To All Who Should Be Concerned

Abstract

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‘Unpacking the Keeper Current’ of Settler Colonialism: Why Decolonizing Work is Complicated for (White) Music Educators

“…18 This conception of music as piece/object stands in sharp relief to an Indigenous perspective where music is spiritual practice, medicine, and can even have agency with no need for a human actor to call it into being (Dylan Robinson 2020). Dylan Robinson (2019) explains that "many cultures consider song to have life, and have more-than-aesthetic functions" (139). He speaks to the epistemic violence that can be wrought when Indigenous musics are approached through the lens of Western structures of analysis, composition, and performance, and, I add, Western structures of teaching and learning.…”

“…Any alternative path forward must make space for and center the voices, bodies, and knowledge systems of Indigenous peoples along with those of Black, Brown, and Asian peoples, while actively seeking to banish structures of colonial dominance tacitly implied in Western music education. What is needed, in the words of Dylan Robinson (2019), is an "allyship of persistent, embodied obstruction to the normative processes" of our discipline (141).…”

What Can Music Learning Do? Audiovision as Research-Creation in Undergraduate Music Studies

“…Research-creation they suggest, has a role in investigating this inbetween space, a "practical musicology" (Zsgorsky-Thomas 2022) to help rethink musicology education. Artist-researchers working in Canadian undergraduate music programs are also inquiring after ways to respond to Dylan Robinson's (2019) observation that "decolonizing music programs involves challenging the received values of such programs" (138). This is an encouragement to think pedagogy as more than the replication of the university's valued modes of knowing, what Gilles Deleuze called an image of thought, some of which have been shown to be exclusionary, inward-looking, disciplinary, and disciplining (Harney and Moten 2013).…”

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

“…Furthermore, situating a curriculum epistemically requires challenging modern Euro-American universalist patterns that, by definition, exclude all other systems of knowledge (Wynter, 2003). Doing so creates avenues for considering a plurality of musical reasoning systems and ways of organizing musical knowledge in relation to each other (Bradley, 2012;Robinson, 2019).…”