Pub Date : 2021-10-14DOI: 10.2979/philmusieducrevi.29.2.02
S. Karlsen
Abstract:The aim of this article is to analyze and discuss the role that sociological theory plays in music education scholarship. Using books published internationally and explicitly on the topic of the sociology of music education during the recent decade as well as abstracts published in the programs from the 2017 and 2019 International Symposium on the Sociology of Music Education biennial conferences as entryways into this discussion, the questions asked are: What kinds of sociological theory are put to use in this material? Which sociologists or sociological theoreticians seem to be the main contributors in this regard? Which questions are asked by utilizing the approaches in play? In other words, what is sociological theory used for? In order to create a backdrop for the analysis, the article provides brief overviews of some of the similarities and differences between the field of philosophy and that of sociology in general as well as the state of sociological theory within music sociology and cultural sociology. Compared with the latter two scholarly fields, that of music education sociology comes through as one in considerable lack of theory creation, and as more invested in the logic of practice than subscribing to the rules of the scholastic game. It is also predominantly Western-centric. Following Bourdieu, these features are interpreted as conveying some of music education’s “epistemic unconscious.”
{"title":"Assessing the State of Sociological Theory in Music Education: Uncovering the Epistemic Unconscious","authors":"S. Karlsen","doi":"10.2979/philmusieducrevi.29.2.02","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.29.2.02","url":null,"abstract":"Abstract:The aim of this article is to analyze and discuss the role that sociological theory plays in music education scholarship. Using books published internationally and explicitly on the topic of the sociology of music education during the recent decade as well as abstracts published in the programs from the 2017 and 2019 International Symposium on the Sociology of Music Education biennial conferences as entryways into this discussion, the questions asked are: What kinds of sociological theory are put to use in this material? Which sociologists or sociological theoreticians seem to be the main contributors in this regard? Which questions are asked by utilizing the approaches in play? In other words, what is sociological theory used for? In order to create a backdrop for the analysis, the article provides brief overviews of some of the similarities and differences between the field of philosophy and that of sociology in general as well as the state of sociological theory within music sociology and cultural sociology. Compared with the latter two scholarly fields, that of music education sociology comes through as one in considerable lack of theory creation, and as more invested in the logic of practice than subscribing to the rules of the scholastic game. It is also predominantly Western-centric. Following Bourdieu, these features are interpreted as conveying some of music education’s “epistemic unconscious.”","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"29 1","pages":"136 - 154"},"PeriodicalIF":1.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42787963","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 : 2021-10-14DOI: 10.2979/philmusieducrevi.30.2.00
E. Jorgensen
{"title":"Editorial","authors":"E. Jorgensen","doi":"10.2979/philmusieducrevi.30.2.00","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.30.2.00","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"29 1","pages":"133 - 135"},"PeriodicalIF":1.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42724442","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 : 2021-09-01DOI: 10.2979/philmusieducrevi.29.2.07
R. Allsup
{"title":"Jane Roland Martin, School Was Our Life: Remembering Progressive Education (Bloomington, IN: Indiana University Press, 2018)","authors":"R. Allsup","doi":"10.2979/philmusieducrevi.29.2.07","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.29.2.07","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"1 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41681639","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 : 2021-04-02DOI: 10.2979/PHILMUSIEDUCREVI.29.1.04
Emily Good-Perkins
Abstract:The examination of racist, normalized ideology within American education is not new. Theoretical and practical conceptions of social justice in education have attempted to attend to educational inequality. Oftentimes, these attempts have reinstated the status quo because they were framed within the same Eurocentric paradigm. To address this, Django Paris proposed culturally sustaining pedagogy as a means of empowering minoritized students by sustaining the cultural competence of their communities and dismantling coloniality within educational practices. He, Michael Domínguez, and others argue that epistemic expansion is imperative for equitizing educational spaces and closing the ontological distance between teachers and students. Drawing from their work as well as scholarship from the fields of educational policy, urban education, Afrocentrism, and Indigenous studies, this paper seeks to expand the discussion about culturally relevant and responsive music education to account for students’ musical epistemologies and the ways in which “epistemic travel” might inform normalized musical practices.
{"title":"Culturally Sustaining Music Education and Epistemic Travel","authors":"Emily Good-Perkins","doi":"10.2979/PHILMUSIEDUCREVI.29.1.04","DOIUrl":"https://doi.org/10.2979/PHILMUSIEDUCREVI.29.1.04","url":null,"abstract":"Abstract:The examination of racist, normalized ideology within American education is not new. Theoretical and practical conceptions of social justice in education have attempted to attend to educational inequality. Oftentimes, these attempts have reinstated the status quo because they were framed within the same Eurocentric paradigm. To address this, Django Paris proposed culturally sustaining pedagogy as a means of empowering minoritized students by sustaining the cultural competence of their communities and dismantling coloniality within educational practices. He, Michael Domínguez, and others argue that epistemic expansion is imperative for equitizing educational spaces and closing the ontological distance between teachers and students. Drawing from their work as well as scholarship from the fields of educational policy, urban education, Afrocentrism, and Indigenous studies, this paper seeks to expand the discussion about culturally relevant and responsive music education to account for students’ musical epistemologies and the ways in which “epistemic travel” might inform normalized musical practices.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"29 1","pages":"47 - 66"},"PeriodicalIF":1.0,"publicationDate":"2021-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48391926","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 : 2021-04-02DOI: 10.2979/PHILMUSIEDUCREVI.29.1.02
M. Scarlato
Abstract:This essay explores performance-driven aspects of U.S. bands in the contexts of Pierre Hadot’s Philosophy as a Way of Life, Lewis Carroll’s Alice’s Adventures in Wonderland, Jacques Derrida’s Aporias, and the author’s experience teaching both elementary general music and beginning band. The author wonders what band education might look like when the profession’s fixation on futuristic performances and allegiances to past traditions are laid aside; the article proposes that the profession of band might benefit from a more present-focused, process-oriented approach to making music, akin to that of the general music classroom setting. The author advocates for a deeper engagement in critical dialogue around the role tradition plays in current band education practices in ways that reach toward inclusive, present-focused music making.
{"title":"Go Ask Alice: How is a Raven Like a Band Director?","authors":"M. Scarlato","doi":"10.2979/PHILMUSIEDUCREVI.29.1.02","DOIUrl":"https://doi.org/10.2979/PHILMUSIEDUCREVI.29.1.02","url":null,"abstract":"Abstract:This essay explores performance-driven aspects of U.S. bands in the contexts of Pierre Hadot’s Philosophy as a Way of Life, Lewis Carroll’s Alice’s Adventures in Wonderland, Jacques Derrida’s Aporias, and the author’s experience teaching both elementary general music and beginning band. The author wonders what band education might look like when the profession’s fixation on futuristic performances and allegiances to past traditions are laid aside; the article proposes that the profession of band might benefit from a more present-focused, process-oriented approach to making music, akin to that of the general music classroom setting. The author advocates for a deeper engagement in critical dialogue around the role tradition plays in current band education practices in ways that reach toward inclusive, present-focused music making.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"29 1","pages":"23 - 4"},"PeriodicalIF":1.0,"publicationDate":"2021-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43332324","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 : 2021-04-02DOI: 10.2979/philmusieducrevi.29.1.05
Juliet Hess
Abstract:Music educators and music education researchers often rely on the use of story when advocating for social change. We may use story to illustrate a need for resources, point to a systemic injustice, illustrate a need for policy change, or identify an exclusion. Allies often utilize stories of oppression to demonstrate the untenability of situations or dehumanization experienced by particular people or groups. Stories shared, in other words, typically describe difficult, oppressive, or traumatic situations that may accomplish advocacy or social change goals but may also inadvertently reinscribe oppressive relations. This paper considers several questions in relation to this practice: What does it do for dominant group members to hear stories of marginalization? How can telling stories ultimately reinscribe oppression? How could individuals who offer their stories benefit from sharing? What educational value does telling stories offer? If storytelling carries potential for reinscribing oppression, how else might educators advocate to meet the needs identified? To theorize this type of storytelling, I put Martin Buber’s work on I-Thou in conversation with work of Homi Bhabha. Buber’s theorizing allows the consideration of different types of relations, while Bhabha provides ways to explore the effects of what Buber terms an I-It relationship on individuals subject to systemic oppression. Ultimately, I explore ways to recenter minoritized voices and examine how it might be possible to consider oppressive systems without acquiescing to the demand for story.
{"title":"“Putting a Face on It”: The Trouble with Storytelling for Social Justice in Music Education","authors":"Juliet Hess","doi":"10.2979/philmusieducrevi.29.1.05","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.29.1.05","url":null,"abstract":"Abstract:Music educators and music education researchers often rely on the use of story when advocating for social change. We may use story to illustrate a need for resources, point to a systemic injustice, illustrate a need for policy change, or identify an exclusion. Allies often utilize stories of oppression to demonstrate the untenability of situations or dehumanization experienced by particular people or groups. Stories shared, in other words, typically describe difficult, oppressive, or traumatic situations that may accomplish advocacy or social change goals but may also inadvertently reinscribe oppressive relations. This paper considers several questions in relation to this practice: What does it do for dominant group members to hear stories of marginalization? How can telling stories ultimately reinscribe oppression? How could individuals who offer their stories benefit from sharing? What educational value does telling stories offer? If storytelling carries potential for reinscribing oppression, how else might educators advocate to meet the needs identified? To theorize this type of storytelling, I put Martin Buber’s work on I-Thou in conversation with work of Homi Bhabha. Buber’s theorizing allows the consideration of different types of relations, while Bhabha provides ways to explore the effects of what Buber terms an I-It relationship on individuals subject to systemic oppression. Ultimately, I explore ways to recenter minoritized voices and examine how it might be possible to consider oppressive systems without acquiescing to the demand for story.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"29 1","pages":"67 - 87"},"PeriodicalIF":1.0,"publicationDate":"2021-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46896394","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 : 2021-04-02DOI: 10.2979/PHILMUSIEDUCREVI.29.1.07
Franz Kasper Krönig
Abstract:What forms of practices can we observe in music education settings? Is it always music just because there are instruments in the room and some sounds are produced or because we can identify some pieces of a musical work now and then? Or is it because the children are engaged in self-determined activities? Or does the verbalization of behavior in musical terms prove this to be musical practice? This and other thoughts that guided the initial interpretations in a teaching research project based on video materials have shown to be fallacies during deeper analyses. Since the indicators that this paper argues to be fallacies seem to be quite common–some in participatory observation of music practice (reflective practice of music educators) and others in theoretical and research work on music education–the identification and reflection of these fallacies could be of general value for music education discourse and practice. Various examples demonstrate how undifferentiated or even fallacious interpretations of practices in music education settings can undermine possibilities for aesthetic experience and musical practice. The paper argues that the necessary differentiation in observation depends on a reconsideration of philosophical questions and concepts from the past.
{"title":"Six Fallacies Regarding the Question of Whether We Conceive of Practices as “Musical”","authors":"Franz Kasper Krönig","doi":"10.2979/PHILMUSIEDUCREVI.29.1.07","DOIUrl":"https://doi.org/10.2979/PHILMUSIEDUCREVI.29.1.07","url":null,"abstract":"Abstract:What forms of practices can we observe in music education settings? Is it always music just because there are instruments in the room and some sounds are produced or because we can identify some pieces of a musical work now and then? Or is it because the children are engaged in self-determined activities? Or does the verbalization of behavior in musical terms prove this to be musical practice? This and other thoughts that guided the initial interpretations in a teaching research project based on video materials have shown to be fallacies during deeper analyses. Since the indicators that this paper argues to be fallacies seem to be quite common–some in participatory observation of music practice (reflective practice of music educators) and others in theoretical and research work on music education–the identification and reflection of these fallacies could be of general value for music education discourse and practice. Various examples demonstrate how undifferentiated or even fallacious interpretations of practices in music education settings can undermine possibilities for aesthetic experience and musical practice. The paper argues that the necessary differentiation in observation depends on a reconsideration of philosophical questions and concepts from the past.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"29 1","pages":"102 - 116"},"PeriodicalIF":1.0,"publicationDate":"2021-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45546280","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 : 2021-04-02DOI: 10.2979/PHILMUSIEDUCREVI.29.1.03
A. Prest, J. S. Goble
Abstract:In this paper, we explore challenges in conveying the culturally constructed meanings of local Indigenous musics and the worldviews they manifest to students in K-12 school music classes, when foundational aspects of the English language, historical and current discourse, and English language habits function to thwart the transmission of those meanings. We recount how, in settler colonial societies in North America, speakers of the dominant English language have historically misrepresented, discredited, and obscured cultural meanings that inhere in local Indigenous musics. First, we examine three ways in which the use of English has distorted the cultural meanings of those musics. Next, we explain how historical discourses in English have intentionally undervalued or discredited the values intrinsic to those musics, also describing how some current music education discourse in English might work against the embedding of Indigenous meanings in school music education settings. We then consider additional factors distinguishing Indigenous languages from European languages (especially English) to show how a people’s “language habits” influence their perception of and thus their relationship with their natural environment. We conclude by considering the role of music education in revitalizing local Indigenous languages and musics and advancing the cultural values of their originating communities.
{"title":"Language, Music, and Revitalizing Indigeneity: Effecting Cultural Restoration and Ecological Balance via Music Education","authors":"A. Prest, J. S. Goble","doi":"10.2979/PHILMUSIEDUCREVI.29.1.03","DOIUrl":"https://doi.org/10.2979/PHILMUSIEDUCREVI.29.1.03","url":null,"abstract":"Abstract:In this paper, we explore challenges in conveying the culturally constructed meanings of local Indigenous musics and the worldviews they manifest to students in K-12 school music classes, when foundational aspects of the English language, historical and current discourse, and English language habits function to thwart the transmission of those meanings. We recount how, in settler colonial societies in North America, speakers of the dominant English language have historically misrepresented, discredited, and obscured cultural meanings that inhere in local Indigenous musics. First, we examine three ways in which the use of English has distorted the cultural meanings of those musics. Next, we explain how historical discourses in English have intentionally undervalued or discredited the values intrinsic to those musics, also describing how some current music education discourse in English might work against the embedding of Indigenous meanings in school music education settings. We then consider additional factors distinguishing Indigenous languages from European languages (especially English) to show how a people’s “language habits” influence their perception of and thus their relationship with their natural environment. We conclude by considering the role of music education in revitalizing local Indigenous languages and musics and advancing the cultural values of their originating communities.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"29 1","pages":"24 - 46"},"PeriodicalIF":1.0,"publicationDate":"2021-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44576812","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 : 2021-03-01DOI: 10.2979/philmusieducrevi.29.1.09
C. Bernard
{"title":"David J. Elliott, Marissa Silverman, and Gary E. McPherson, eds., The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education (New York, NY: Oxford University Press, 2019)","authors":"C. Bernard","doi":"10.2979/philmusieducrevi.29.1.09","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.29.1.09","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":" ","pages":""},"PeriodicalIF":1.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43743750","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 : 2021-01-01DOI: 10.2979/PHILMUSIEDUCREVI.29.1.06
Lu, Tan
{"title":"On the Usefulness of Nothingness: A Daoist-Inspired Philosophy of\u0000 Music Education","authors":"Lu, Tan","doi":"10.2979/PHILMUSIEDUCREVI.29.1.06","DOIUrl":"https://doi.org/10.2979/PHILMUSIEDUCREVI.29.1.06","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"1 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69202305","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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