{"title":"Making Sure It’s About What’s Best For Students: Following on Regelski’s Tractate","authors":"Deborah Bradley, J. S. Goble","doi":"10.22176/act19.1.1","DOIUrl":"https://doi.org/10.22176/act19.1.1","url":null,"abstract":"","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"37 1","pages":"1-5"},"PeriodicalIF":0.0,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86539164","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}
This article explores Dewey’s theory of experience and its potential as a theoretical tool to notice, and make sense of, music teacher learning. Beginning with the assumption that music teachers’ capacity to grow professionally is integral for change in the field of music education, I present several illustrative examples of how Dewey’s theory informed the interpretive work for a study of the professional learning of three elementary music teachers. While useful in many ways, a Deweyan framework proved to have certain limitations related to the socially constructed and discursive nature of learning and teaching elementary music. As a result, several concepts from Lave and Wenger’s sociocultural theory and Bourdieu’s practice theory were used in theorizing these aspects of teachers’ experience and practice.
{"title":"Dewey’s Theory of Experience: A Theoretical Tool for Researching Music Teacher Learning","authors":"J. Stark","doi":"10.22176/act19.1.118","DOIUrl":"https://doi.org/10.22176/act19.1.118","url":null,"abstract":"This article explores Dewey’s theory of experience and its potential as a theoretical tool to notice, and make sense of, music teacher learning. Beginning with the assumption that music teachers’ capacity to grow professionally is integral for change in the field of music education, I present several illustrative examples of how Dewey’s theory informed the interpretive work for a study of the professional learning of three elementary music teachers. While useful in many ways, a Deweyan framework proved to have certain limitations related to the socially constructed and discursive nature of learning and teaching elementary music. As a result, several concepts from Lave and Wenger’s sociocultural theory and Bourdieu’s practice theory were used in theorizing these aspects of teachers’ experience and practice.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"54 1","pages":"118-152"},"PeriodicalIF":0.0,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75802772","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}
The 21st century has been defined by ecological crises, and these crises have been absent from most critical conversations in music teaching and learning. Satis Coleman’s music education writings, influential in the 1920s and 30s, focused on music and nature. The intellectual history presented in this essay, a historiography of ideas and thinkers, frames selected writings by Coleman as an environmental philosophy. This essay is built qualitatively around the themes of nature, consumption and conservation, epistemology/ethics/policy, and evolution. Coleman’s environmental philosophy provides an opening for music educators to begin teaching and learning for eco-literacy through music.
{"title":"An Environmental Philosophy for Music Education Based on Satis Coleman’s (1878–1961) Writings on Music and Nature","authors":"Daniel J. Shevock","doi":"10.22176/act19.1.174","DOIUrl":"https://doi.org/10.22176/act19.1.174","url":null,"abstract":"The 21st century has been defined by ecological crises, and these crises have been absent from most critical conversations in music teaching and learning. Satis Coleman’s music education writings, influential in the 1920s and 30s, focused on music and nature. The intellectual history presented in this essay, a historiography of ideas and thinkers, frames selected writings by Coleman as an environmental philosophy. This essay is built qualitatively around the themes of nature, consumption and conservation, epistemology/ethics/policy, and evolution. Coleman’s environmental philosophy provides an opening for music educators to begin teaching and learning for eco-literacy through music.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"55 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84873205","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}
Indigenous knowledge has been marginalized and excluded through a system based on a worldview that perpetuates colonialism. The actions and attitudes of nation-states and academic bodies deem, recognize, and value certain ways of knowing as “superior,” which marginalizes knowledge from Indigenous cultures. Considering an educational philosophy that puts the knowledge and worldviews of local cultures at its heart is an urgent step towards changing this situation. In this text, I discuss the implementation of Styres’s (2017) Land-centred philosophical proposal in music education. This approach is built on the understanding that Indigenous knowledge has the same value as knowledge that comes from hegemonic Western centres. This perspective proposes to disrupt the role of Eurocentrism that accepts or rejects different ways of knowing and (re)centers Indigenous knowledge and worldviews.
{"title":"(Re)centering Indigenous Perspectives in Music Education in Latin America","authors":"Vázquez Córdoba, H. Miguel","doi":"10.22176/act18.3.200","DOIUrl":"https://doi.org/10.22176/act18.3.200","url":null,"abstract":"Indigenous knowledge has been marginalized and excluded through a system based on a worldview that perpetuates colonialism. The actions and attitudes of nation-states and academic bodies deem, recognize, and value certain ways of knowing as “superior,” which marginalizes knowledge from Indigenous cultures. Considering an educational philosophy that puts the knowledge and worldviews of local cultures at its heart is an urgent step towards changing this situation. In this text, I discuss the implementation of Styres’s (2017) Land-centred philosophical proposal in music education. This approach is built on the understanding that Indigenous knowledge has the same value as knowledge that comes from hegemonic Western centres. This perspective proposes to disrupt the role of Eurocentrism that accepts or rejects different ways of knowing and (re)centers Indigenous knowledge and worldviews.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"66 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72972171","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":"Develando el Lado Oscuro de las Maderas Tonales: Un Estudio de Caso sobre la Demanda de Instrumentos Musicales para El Sistema de Orquestas Venezolano","authors":"Attilio Lafontant Di Niscia","doi":"10.22176/act18.3.226","DOIUrl":"https://doi.org/10.22176/act18.3.226","url":null,"abstract":"","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"77 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73306632","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":"Unveiling the Dark Side of Tonewoods: A Case Study about the Musical Instrument Demand for the Venezuelan Youth Orchestra El Sistema","authors":"Attilio Lafontant Di Niscia","doi":"10.22176/act18.3.259","DOIUrl":"https://doi.org/10.22176/act18.3.259","url":null,"abstract":"","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86522727","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}
This article explores student and teacher experiences of bi-musical education at KM Music Conservatory (KM). KM is a higher education institution in Chennai, India, established in 2008 by the internationally renowned film composer, A. R. Rahman. The Conservatory offers various courses, including a Diploma programme validated by Middlesex University, UK, as part of an internationally recognised bachelor’s degree in music. Students enrolled in the diploma programme study Western art music and Hindustani classical music as core subjects alongside audio engineering, in what has been described as a bi-musical curriculum. Teacher and student experiences of KM’s curriculum indicate bi-musical education can reaffirm colonial, Orientalist, and neoliberal discourses. I argue this should be recognised as an outcome of bi-musical education; however, I also argue that if the generation of these discourses is acknowledged, bi-musical education can bring into dialogue a diverse range of issues that can be used to confront and unsettle colonial ideology, Orientalism, and neoliberalism in engaged ways.
{"title":"Bi-musical Curricula and “Abyssal Thinking”: The Case of KM Music Conservatory, India","authors":"Rupert Avis","doi":"10.22176/act18.3.26","DOIUrl":"https://doi.org/10.22176/act18.3.26","url":null,"abstract":"This article explores student and teacher experiences of bi-musical education at KM Music Conservatory (KM). KM is a higher education institution in Chennai, India, established in 2008 by the internationally renowned film composer, A. R. Rahman. The Conservatory offers various courses, including a Diploma programme validated by Middlesex University, UK, as part of an internationally recognised bachelor’s degree in music. Students enrolled in the diploma programme study Western art music and Hindustani classical music as core subjects alongside audio engineering, in what has been described as a bi-musical curriculum. Teacher and student experiences of KM’s curriculum indicate bi-musical education can reaffirm colonial, Orientalist, and neoliberal discourses. I argue this should be recognised as an outcome of bi-musical education; however, I also argue that if the generation of these discourses is acknowledged, bi-musical education can bring into dialogue a diverse range of issues that can be used to confront and unsettle colonial ideology, Orientalism, and neoliberalism in engaged ways.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"1 2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91252420","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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