What does it mean to experience disability in music? Based on interviews with Patrick Anderson—arguably the greatest wheelchair basketball player of all time—this article presents insights into the complexities of the experience of disability in sports and music. Contrasted with music education’s tendency to adhere to a medicalized model of disability, Anderson’s nuanced views on disability in different contexts serves as an accessible point of entry to literature in the field of Disability Studies. Using Anderson’s anecdotal experiences of disability in sports and music as catalysts, key concepts in Disability Studies are discussed including the medical and social models of disability, conventions of disability terminology, disability identity, and the relevance of Lubet’s (2010) contextual model of disability—social confluence—to the field of music education.
{"title":"(dis)Ability and Music Education: Paralympian Patrick Anderson and the Experience of Disability in Music","authors":"Adam Bell","doi":"10.22176/ACT16.3.108","DOIUrl":"https://doi.org/10.22176/ACT16.3.108","url":null,"abstract":"What does it mean to experience disability in music? Based on interviews with Patrick Anderson—arguably the greatest wheelchair basketball player of all time—this article presents insights into the complexities of the experience of disability in sports and music. Contrasted with music education’s tendency to adhere to a medicalized model of disability, Anderson’s nuanced views on disability in different contexts serves as an accessible point of entry to literature in the field of Disability Studies. Using Anderson’s anecdotal experiences of disability in sports and music as catalysts, key concepts in Disability Studies are discussed including the medical and social models of disability, conventions of disability terminology, disability identity, and the relevance of Lubet’s (2010) contextual model of disability—social confluence—to the field of music education.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"24 1","pages":"108-128"},"PeriodicalIF":0.0,"publicationDate":"2017-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81342872","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 editorial introduction to ACT 16 (3) explores institutions as sites of paradox whose mission statements (or constitutions in the case of government) suggest concerns for diversity and inclusion but whose “grammars” (Bonilla-Silva 2011) frame thought and action in ways that may prevent the very work towards equity that the statements promote. The grammars of institutional injustice serve to frame the way we (as actors within institutional settings) view social phenomena, as well as the way we experience these phenomena, thus influencing the way we talk about, frame, and strive to resolve matters of injustice.
{"title":"Interrogating the Grammars of Institutions and Injustice.","authors":"Deborah Bradley","doi":"10.22176/ACT16.3.1","DOIUrl":"https://doi.org/10.22176/ACT16.3.1","url":null,"abstract":"This editorial introduction to ACT 16 (3) explores institutions as sites of paradox whose mission statements (or constitutions in the case of government) suggest concerns for diversity and inclusion but whose “grammars” (Bonilla-Silva 2011) frame thought and action in ways that may prevent the very work towards equity that the statements promote. The grammars of institutional injustice serve to frame the way we (as actors within institutional settings) view social phenomena, as well as the way we experience these phenomena, thus influencing the way we talk about, frame, and strive to resolve matters of injustice.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"61 1","pages":"1-14"},"PeriodicalIF":0.0,"publicationDate":"2017-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73787137","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 for the use of explicit language for discussions of race and call for music education to move out of terminal naivety (Vaugeois 2013) toward a heightened consciousness of political issues and racial oppressions. Employing critical race theory (CRT) as a theoretical framework, this paper examines race-related silences and the importance of using direct language to identify structural and systemic racism. I offer practical suggestions for initiating “race talk” in school music, in postsecondary music education, and in music education scholarship. These practical implications emerge from the experiences of four Toronto teachers who participated in a multiple case study on social justice and anti-racist work in music education (Hess 2013), the literature on race and silencing inside and outside music education, and my own experiences as a former public school music teacher and music teacher educator. With the surge of hate crimes and unmasked white supremacy in the United States following the election of Donald Trump,1 being explicit about race is urgent. In this paper, I put forward ways that music educators can center issues of race and racism in daily praxis.
{"title":"Equity and Music Education: Euphemisms, Terminal Naivety, and Whiteness.","authors":"Juliet Hess","doi":"10.22176/ACT16.3.15","DOIUrl":"https://doi.org/10.22176/ACT16.3.15","url":null,"abstract":"In this paper, I advocate for the use of explicit language for discussions of race and call for music education to move out of terminal naivety (Vaugeois 2013) toward a heightened consciousness of political issues and racial oppressions. Employing critical race theory (CRT) as a theoretical framework, this paper examines race-related silences and the importance of using direct language to identify structural and systemic racism. I offer practical suggestions for initiating “race talk” in school music, in postsecondary music education, and in music education scholarship. These practical implications emerge from the experiences of four Toronto teachers who participated in a multiple case study on social justice and anti-racist work in music education (Hess 2013), the literature on race and silencing inside and outside music education, and my own experiences as a former public school music teacher and music teacher educator. With the surge of hate crimes and unmasked white supremacy in the United States following the election of Donald Trump,1 being explicit about race is urgent. In this paper, I put forward ways that music educators can center issues of race and racism in daily praxis.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"15 1","pages":"15-47"},"PeriodicalIF":0.0,"publicationDate":"2017-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74962493","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":"The Perils of Repressive Tolerance in Music Education Curriculum.","authors":"William M. Perrine","doi":"10.22176/ACT16.2.6","DOIUrl":"https://doi.org/10.22176/ACT16.2.6","url":null,"abstract":"","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"42 1","pages":"6-38"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82056066","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 editorial introduction to ACT 16 (2) includes an argument for immanent critique within the MayDay Group or, in other words, it underscores the importance of remaining open to criticism within and/or directed toward the group. This is followed by overviews for each of the five research articles in this issue, a brief discussion of what to expect in ACT through the rest of 2017 through 2018, and expressions of gratitude to all who volunteer their time and expertise to maintaining this important open-access, double-blind peer reviewed journal.
{"title":"Editorial Introduction to ACT 16.2","authors":"Vincent C. Bates","doi":"10.22176/ACT16.2.1","DOIUrl":"https://doi.org/10.22176/ACT16.2.1","url":null,"abstract":"This editorial introduction to ACT 16 (2) includes an argument for immanent critique within the MayDay Group or, in other words, it underscores the importance of remaining open to criticism within and/or directed toward the group. This is followed by overviews for each of the five research articles in this issue, a brief discussion of what to expect in ACT through the rest of 2017 through 2018, and expressions of gratitude to all who volunteer their time and expertise to maintaining this important open-access, double-blind peer reviewed journal.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"32 1","pages":"1-5"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79001704","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 purpose of the study was to examine a diverse range of research literature to provide a social-cognitive theoretical framework as a foundation for definition of identity construction in the music teacher education program. The review of literature may reveal a theoretical framework based around tenets of commonly studied constructs in the social-cognitive theory, social identity theory, symbolic interactionism, and role theory to ground future research on music teacher constructs which may be examined through both quantitative and qualitative measures. The proposed theoretical framework within this study might further the ways through which the profession investigates music teacher identity construction, and enhances university teacher training and induction, enriching the lives of future music educators.
{"title":"A Social-Cognitive Theoretical Framework for Examining Music Teacher Identity.","authors":"E. McClellan","doi":"10.22176/ACT16.2.65","DOIUrl":"https://doi.org/10.22176/ACT16.2.65","url":null,"abstract":"The purpose of the study was to examine a diverse range of research literature to provide a social-cognitive theoretical framework as a foundation for definition of identity construction in the music teacher education program. The review of literature may reveal a theoretical framework based around tenets of commonly studied constructs in the social-cognitive theory, social identity theory, symbolic interactionism, and role theory to ground future research on music teacher constructs which may be examined through both quantitative and qualitative measures. The proposed theoretical framework within this study might further the ways through which the profession investigates music teacher identity construction, and enhances university teacher training and induction, enriching the lives of future music educators.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"16 1","pages":"65-101"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81038711","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 paper draws on a hermeneutic project to reflect on culturally developed notions that distance individuals from their intrinsic musicality. Participant experience offers insight into misconceptions of human musicality in Western communities where unrecognised cultural directives label musical beings as either musical or non-musical. Embedded in language, cultural influences restrict free musicking such that everyday practices inhibit the development of musical skills and dictate life-long inhibition. I argue that to ignore this phenomenon is to perpetuate an unnecessary and harmful reduction of human being.
{"title":"Misconceptions Underplay Western Ways of Musicking: A Hermeneutic Investigation.","authors":"E. Ruddock","doi":"10.22176/act16.2.39","DOIUrl":"https://doi.org/10.22176/act16.2.39","url":null,"abstract":"This paper draws on a hermeneutic project to reflect on culturally developed notions that distance individuals from their intrinsic musicality. Participant experience offers insight into misconceptions of human musicality in Western communities where unrecognised cultural directives label musical beings as either musical or non-musical. Embedded in language, cultural influences restrict free musicking such that everyday practices inhibit the development of musical skills and dictate life-long inhibition. I argue that to ignore this phenomenon is to perpetuate an unnecessary and harmful reduction of human being.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"7 1","pages":"39-64"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74338938","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}
El Sistema orchestras may be “transformative” and produce positive changes in the lives of young participants, but there are also negative aspects to discipline and authority that may lead to exclusion. This article positions itself within the current debate on Sistema by treating symmetrically its potentially positive and negative sides. We analyse a rehearsal session during a summer camp of a Portuguese Sistema-inspired orchestra program, focusing on the production of order, the socio-musical interactions among participants, the conductor’s leadership and authority, and the young players’ postures and reactions. This is taken as a case study to discuss to what extent discipline and authority, as constituents of orchestral socialization, may be empowering to participants by developing their skills or, on the contrary, symbolically violent and boring. The rehearsal was video-recorded and watched, events were categorized, selected and analysed qualitatively. The article finishes with a critical reflection on the ambivalence and contradictions of discipline and its wider implications for education.
El Sistema管弦乐团可能是“变革性的”，给年轻参与者的生活带来积极的变化，但纪律和权威也有消极的一面，可能导致被排斥。本文通过对称地处理系统潜在的积极和消极方面，将自己置于当前关于系统的辩论中。我们分析了一个受葡萄牙sistema启发的夏令营管弦乐队项目的排练，重点关注秩序的产生，参与者之间的社会音乐互动，指挥的领导和权威，以及年轻球员的姿势和反应。这是一个案例研究来讨论纪律和权威，作为管弦乐社会化的组成部分，在多大程度上可以通过发展参与者的技能来赋予他们权力，或者相反，象征性的暴力和无聊。彩排被录下来观看，事件被分类、选择和定性分析。文章最后对学科的矛盾和矛盾及其对教育的广泛影响进行了批判性反思。
{"title":"Empowering or Boring? Discipline and Authority in a Portuguese Sistema-Inspired Orchestra Rehearsal.","authors":"P. S. Boia, Graça Boal-Palheiros","doi":"10.22176/ACT16.1.144","DOIUrl":"https://doi.org/10.22176/ACT16.1.144","url":null,"abstract":"El Sistema orchestras may be “transformative” and produce positive changes in the lives of young participants, but there are also negative aspects to discipline and authority that may lead to exclusion. This article positions itself within the current debate on Sistema by treating symmetrically its potentially positive and negative sides. We analyse a rehearsal session during a summer camp of a Portuguese Sistema-inspired orchestra program, focusing on the production of order, the socio-musical interactions among participants, the conductor’s leadership and authority, and the young players’ postures and reactions. This is taken as a case study to discuss to what extent discipline and authority, as constituents of orchestral socialization, may be empowering to participants by developing their skills or, on the contrary, symbolically violent and boring. The rehearsal was video-recorded and watched, events were categorized, selected and analysed qualitatively. The article finishes with a critical reflection on the ambivalence and contradictions of discipline and its wider implications for education.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"26 1","pages":"144-172"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74829675","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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