Pub Date : 2023-03-01DOI: 10.2979/pme.2023.a885192
Øivind Varkøy
Abstract: Inspired by Estelle Jorgensen’s book Values and Music Education (Indiana University Press, 2021), the author of this Book Review Essay, from a Scandinavian perspective, discusses the concept of value, the struggles of values, and the tension between universal values and relativism, as well as the fact that there is no such thing as a neutral position to speak from. Among thinkers and philosophers who have inspired these reflections are Charles Taylor, Chantal Mouffe, Simon Frith and Frede V. Nielsen.
摘要:受Estelle Jorgensen的《价值观与音乐教育》(Indiana University Press, 2021)一书的启发，本文作者从斯堪的纳维亚的角度探讨了价值观的概念、价值观的斗争、普遍价值观与相对主义之间的紧张关系，以及不存在中立立场这一事实。启发这些思考的思想家和哲学家包括查尔斯·泰勒、尚塔尔·墨菲、西蒙·弗里思和弗雷德·v·尼尔森。
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Pub Date : 2023-03-01DOI: 10.2979/pme.2023.a885194
Kim Boeskov
Reviewed by: Rethinking Social Action through Music: The Search for Coexistence and Citizenship in Medellín’s Music Schools by Geoffrey Baker Kim Boeskov Geoffrey Baker: Rethinking Social Action through Music: The Search for Coexistence and Citizenship in Medellín’s Music Schools (Cambridge, UK: Open Book Publishers, 2021) If indeed there exists, as Geir Johansen has proposed,1 a self-critical movement within the field of music education, Geoffrey Baker is undoubtedly one of its leading figures. According to Johansen, the self-critical turn is characterized by an increasing number of music educators directing criticism toward music education itself by denouncing overly romantic visions of “the power of music” and scrutinizing how music educational practices are implicated in the propulsion of problematic social forces of inequality, oppression, and injustice. Baker’s widely read book from 2014, El Sistema: Orchestrating Venezuela’s Youth,2 thoroughly denounced the globally acclaimed Venezuelan ‘musical miracle’ as a myth. Based on extensive field work in Venezuela, Baker painstakingly dissected El Sistema as an archaic, morally, and pedagogically flawed model of music education veiled in the empty rhetoric of music as a tool of social redemption and documented how such models are ripe with opportunities for abuse, in every sad sense of the word. The continuation of Baker’s critical project is published in the form of a four-hundred-page book, entitled Rethinking Social Action Through Music. Baker presents the text as “a ‘post-El Sistema’ project”3 as it constitutes a departure [End Page 92] from his preoccupation with ‘The System’ toward potential alternatives to the Venezuelan model. He finds such an alternative in the Red (Red de Escuelas de Música de Medellín), a network of music schools in the Colombian city of Medellín, which figures as the center of attention in Baker’s institutional ethnography. However, even as the Colombian institution is invoked as a counterexample to its Venezuelan sibling, the Red is not held up for its ability to enact social change or display of innovative pedagogical principles. What Baker finds exemplary and worthy of investigation is the willingness he locates within the administrative layer of the Red to continuously engage in reflective work with regards to the tensions, conflicts, and pitfalls, as well as potentials of musical-social work. Particularly, Baker’s attention is directed to the decision-making processes and discussions among the leaders of the institution; how senior staff members adopt self-critical stances, how needs for institutional change are recognized, the recurring frictions between musical staff and members of the institution’s social team, and tensions between public statements expressing confidence in the program’s efficacy and internal conversations full of ambivalence and doubt. It is with reference to the reflexive processes of the Red that Baker conducts insightful and well-informed
杰弗里·贝克:《通过音乐重新思考社会行动:Medellín音乐学校寻求共存与公民权》，作者:金·博斯科夫杰弗里·贝克:《通过音乐重新思考社会行动:Medellín音乐学校寻求共存与公民权》(剑桥，英国)如果真像Geir Johansen所提出的那样，在音乐教育领域存在一场自我批判运动，Geoffrey Baker无疑是其中的领军人物之一。根据约翰森的说法，自我批评转向的特点是越来越多的音乐教育家将批评指向音乐教育本身，谴责对“音乐的力量”过于浪漫的看法，并仔细审视音乐教育实践如何与推动不平等、压迫和不公正的问题社会力量有关。贝克在2014年出版了一本广受欢迎的书《体系:编排委内瑞拉青年》，书中彻底谴责了享誉全球的委内瑞拉“音乐奇迹”是一个神话。基于在委内瑞拉广泛的实地工作，贝克煞有煞有章地剖析了El Sistema，认为它是一种古老的、道德上的、教学上有缺陷的音乐教育模式，这种模式被掩盖在音乐作为社会救赎工具的空洞修辞之下，并记录了这种模式是如何成熟的，在每一个悲伤的意义上都有被滥用的机会。贝克的批判计划的延续以一本400页的书的形式出版，名为《通过音乐重新思考社会行动》。Baker将文本呈现为“后el Sistema”项目3，因为它背离了他对“体制”的关注，转而寻求委内瑞拉模式的潜在替代方案。他在哥伦比亚城市Medellín的音乐学校网络Red (Red de Escuelas de Música de Medellín)中找到了这样一种选择，它是贝克的制度人种志关注的中心。然而，即使哥伦比亚大学被认为是委内瑞拉兄弟学校的反例，红色大学也没有因为其实施社会变革或展示创新教学原则的能力而受到赞扬。贝克发现值得研究的是，他在红色的行政层面中发现了一种意愿，即不断地从事关于紧张、冲突和陷阱的反思工作，以及音乐社会工作的潜力。贝克特别关注的是机构领导人之间的决策过程和讨论;高级工作人员如何采取自我批评的立场，如何认识到机构变革的需求，音乐人员与机构社会团队成员之间反复出现的摩擦，以及对项目有效性表达信心的公开声明与充满矛盾和怀疑的内部对话之间的紧张关系。参考《红色》的反思过程，贝克对一系列与音乐教育家和学者相关的主题进行了富有洞察力和见多识广的讨论。Baker将他的分析置于SATM(通过音乐的社会行动)的更广阔的景观中，这可以大致理解为音乐实践领域，起源于20世纪最后几十年拉丁美洲构想的大型社会音乐管弦乐项目，随后在21世纪初作为“系统”启发的产物在全球范围内传播。然而，本书中的讨论很容易与音乐教育的哲学和社会学的相关主题联系起来，例如艺术公民的概念，非殖民化，音乐教育的政治性质，音乐教育中的“社会”，仅举几例。本书引人注目的特点之一是它能够识别Medellín当地背景下的重要问题，提取潜在机制，并通过实证例子展开更广泛的讨论，讨论社会正义和社会变革在音乐教育领域可能意味着什么。贝克最初是作为一名民族音乐学家接受教育的，他对这些主题进行了深入而细微的反思，强调了通过民族志工作接近这些复杂问题的相关性，而不是仅仅基于概念探索的讨论。贯穿全书的一条红线是，贝克坚持强调音乐社会工作的模糊性和矛盾性。事实上，他对这个领域的批判性接触……
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Pub Date : 2023-03-01DOI: 10.2979/pme.2023.a885193
Renato Cardoso
Abstract:In this article, I present a five-part critique of the main aspects of the second edition of Music Matters by David Elliott and Marissa Silverman. This edition further develops their praxial philosophy, comprising topics on the nature and value of music education from a normative perspective, which in turn is developed to suit all musical education contexts. My analysis is organized in five main arguments concerning, first, an absence of historicity; second, the adoption of universalist premises; third, the inconsistency between the concepts of personhood and musical value; fourth, the adoption of a normative philosophy; and fifth, the relation between synthesis and content in the chapters. I argue that the book is constructed from a universalistic perspective and that its premises have epistemological inconsistencies. I offer a critical analysis of this extensive work for the purpose of engaging in a dialogue about themes which are relevant to the further development of philosophical thought in music education.
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Pub Date : 2023-03-01DOI: 10.2979/pme.2023.a885191
Brent C. Talbot, Donald M. Taylor
Abstract: Inspired by the life and works of GrammyAward® winning artist, Lil Nas X, we explore ways a young Black queer musician has enacted emancipatory utopias to disrupt dominant cultural modes of being—offering unapologetic expressions and expansions of race, gender, and sexual identity. In this paper, we draw upon José Esteban Muñoz and Ytasha Womak to consider how utopian thinking through the lenses of queer futurity and Afrofuturism provides a way to dismantle the hegemonic and proleptic trappings of music education and contemplate how music learners and teachers might enact emancipatory utopias relevant to their own historically lived experiences.
摘要:受格莱美奖获奖艺术家Lil Nas X的生活和作品的启发，我们探索了一位年轻的黑人酷儿音乐家如何制定解放乌托邦，以打破主流的文化存在模式——提供种族、性别和性身份的毫无歉意的表达和扩展。在本文中，我们借鉴jos Esteban Muñoz和Ytasha Womak的观点，通过酷儿未来和非洲未来主义的视角来思考乌托邦思维如何提供一种方式来拆除音乐教育的霸权和预言的束缚，并思考音乐学习者和教师如何制定与他们自己的历史生活经验相关的解放乌托邦。
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Pub Date : 2022-10-01DOI: 10.2979/philmusieducrevi.30.2.08
Nasim Niknafs
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Pub Date : 2022-10-01DOI: 10.2979/philmusieducrevi.30.2.07
Ketil Thorgersen, Thomas von Wachenfeldt
Abstract:This article is based on results from research that addressed the ways young Black Metal musicians construct their musical learning and socialization. In this article we will focus on one of the strands in that study; a trace of a classic ideal from Bildung theory. Using Bildung theory, we explore similarities between the ideals and concepts in the expressed informal music education from Black Metal musicians and contemporary institutionalized music education. In this article the German and Nordic 18th century concept of Bildung will be interpreted as the component that binds and contextualizes knowledge by a dialectic process with already inherited or internalized knowledge. Exploring, identifying, and comparing links between the educative process found within Black Metal and Bildung might at first sight seem to be both a pointless task and potentially reifying of problematic elements found within Black Metal. However, as we discuss, common features of Bildung and Black Metal, such as enlightenment through criticism of the taken-for-granted, a sublime Gesamtkunstwerk and a nihilist striving to become an image of God, help to reveal those ways Black Metal learning processes can be understood inthe light of Bildung theories. We do so in order to present tools for furthering the critical discussion of hegemonic music educational discourses.
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Pub Date : 2022-10-01DOI: 10.2979/philmusieducrevi.30.2.04
C. Benedict
Abstract:The pedagogical strategy of students choosing their own friends with whom to work in classroom contexts (under the guise of democratic participation) because this is how popular musicians learn, has mostly gone uninterrogated in the literature. Approaching the question of how to create a common world through a critical examination of the unexamined assumptions that underpin emerging celebratory discourses on friendship, I consider the ways in which the words friends and friendship are indiscriminately used without acknowledging that the soundness of this pedagogical choice is based on data collected from people (‘real life’ popular musicians) who are in, more often than not, instrumental relations of utility. In doing so I call for a rereading of friendship groups in order to resist the neoliberal injunction of self-interest, a survival-of-the-fittest ethos, and unchecked individualism. To that end I question the ways in which friendship groups in popular music groupings have become sites for developing and perfecting the neoliberal self.
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Pub Date : 2022-10-01DOI: 10.2979/philmusieducrevi.30.2.06
Kim Boeskov
Abstract:Music education holds an ambiguous relationship to social justice and social change; it is both complicit in perpetuating relations of inequality and a potential force for positive change. There is a need to turn the ambiguity of music’s social function—the simultaneous production of transformative and reproductive social processes—into the foundational premise of social analysis of music educational practice. Based on a discussion of ideas derived from social theory, feminist philosophy, and critical musicology concerning the performative constitution of agency and sociality, the notion of ambiguous musical practice is put forward as an analytical lens suited for exploring music’s social significance. The notion points to three interlocking dimensions of musical practice: bidirectionality (how music making may at once lead to destabilization and consolidation of social norms); multiplicity of social meanings (how music making produces multiple social meanings and therefore also may produce [contradictory] social effects on different levels of sociality); and in-betweenness (how music making may place participants in a state ‘in-between,’ understood as a social space where multiple identities, relations, and meanings can be both performed and imposed in ways that render them indeterminate). Inthis way, the notion of ambiguous musical practice may inform critical social analyses of music educational practice.
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Pub Date : 2022-10-01DOI: 10.2979/philmusieducrevi.30.2.05
Panagiotis A. Kanellopoulos
Abstract:This paper argues that the neoliberal (mis)appropriation of artistic creativity that begins to have a serious impact on music education can be seen as the result of a reverse détournement, whereby the very terms that used to play a pivotal role in describing the anti-systemic, anti-commercial, unsettling, emancipatory qualities of artistic creativity are being used to legitimize a thoroughly economized conception of creativity. It is suggested that this reverse détournement shapes a notion of creativity that can be referred to as subsumptive, a term that denotes the thorough instrumentalization of creativity that leads to a managerial approach to creative processes and practices. The paper identifies some of the main terms that have been sacrificed in the process of the neoliberal colonization of creativity, suggesting that we actively resist subsumptive creativity by molding a counter-hegemonic language that offers an alternative conceptual apparatus that might permit a conceptualization of creativity as subversive. Thus, it is suggested that instead of drawing on notions of flexibility and adaptability we explore the notion of nondeterminist plasticity of minds; instead of emphasizing uncertainty and risk-taking we choose to cultivate fearless exploration; in the place of notions of collaboration (that easily slips to networking) we emphasize dis-identification; instead of celebrating independence we engage with the notion of collectivity; instead of emphasizing learning how to anticipate future needs we choose to explore the merits of (temporary) withdrawal; instead of celebrating innovation we choose to explore practices of dismeasure; and instead of seeking ways to boost confidence, we explore the subversive potential of vulnerability.
{"title":"Countering Reverse Détournement: Subversive vs. Subsumptive Creativity","authors":"Panagiotis A. Kanellopoulos","doi":"10.2979/philmusieducrevi.30.2.05","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.30.2.05","url":null,"abstract":"Abstract:This paper argues that the neoliberal (mis)appropriation of artistic creativity that begins to have a serious impact on music education can be seen as the result of a reverse détournement, whereby the very terms that used to play a pivotal role in describing the anti-systemic, anti-commercial, unsettling, emancipatory qualities of artistic creativity are being used to legitimize a thoroughly economized conception of creativity. It is suggested that this reverse détournement shapes a notion of creativity that can be referred to as subsumptive, a term that denotes the thorough instrumentalization of creativity that leads to a managerial approach to creative processes and practices. The paper identifies some of the main terms that have been sacrificed in the process of the neoliberal colonization of creativity, suggesting that we actively resist subsumptive creativity by molding a counter-hegemonic language that offers an alternative conceptual apparatus that might permit a conceptualization of creativity as subversive. Thus, it is suggested that instead of drawing on notions of flexibility and adaptability we explore the notion of nondeterminist plasticity of minds; instead of emphasizing uncertainty and risk-taking we choose to cultivate fearless exploration; in the place of notions of collaboration (that easily slips to networking) we emphasize dis-identification; instead of celebrating independence we engage with the notion of collectivity; instead of emphasizing learning how to anticipate future needs we choose to explore the merits of (temporary) withdrawal; instead of celebrating innovation we choose to explore practices of dismeasure; and instead of seeking ways to boost confidence, we explore the subversive potential of vulnerability.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"30 1","pages":"145 - 162"},"PeriodicalIF":1.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45741258","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}
Pub Date : 2022-10-01DOI: 10.2979/philmusieducrevi.30.2.09
M. Berger
{"title":"Juliet Hess, Music Education for Social Change–Constructing an Activist Music Education (New York, Routledge, 2019)","authors":"M. Berger","doi":"10.2979/philmusieducrevi.30.2.09","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.30.2.09","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48191970","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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