This essay represents my attempt to develop an expanded voice-as-researcher. My intent is to create a space for an improvisatory and playful process of self-discovery through writing aimed at extracting deeply-held, even concealed, possibilities rarely invoked in my practices as researcher. To facilitate this process of self-discovery, I use a binaryconstructed notion of my separate musician and researcher voices to experiment with placing three previously created text-based and musical works in dialogue. Reflecting on my bricoleur researcher tendencies, I tinker with methodology, lightly appropriating a post-representational approach to frame these works as co-researcher-provocateurs in this essay. Punctuating the essay with moments of autoethnographic writing, I weave these text-based and musical works together with two gestures—the cartographic system of Fernand Deligny’s wander lines and the musical form of Charles Ives’s String Quartet No. 2—to explore the challenges of navigating identity, voice, and self-disclosure in scholarship. The essay concludes with a confession of anxiety as an illusionary deceit, and the final self-revelation of my voice. My sound.
{"title":"The Sound of My Voice: Self-Revelation Through Autoethnography","authors":"L. Godwin","doi":"10.22176/act18.1.57","DOIUrl":"https://doi.org/10.22176/act18.1.57","url":null,"abstract":"This essay represents my attempt to develop an expanded voice-as-researcher. My intent is to create a space for an improvisatory and playful process of self-discovery through writing aimed at extracting deeply-held, even concealed, possibilities rarely invoked in my practices as researcher. To facilitate this process of self-discovery, I use a binaryconstructed notion of my separate musician and researcher voices to experiment with placing three previously created text-based and musical works in dialogue. Reflecting on my bricoleur researcher tendencies, I tinker with methodology, lightly appropriating a post-representational approach to frame these works as co-researcher-provocateurs in this essay. Punctuating the essay with moments of autoethnographic writing, I weave these text-based and musical works together with two gestures—the cartographic system of Fernand Deligny’s wander lines and the musical form of Charles Ives’s String Quartet No. 2—to explore the challenges of navigating identity, voice, and self-disclosure in scholarship. The essay concludes with a confession of anxiety as an illusionary deceit, and the final self-revelation of my voice. My sound.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83973964","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}
Constructed broadly according to the principles of musical fugue, this piece of creative writing is presented as a performance autoethnography, enacted through a multi-voiced ethnodrama between a fictionalized version of the author and two imaginary doctoral students. In successive episodes, it discusses the difference between autoethnography and autobiography, the value and limitations of single-subject ethnographic study, and the types of materials that constitute valid documentation for the purposes of autoethnography, including creative writing based on music-theoretical devices as well as musical works themselves, in addition to more conventional modes of discourse. These dialogic interludes are articulated by periodic returns to the principal subject of the conversation: the working definition of autoethnography and its potential application to Arts-Based Educational Research (ABER) with specific respect to music studies.
{"title":"Autoethnography, Autobiography, and Creative Art as Academic Research in Music Studies: A Fugal Ethnodrama","authors":"C. Wiley","doi":"10.22176/act18.1.73","DOIUrl":"https://doi.org/10.22176/act18.1.73","url":null,"abstract":"Constructed broadly according to the principles of musical fugue, this piece of creative writing is presented as a performance autoethnography, enacted through a multi-voiced ethnodrama between a fictionalized version of the author and two imaginary doctoral students. In successive episodes, it discusses the difference between autoethnography and autobiography, the value and limitations of single-subject ethnographic study, and the types of materials that constitute valid documentation for the purposes of autoethnography, including creative writing based on music-theoretical devices as well as musical works themselves, in addition to more conventional modes of discourse. These dialogic interludes are articulated by periodic returns to the principal subject of the conversation: the working definition of autoethnography and its potential application to Arts-Based Educational Research (ABER) with specific respect to music studies.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87355562","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 paper, I advocate that culture matters in music education and should be a measure we consider when we assess the quality of music-making in the community. Community arts education can address a multitude of social issues that impact marginalized communities if viewed through an appropriate lens. I propose historical trauma as an appropriate lens for a (post)colonial context. It provides a framework for disrupting music education practices in university music programs and reconsidering the competencies that need to be emphasized when training conservatory educated performers to be community music facilitators. This text is a story, written in the style of a genealogical narrative (whakapapa kōrero). It moves through a specific body of experiences, interconnected stories, contexts and emotions, a process identified by indigenous social work researchers as a culturally appropriate healing intervention for indigenous communities. If you are looking for a bullet-pointed exposition of suitable procedures to employ in your work, you are missing the point. In the past we indigenous academics have made it very easy for other academics and researchers to access our knowledge, but to appreciate the new knowing offered in this text you will have to work a little harder. You will need to shift your cultural paradigm and any academic bias to a world where you are not given direct answers, but rather you are encouraged to listen (and with the audio examples provided I mean that literally), reflect, become aware of your physical reactions, open yourself to the spiritual dimension and consider how these words and sounds may impact your future thinking. Most importantly, I hope this chapter will allow you to understand and share the un-mourned grief of the indigenous people in your (s)p(l)ace.
{"title":"Tears of the Collective: Healing Historical Trauma through Community Arts","authors":"Te Oti Rakena","doi":"10.22176/act18.2.130","DOIUrl":"https://doi.org/10.22176/act18.2.130","url":null,"abstract":"In this paper, I advocate that culture matters in music education and should be a measure we consider when we assess the quality of music-making in the community. Community arts education can address a multitude of social issues that impact marginalized communities if viewed through an appropriate lens. I propose historical trauma as an appropriate lens for a (post)colonial context. It provides a framework for disrupting music education practices in university music programs and reconsidering the competencies that need to be emphasized when training conservatory educated performers to be community music facilitators. This text is a story, written in the style of a genealogical narrative (whakapapa kōrero). It moves through a specific body of experiences, interconnected stories, contexts and emotions, a process identified by indigenous social work researchers as a culturally appropriate healing intervention for indigenous communities. If you are looking for a bullet-pointed exposition of suitable procedures to employ in your work, you are missing the point. In the past we indigenous academics have made it very easy for other academics and researchers to access our knowledge, but to appreciate the new knowing offered in this text you will have to work a little harder. You will need to shift your cultural paradigm and any academic bias to a world where you are not given direct answers, but rather you are encouraged to listen (and with the audio examples provided I mean that literally), reflect, become aware of your physical reactions, open yourself to the spiritual dimension and consider how these words and sounds may impact your future thinking. Most importantly, I hope this chapter will allow you to understand and share the un-mourned grief of the indigenous people in your (s)p(l)ace.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81496408","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 introduction to this special issue is written in a storied manner to ready the reader for the unique, storied forms of research that follow. I wholeheartedly suggest that readers not read the abstracts of the each paper first, but delve directly into the stories and engage with the music and media. These papers are not intended as a definitive collection of arts based educational research and creative analytical practices in music and music education. Rather, this special issue is a beginning—an opening—that represents where we are in 2019, as a profession, in our understandings and applications of contemporary forms of qualitative research.
{"title":"What are ABER and CAP?","authors":"Peter Gouzouasis","doi":"10.22176/act18.2.1","DOIUrl":"https://doi.org/10.22176/act18.2.1","url":null,"abstract":"The introduction to this special issue is written in a storied manner to ready the reader for the unique, storied forms of research that follow. I wholeheartedly suggest that readers not read the abstracts of the each paper first, but delve directly into the stories and engage with the music and media. These papers are not intended as a definitive collection of arts based educational research and creative analytical practices in music and music education. Rather, this special issue is a beginning—an opening—that represents where we are in 2019, as a profession, in our understandings and applications of contemporary forms of qualitative research.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"80 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82363567","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 layered autoethnography comprises momentary scenes connected to musical pieces for cello that are engraved in my memory and on the calluses of my fingertips by significant physical, emotional, and motivational experiences that have accompanied me since my youth. My artful methodology invokes truthful memory through sound to compose a “methodology of the heart” (Pelias 2004). I thus blend music “epiphonies” and stories with past and present moments to create a thickness of duration, an épaisseur. I purposely used intersubjectivity as an evocative sensitivity when analyzing autobiographical memories to interpret cultural assumptions in the field of music education and classical music performance. These assumptions include the importance of being ‘talented’, the exposure to external stressors and competitiveness, and the imbalance of power relations between teachers and students. My aim is to expand understandings of forms of arts research, and to highlight certain pedagogical and social practices in the education of classical musicians that can compromise their well-being and identity construction.
{"title":"Epiphonies of Motivation and Emotion Throughout the Life of a Cellist","authors":"Guadalupe López-Íñiguez","doi":"10.22176/act18.1.157","DOIUrl":"https://doi.org/10.22176/act18.1.157","url":null,"abstract":"This layered autoethnography comprises momentary scenes connected to musical pieces for cello that are engraved in my memory and on the calluses of my fingertips by significant physical, emotional, and motivational experiences that have accompanied me since my youth. My artful methodology invokes truthful memory through sound to compose a “methodology of the heart” (Pelias 2004). I thus blend music “epiphonies” and stories with past and present moments to create a thickness of duration, an épaisseur. I purposely used intersubjectivity as an evocative sensitivity when analyzing autobiographical memories to interpret cultural assumptions in the field of music education and classical music performance. These assumptions include the importance of being ‘talented’, the exposure to external stressors and competitiveness, and the imbalance of power relations between teachers and students. My aim is to expand understandings of forms of arts research, and to highlight certain pedagogical and social practices in the education of classical musicians that can compromise their well-being and identity construction.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"206 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80447240","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}
his issue of Action, Criticism, and Theory for Music Education is our first publication as ACT’s new co-editors. Our aim in this introduction is to give readers a taste of the exciting presentations and discussions that emerged at the MayDay Group’s 30th Colloquium, held at the University of Western Ontario in London, Ontario, Canada, in June 2018. The colloquium focused on MayDay Group Action Ideal VII:
{"title":"Reframing Musical Learning in Schools Under Siege","authors":"Deborah Bradley, Scott Goble","doi":"10.22176/act18.1.1","DOIUrl":"https://doi.org/10.22176/act18.1.1","url":null,"abstract":"his issue of Action, Criticism, and Theory for Music Education is our first publication as ACT’s new co-editors. Our aim in this introduction is to give readers a taste of the exciting presentations and discussions that emerged at the MayDay Group’s 30th Colloquium, held at the University of Western Ontario in London, Ontario, Canada, in June 2018. The colloquium focused on MayDay Group Action Ideal VII:","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73456871","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}
Recent initiatives by for-profit corporations and funding measures instituted by governments intend to support the preparation of students for careers in computer science and technology. Although such initiatives and measures can indeed increase opportunities for students’ engagement with computer science and technology in K-12 schools, we question whose needs are being served, for what purposes, and at what cost. In particular, we ask whether music educators might be complicit in advancing technology that subordinates human needs—specifically students’ interests in making music in their own creative ways—to modes of production that benefit certain dominant commercial interests in society. After discussing how current computer technology narrows students’ choices, we counter this determinism by highlighting a music subculture that creates and appropriates music technologies for music-related purposes. Our example of the “chipscene” illustrates how music educators might reconceptualize “music making” through modification of existing music technology and thereby restore students’ freedom to “reclaim making” in the age of neoliberalism.
{"title":"Reconceptualizing “Music Making:” Music Technology and Freedom in the Age of Neoliberalism","authors":"C. Benedict, Jared O’Leary","doi":"10.22176/ACT18.1.26","DOIUrl":"https://doi.org/10.22176/ACT18.1.26","url":null,"abstract":"Recent initiatives by for-profit corporations and funding measures instituted by governments intend to support the preparation of students for careers in computer science and technology. Although such initiatives and measures can indeed increase opportunities for students’ engagement with computer science and technology in K-12 schools, we question whose needs are being served, for what purposes, and at what cost. In particular, we ask whether music educators might be complicit in advancing technology that subordinates human needs—specifically students’ interests in making music in their own creative ways—to modes of production that benefit certain dominant commercial interests in society. After discussing how current computer technology narrows students’ choices, we counter this determinism by highlighting a music subculture that creates and appropriates music technologies for music-related purposes. Our example of the “chipscene” illustrates how music educators might reconceptualize “music making” through modification of existing music technology and thereby restore students’ freedom to “reclaim making” in the age of neoliberalism.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"36 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72431119","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 1963—a racially-charged time in the United States—James Baldwin delivered “A Talk to Teachers,” urging educators to engage youth in difficult conversations about current events. We concur with Giroux (2011, 2019) that political forces influence our educational spaces and that classrooms should not be viewed as apolitical, but instead seen as sites for engagement, where educators and artists alike can “go for broke.” Drawing upon A Tribe Called Quest’s 2017 Grammy performance of “We the People...” as an example of the role of the arts in troubled times, we consider ways to work alongside youth in schools to respond, consider, and process current events through music.
1963年，美国种族主义盛行，詹姆斯·鲍德温(james Baldwin)发表了《对教师的谈话》(A Talk to Teachers)，敦促教育工作者让年轻人参与到有关时事的艰难对话中来。我们同意吉鲁(2011、2019)的观点，即政治力量影响着我们的教育空间，教室不应被视为与政治无关的地方，而应被视为参与的场所，教育工作者和艺术家都可以在这里“全力以赴”。在2017年的格莱美颁奖典礼上，一个名为Quest的部落表演了“我们人民……“作为艺术在动荡时期所扮演角色的一个例子，我们考虑与学校里的年轻人一起工作，通过音乐来回应、思考和处理当前的事件。
{"title":"Going for Broke: A Talk to Music Teachers","authors":"Juliet Hess, Brent C. Talbot","doi":"10.22176/act18.1.89","DOIUrl":"https://doi.org/10.22176/act18.1.89","url":null,"abstract":"In 1963—a racially-charged time in the United States—James Baldwin delivered “A Talk to Teachers,” urging educators to engage youth in difficult conversations about current events. We concur with Giroux (2011, 2019) that political forces influence our educational spaces and that classrooms should not be viewed as apolitical, but instead seen as sites for engagement, where educators and artists alike can “go for broke.” Drawing upon A Tribe Called Quest’s 2017 Grammy performance of “We the People...” as an example of the role of the arts in troubled times, we consider ways to work alongside youth in schools to respond, consider, and process current events through music.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"67 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87639224","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, considered as a field of discourse, has important implications for how educators think and act within their classrooms. Based on the work of Ruben Gaztambide-Fernandez, Murray R. Schafer, and feminist music education scholars, this paper aims to delineate these implications and to propose “sound education” as an alternative. Instead of traditional Music-centered focuses on “appreciation” and “musicianship,” “sound education” proposes “listening” and “sound-making” as alternatives. Gaztambide-Fernandez’s notion of “cultural production” and Steven Feld’s “acoustemology” provide conceptual bases that ground these alternatives in ways which center on symbolic work and social interactions, while allowing for a broad understanding of relationality within ecologies of human and non-human entities.
音乐被认为是一个话语领域，对教育者如何在课堂上思考和行动有着重要的影响。基于Ruben Gaztambide-Fernandez、Murray R. Schafer和女权主义音乐教育学者的研究，本文旨在描述这些影响，并提出“健全教育”作为一种替代方案。与传统的以音乐为中心的“欣赏”和“音乐素养”不同，“声音教育”提出“倾听”和“发声”作为替代。Gaztambide-Fernandez的“文化生产”概念和Steven Feld的“声学”概念为这些选择提供了概念基础，这些选择以象征工作和社会互动为中心，同时允许对人类和非人类实体生态中的关系进行广泛的理解。
{"title":"De-centering Music: A “sound education”","authors":"Matias Recharte","doi":"10.22176/ACT18.1.68","DOIUrl":"https://doi.org/10.22176/ACT18.1.68","url":null,"abstract":"Music, considered as a field of discourse, has important implications for how educators think and act within their classrooms. Based on the work of Ruben Gaztambide-Fernandez, Murray R. Schafer, and feminist music education scholars, this paper aims to delineate these implications and to propose “sound education” as an alternative. Instead of traditional Music-centered focuses on “appreciation” and “musicianship,” “sound education” proposes “listening” and “sound-making” as alternatives. Gaztambide-Fernandez’s notion of “cultural production” and Steven Feld’s “acoustemology” provide conceptual bases that ground these alternatives in ways which center on symbolic work and social interactions, while allowing for a broad understanding of relationality within ecologies of human and non-human entities.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88827613","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 main purpose of this essay is to critically analyze why social class receives relatively little attention in American social justice scholarship in music education. An associated aim is to make a case for more extensive considerations of class, including a much stronger intersectional alliance between critical class and antiracist scholarship. In particular, an intersectional approach to class and race is shown to have explanatory and political potential in music education, particularly in the controversy surrounding Michael Butera’s resignation as NAfME Executive Director. The article concludes with a call for solidarity among all who strive for social justice in music education.
{"title":"Standing at the Intersection of Race and Class in Music Education","authors":"Vincent C. Bates","doi":"10.22176/ACT18.1.117","DOIUrl":"https://doi.org/10.22176/ACT18.1.117","url":null,"abstract":"The main purpose of this essay is to critically analyze why social class receives relatively little attention in American social justice scholarship in music education. An associated aim is to make a case for more extensive considerations of class, including a much stronger intersectional alliance between critical class and antiracist scholarship. In particular, an intersectional approach to class and race is shown to have explanatory and political potential in music education, particularly in the controversy surrounding Michael Butera’s resignation as NAfME Executive Director. The article concludes with a call for solidarity among all who strive for social justice in music education.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83111556","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：