Diaspora: A New Paradigm for Music Education

Gustafson, Ruth

doi:10.1007/978-3-030-52105-9_1

Cited by 1 publication

(2 citation statements)

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“…Spearheaded by the Civil Rights movement, the 1970s multicultural music education movement and the early-21st century world music movement conceptualized popular and non-Euro-American sound-making practices as worthy of study in their own right (e.g. Gustafson, 2020; Schippers & Campbell, 2012). In addition to discussions about musical repertory, music education scholars have also interrogated music curricula’s epistemic premises (e.g.…”

Section: Changing Approaches To Cultural Pluralism In Us School Music...mentioning

confidence: 99%

“…To date, most curricular efforts to address that ethnocentrism have focused on selection of musical repertory (Schippers & Campbell, 2012). While repertory choices are pivotal to this goal, the slow shift in the demographic composition of music education’s students over the past half century suggests that changes in repertory alone are insufficient (Gustafson, 2020).…”

Section: Closing Thoughtsmentioning

confidence: 99%

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Beyond musical repertory: Euro-Americentric ways of knowing in the International Baccalaureate high school music curriculum framework

Ben

2022

International Journal of Music Education

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While choices of musical repertory are key to challenging the historical ethnocentrism of school music curricula, ethnocentrism manifests as powerfully in the way a curriculum defines and structures musical knowledge. This article examines the knowledge divisions used to structure one of the most popular and reputable high school music curricula worldwide: the International Baccalaureate (IB). My analysis indicates that, while IB music gestures rhetorically to cultural and epistemic pluralism, its primary knowledge divisions—Musical Perception, Creating, and Performing—are fundamentally rooted in modern Euro-American conceptions of musical knowledge and ways of knowing. This study demonstrates the importance of explicitly acknowledging the epistemic foundations of music curricula’s foundations so that teachers and their students can better decide how they want to engage with the knowledge presented.

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Section: Changing Approaches To Cultural Pluralism In Us School Music...mentioning

confidence: 99%

Section: Closing Thoughtsmentioning

confidence: 99%