Differencing music education

Abstract

This paper is the pedagogical embodiment of accumulated understandings drawn from discussions of postmodern and poststructuralist theory and suggests some forms that an ethical music education might take. Music education in the postmodern era calls for and revives an attention to the relations between music and cultural narrative. Students bring diverse locational and historical narratives to the classroom. Bearing this in mind, this paper examines difference in the context of a music education that is now charged with both obligations as a result of internationalism, and with a role in resistance to the homogenising forces of globalisation. It suggests music education as a possible site for a critical concept of knowledge and as a dynamic site of cultural narrative.

A Study of Hong Kong Students' Music Participation in and Out of School

“…A newly developed sociological foundation for music education would enable a student-driven approach that could be more meaningful and contextual (Roberts, 1996). Many scholars (e.g., Carr, 2005;Gracyk, 1999;Jorgensen, 2003;Mansfi eld, 2002;Plummeridge, 1999;Small, 1996) have written about how music education, including enjoyment, should develop values, and promote civilisation and cultural understanding. The new philosophy of Elliot (1995), favours a 'praxial' philosophy of music education, centred on musical performance values-the 'musicing' process-rather than focusing on the artefacts of music (also see Elliot, 2005).…”

Connecting ideas to practice: The development of an undergraduate student’s philosophy of music education

“…As stated by Fowler (1970), “Our blunder is that we have treated music as a highly specialized type of consciousness and thus, without realizing it, fenced it off for the elite” (p. 39). Mansfield (2002) contributed to the critical analysis of music education from a postmodern perspective, suggesting that “The idea of development of music from simple to ‘sophisticated’ (12 equal-tempered tones, semitones harmony and Western instruments) is Eurocentric, denying an aesthetics of difference and implying binary opposites and universal truths (music/non-music, harmony/discord, rhythmical/non-rhythmical, etc. )” (p. 196).…”

Philosophy of Music Education Challenged: Heideggerian Inspirations

“…Grierson 2000 ;Mansfi eld 2000Mansfi eld , 2002Mansfi eld , 2005Lines 2003Lines , 2004Lines , 2005aNaughton 2007 ;Locke 2011 ) through the infl uence of the work of Michael Peters and Jim Marshall 1 and other scholars in the philosophy of education. Aotearoa/New Zealand is a small postcolonial country in the South Pacifi c with a history of sensitivities to indigenous and marginal cultures and arts.…”