Toward a sociology of music education informed by Indigenous perspectives

Prest, Anita; Goble, J. Scott

doi:10.4324/9780429504631-5-9

Cited by 4 publications

(2 citation statements)

References 1 publication

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“…The cultural facilitator’s guidance provided a “safety net” that encouraged music educators to engage meaningfully in the process of recording and bringing the songs to their classes, along with all the teachings linked to them. We have previously reported on the effects of the teachings, drumming, singing, and associated pedagogies that the students described (Prest & Goble, 2021b). Here, we describe two of the classes that one of us observed and the processes that Anna and Joan, the secondary teacher, followed.…”

Section: Resultsmentioning

confidence: 99%

On Embedding Indigenous Musics in Schools: Examining the Applicability of Possible Models to One School District’s Approach

Prest

Goble

Vazquez-Cordoba

2022

Update: Applications of Research in Music Education

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Recent curriculum policy changes in British Columbia (BC) require that educators in all subject areas—including music—embed local Indigenous knowledge, pedagogies, and worldviews in their classes. Yet facilitating such decolonizing cross-cultural music education activities requires knowledge that music educators may not currently possess. We use four models created by an Indigenous Arts scholar to examine the interface of Indigenous and Western art musics in performing arts settings: (a) integration, (b) nation-to-nation music trading and reciprocal presentation, (c) a combination of the first two models, and (d) non-integrative encounters that are in relationship but have irreconcilable elements. We consider the applicability of these models in music education settings, using them to analyze our findings from a study in which we explored the ways teachers have embedded local First Nations songs and drumming in classes in a single metropolitan school district in BC.

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Section: Resultsmentioning

confidence: 99%

On Embedding Indigenous Musics in Schools: Examining the Applicability of Possible Models to One School District’s Approach

Prest

Goble

Vazquez-Cordoba

2022

Update: Applications of Research in Music Education

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“…However, in cross-cultural encounters, miscommunication can occur between Indigenous people who have grown up with or learned their community’s worldview and non-Indigenous individuals who are not familiar with that worldview, because these two groups of people do not hold similar meanings for the words and phrases they employ in common, due to their dissimilar ways of being and knowing in the world. Listening in cross-cultural encounters then entails the recognition that seemingly benign words—for example, “relationship”—holds vastly different meanings for those attempting to communicate with one another ( Prest & Goble, 2021b ). Such recognition signals the beginning of acquiring a decolonial listening habit.…”

Section: Lyackson Stó:lō Líl’wat and Syilx First Nations Conceptions ...mentioning

confidence: 99%

Listening with ‘Big Ears’: Accountability in cross-cultural music education research with Indigenous partners

Prest

2023

Research Studies in Music Education

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In this theoretical article, I examine various conceptions of focused listening—including those held by specific First Nations communities—to determine how each conception might offer insights for listening while conducting cross-cultural music education research. First, I discuss the notion of “Big Ears,” as it is understood by the jazz community. Then, I turn to scholars from various First Nations in British Columbia to learn about their conceptions of listening. I outline decolonial listening strategies as proposed by Indigenous Arts scholar Dylan Robinson, before learning about the role of listening from a settler-Canadian who formally Witnessed the testimonies of Indigenous residential school survivors over a period of years while working for the Truth and Reconciliation Commission of Canada. I examine the writings of music education researchers who have proposed listening as an important strategy in cross-cultural/intercultural pedagogy and research, albeit in different circumstances and for different reasons. Finally, I describe/reflect on my process of learning to listen cross-culturally as a settler-Canadian music education researcher engaged in community-based participatory research (CBPR) over the course of three studies, and list some of the ongoing questions I have. I conclude by proposing a revised understanding of Listening with “Big Ears” as one possible way for non-Indigenous researchers using a CBPR approach to enhance their application of Indigenist research methodology, especially in demonstrating their accountability to Indigenous co-researchers, participants, and communities, as they engage collaboratively in music education research.

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Composition, Policy, and the Formation of Agency

Schmidt,

Edwards

2024

The Oxford Handbook of Music Composition Pedagogy

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This chapter argues that while at first glance music education policy and music composition may seem an odd pairing, when framed through a lens of critical and progressive practice the strangeness disappears. The chapter illustrates a pushback at traditionalist, Eurocentric narratives, arguing that in some ways, apprehensions around “policy” mirror hesitancies around “composing”—a similar narrowness promoting misconceptions about who can do what and how and to what end. What can be heard, instead, is an invitation for music teachers in all educational levels to reimagine their roles and (re)sound music education as a space for voice, agency, and social change. Situating itself within larger—and now acute—social, racial, and cultural demands placed by a need to change, this chapter explores avenues through which music education may be ready to enact curricular policies that forego “conveyor belt” approaches (Stone, 2011) to recurring challenges such as music teacher preparation diversity, pedagogical innovation, and program relevance. The chapter presents three field cases that exemplify innovative dispositions and provides a critique of music teacher education programs in relation to NASM accreditation policy. Specifically, we use policy as an analytical lens to articulate how composition, understood broadly, can serve as a convincing example of “institutional innovation capable of linking the subject in a creative relationship with an [renewed] institutional environment.”

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Toward a sociology of music education informed by Indigenous perspectives

Cited by 4 publications

References 1 publication

On Embedding Indigenous Musics in Schools: Examining the Applicability of Possible Models to One School District’s Approach

On Embedding Indigenous Musics in Schools: Examining the Applicability of Possible Models to One School District’s Approach

Listening with ‘Big Ears’: Accountability in cross-cultural music education research with Indigenous partners

Composition, Policy, and the Formation of Agency

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