to collective Intentionality or we-mode. The discussion begins with a look at how living and working in groups affects identity formation, using Paul Gilroy’s notion of planetary humanity as an example of we-mode thinking. As Searle explains, collective Intentionality emanates from the Background (similar to Bourdieu’s habitus), which thus allows for the possibility of collective Intentionality or we-mode thinking and action. The article concludes by querying the potential for developing we-mode thinking in music education within an anti-racism framework, followed by an introduction to the four articles published in this issue.
{"title":"Imagining Music Education in the “We-Mode”","authors":"Deborah Bradley","doi":"10.22176/ACT20.1.1","DOIUrl":"https://doi.org/10.22176/ACT20.1.1","url":null,"abstract":"In this article, I explore the “we-mode,” a concept under investigation by social cognition researchers that emerged from John Searle’s concept of collective Intentionality. Wemode thinking captures the viewpoints of individuals engaged in social interactions and expands each individual’s potential for social understanding and action. This access to the knowledge and understandings of those with whom they collaborate creates shared knowledge and understandings that may lead to collective Intentionality or we-mode. The discussion begins with a look at how living and working in groups affects identity formation, using Paul Gilroy’s notion of planetary humanity as an example of we-mode thinking. As Searle explains, collective Intentionality emanates from the Background (similar to Bourdieu’s habitus), which thus allows for the possibility of collective Intentionality or we-mode thinking and action. The article concludes by querying the potential for developing we-mode thinking in music education within an anti-racism framework, followed by an introduction to the four articles published in this issue.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"64 1","pages":"1-15"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77959536","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}
Educational institutions and teacher education preparation programs tend to reflect White Eurocentric beliefs and values. Additionally, White preservice teachers may have little understanding of their own cultural backgrounds, as they are largely unexamined in a structure of White norms. In this paper, I draw upon elements of critical whiteness studies as a framework to further analyze data from a prior, larger study about an immersion field experience to reveal the ways in which whiteness was largely unacknowledged but always lurking in the background of the experience—in participants’ discourses about their experiences and interactions with students of color in the music classrooms. This deepened understanding of whiteness embedded in the experience was imperative for considering how to better facilitate field experiences for White preservice music teachers and how to better prepare them to work successfully with students of color.
{"title":"Revealing Whiteness in Preservice Music Teacher Preparation","authors":"Andrea J. VanDeusen","doi":"10.22176/ACT20.1.121","DOIUrl":"https://doi.org/10.22176/ACT20.1.121","url":null,"abstract":"Educational institutions and teacher education preparation programs tend to reflect White Eurocentric beliefs and values. Additionally, White preservice teachers may have little understanding of their own cultural backgrounds, as they are largely unexamined in a structure of White norms. In this paper, I draw upon elements of critical whiteness studies as a framework to further analyze data from a prior, larger study about an immersion field experience to reveal the ways in which whiteness was largely unacknowledged but always lurking in the background of the experience—in participants’ discourses about their experiences and interactions with students of color in the music classrooms. This deepened understanding of whiteness embedded in the experience was imperative for considering how to better facilitate field experiences for White preservice music teachers and how to better prepare them to work successfully with students of color.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"26 1","pages":"121-141"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81584591","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}
{"title":"Through the Eyes of an Entangled Teacher: When Classical Musical Instrument Performance Tuition in Higher Education is Subject to Quality Assurance","authors":"Robin Rolfhamre","doi":"10.22176/act19.1.81","DOIUrl":"https://doi.org/10.22176/act19.1.81","url":null,"abstract":"","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"193 1","pages":"81-117"},"PeriodicalIF":0.0,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74199289","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}
Thomas A. Regelski, Theodor Wiesengrund Adorno, H. Marcuse, E. Fromm.
The Tractate was written following the first meeting of leading music education scholars in Buffalo. It was not, however intended as a scholarly essay. Rather, it was a declaration of assorted, numerous issues the next few meetings of founding MayDay Group members could engage with in organizing efforts at creating an organization predicated on critical communication about changing the status quo of the time. It is thus a historical document that, at the time of its writing, was an unpolished voice of one young (50ish) thinker. It has since slept largely unremarked in the MayDay Group website pages until noticed by Vince Bates. Its references to Critical Theory were posed as bases for the MayDay Group’s critical agenda. Some readers might detect its spirit in the subsequent MDG ethos of “action for change,” with “action” translated as “praxis.” Others might prefer to note a straying from the path implored by this document. Leaders attending to the present and future directions of the Group might take new resolve from it. The document was written with a critique in mind of mid-1990s music education. Sadly, much remains to be done. Perhaps a new foundational document (or several) for the next 30 years is in order to help organize future MayDay efforts of “action for change.” Until its recent reemergence I hadn’t known how much the Tractate foretold of my forthcoming new book on curriculum philosophy and theory, which takes up foundational issues first raised in this Tractate. I hope its current and future relevance are clear, even when it wanders more than a little.
{"title":"Tractate on Critical Theory and Praxis: Implications for Professionalizing Music Education","authors":"Thomas A. Regelski, Theodor Wiesengrund Adorno, H. Marcuse, E. Fromm.","doi":"10.22176/act19.1.6","DOIUrl":"https://doi.org/10.22176/act19.1.6","url":null,"abstract":"The Tractate was written following the first meeting of leading music education scholars in Buffalo. It was not, however intended as a scholarly essay. Rather, it was a declaration of assorted, numerous issues the next few meetings of founding MayDay Group members could engage with in organizing efforts at creating an organization predicated on critical communication about changing the status quo of the time. It is thus a historical document that, at the time of its writing, was an unpolished voice of one young (50ish) thinker. It has since slept largely unremarked in the MayDay Group website pages until noticed by Vince Bates. Its references to Critical Theory were posed as bases for the MayDay Group’s critical agenda. Some readers might detect its spirit in the subsequent MDG ethos of “action for change,” with “action” translated as “praxis.” Others might prefer to note a straying from the path implored by this document. Leaders attending to the present and future directions of the Group might take new resolve from it. The document was written with a critique in mind of mid-1990s music education. Sadly, much remains to be done. Perhaps a new foundational document (or several) for the next 30 years is in order to help organize future MayDay efforts of “action for change.” Until its recent reemergence I hadn’t known how much the Tractate foretold of my forthcoming new book on curriculum philosophy and theory, which takes up foundational issues first raised in this Tractate. I hope its current and future relevance are clear, even when it wanders more than a little.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"41 1","pages":"6-53"},"PeriodicalIF":0.0,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75655974","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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