The Ethics of Policy

2015 ◽  
pp. 46-61
Author(s):  
Patrick Schmidt
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Music Educators ◽  
Professional Life ◽  
The Political ◽  
Ethical Imperative

This chapter delineates the need for policy thought as a key element of the education and professional life of any teacher, and in particular of those charged to educate in and through music. This argument is built upon the ethical imperative of bringing music educators and policy together, the positive implications such approximation may have, and how it can impact social justice work in music education. The policy realm is commonly seen as “above our pay grade,” beyond our duties and responsibilities, and outside the reach of our capacities. But nothing could be further from the truth. This chapter offers a framework and rationale that show how social justice and policy are entwined, while arguing that both areas are integral parts of the political lives of teachers.

Literature Review of Social Justice in Music Education: Acknowledging Oppression and Privilege

2017 ◽  
Vol 36 (2) ◽  
pp. 22-31
Author(s):  
Elizabeth S. Palmer
Keyword(s):  
Higher Education ◽  
Social Justice ◽  
Literature Review ◽  
Music Education ◽  
Ethnic Minorities ◽  
Music Educators ◽  
Complex Nature ◽  
Social Spaces ◽  
Racial And Ethnic Minorities ◽  
The Past

Within the past few years the notions of a postracial America and achieved equality have been topics of discussion in various public and social circles. The visibility of racial and ethnic minorities, women, those in the LGBTQ (lesbian, gay, bisexual, trans, and queer) community, and individuals with disabilities feeds a narrative of equality within a postracial America. However, the aforementioned groups still face discrimination. Social justice offers equity within social spaces by challenging injustices inflicted on disfranchised groups. Given the complex nature of injustices against disfranchised people, how can music educators address these issues that appear to be extramusical and beyond our control? This literature review defines social justice and explores social justice issues in (a) music education, (b) higher education, and (c) pathways toward more socially just practices.

Disjunctured Feminisms

2015 ◽  
pp. 121-139
Author(s):  
Roberta Lamb ◽  
Niyati Dhokai
Keyword(s):  
Social Justice ◽  
Music Education ◽  
North American ◽  
Music Educators ◽  
American Music ◽  
Cross Cultural ◽  
Cultural Approach ◽  
Feminist Perspectives ◽  
American Academic

This chapter explores feminism in the classroom to contribute to the discussion of music education and social justice in the volume. Through a dual-authored, cross-generational and cross-cultural approach, it follows the disjunctured past of feminism in North American music education, and advocates for the study of feminist histories within music education and its social and historical relevance to current music educators. It also deliberates the negotiation of North American academic feminisms concurrently with global feminisms. Furthermore, it considers the emergence of multicultural feminist perspectives within the music education classroom and offers ethnographic possibilities for encouraging diverse perspectives within the classroom. The chapter offers possibilities for encouraging inclusive and comprehensive music education that recognizes how each individual’s experience contributes to feminist diversity and social justice.

The Oxford Handbook of Social Justice in Music Education

2015 ◽  
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Music Educators ◽  
Pedagogical Practices ◽  
Refugee Camps ◽  
Student Agency ◽  
Music Learning ◽  
Cultural Perspectives ◽  
Starting Point ◽  
Comprehensive Survey

This handbook seeks to present a wide-ranging and comprehensive survey of social justice in music education. Contributors from around the world interrogate the complex, multidimensional, and often contested nature of social justice and music education from a variety of philosophical, political, social, and cultural perspectives. Although many chapters take as their starting point an analysis of how dominant political, educational, and musical ideologies serve to construct and sustain inequities and undemocratic practices, authors also identify practices that seek to promote socially just pedagogy and approaches to music education. These range from those taking place in formal and informal music education contexts, including schools and community settings, to music projects undertaken in sites of repression and conflict, such as prisons, refugee camps, and areas of acute social disadvantage or political oppression. In a volume of this scope, there are inevitably many recurring themes. However, common to many of those music education practices that seek to create more democratic and equitable spaces for musical learning is a belief in the centrality of student agency and a commitment to the too-often silenced voice of the learner. To that end, this Handbook challenges music educators to reflect critically on their own beliefs and pedagogical practices so that they may contribute more effectively to the creation and maintenance of music learning environs and programs in which matters of access and equity are continually brought to the fore.

Troubling Whiteness: Music education and the “messiness” of equity work

2017 ◽  
Vol 36 (2) ◽  
pp. 128-144 ◽  
Author(s):  
Juliet Hess
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Music Teachers ◽  
Music Educators ◽  
Elementary Music ◽  
Elementary Level ◽  
White Female ◽  
Elementary Music Educators ◽  
Diverse Schools

At the elementary level, White, female music teachers largely populate music education. In the diverse schools of Toronto in Canada, teachers navigate their White subjectivities in a range of ways. My research examines the discourses, philosophies, and practices of four White, female elementary music educators who have striven to challenge dominant paradigms of music education. Their practices include critically engaging issues of social justice, studying a broad range of musics, and emphasizing contextualization. In many ways, these teachers interrupt the Eurocentric paradigm of music education to explore other possibilities with students. However, equity work is messy, and there were also moments that unsettled these teachers’ active equity agendas. This article describes both the subversions and the reinscriptions in a way that might be instructive to music education.

Intersecting Social Justices and Music Education

2015 ◽  
pp. 6-28
Author(s):  
Estelle R. Jorgensen
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Distributive Justice ◽  
Procedural Justice ◽  
Restorative Justice ◽  
Natural Law ◽  
Music Educators ◽  
Divine Justice ◽  
Commutative Justice ◽  
Poetic Justice

In this chapter, responses to three interrelated questions are sketched: Why should music educators be interested in justice? What is meant by the term “social justice” and what are the sorts of social justice? How should music educators act on behalf of justice? The case is made for a multifaceted view of justice broadly construed. Aspects of distributive justice, communitarian justice, commutative justice, contributive justice, procedural justice, retributive justice, restorative justice, poetic justice, instrumental justice, legal justice, divine justice, and justice viewed through natural law are applied to notions of social justice from the perspective of education and music education. Several practical steps in working against injustice and toward justice in and on behalf of music education are offered.

The Philosophy of Assessment in Music Education

2019 ◽  
pp. 32-55
Author(s):  
Roger Mantie
Keyword(s):  
Music Education ◽  
Authentic Assessment ◽  
Music Educators ◽  
Local Communities ◽  
Self Determination ◽  
Common Theme ◽  
Education Assessment ◽  
Consequential Validity ◽  
Mandated Testing

Philosophies of assessment are rare, perhaps even more so in music education. This chapter, arranged in five “movements” intended to reflect various ways of examining assessment issues, considers prominent themes emerging from the music education assessment literature, such as accountability, authentic assessment, consequential validity, legitimacy, mandated testing, metaphor, power-knowledge, and self-determination. The author asks questions such as, To what extent should philosophical commitments be voluntary versus compelled? To what extent should music educators be able to collectively determine educative values and to what extent should others (policymakers, local communities) have a say in what should constitute valuable learning in music? A common theme throughout the chapter is the urge for caution and reflection so that well-intended assessment efforts do not undermine cherished goals for music education.

Could There Be Deleuzian Assessment in Music Education?

2019 ◽  
pp. 121-136
Author(s):  
Lauren Kapalka Richerme
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Educators ◽  
Assessment Practices ◽  
Continuous Assessment ◽  
Education Policies ◽  
Philosophical Inquiry ◽  
Music Making ◽  
Musical Practices ◽  
Contemporary Education

Authors of contemporary education and arts education policies tend to emphasize the adoption of formal, summative assessment practices. Poststructuralist philosopher Gilles Deleuze’s emphasis on ongoing differing and imaginative possibilities may at first glance appear incompatible with these overarching, codified assessments. While Deleuze criticizes the increasing use of ongoing assessments as a form of control, he posits a more nuanced explanation of measurement. This philosophical inquiry examines four measurement-related themes from Deleuze’s writings and explores how they might inform concepts and practices of assessment in various music teaching and learning contexts. The first theme suggests that each group of connective relations, what Deleuze terms a “plane of immanence,” demands its own forms of measurement. Second, Deleuze emphasizes varieties of measurement. Third, those with power, what Deleuze terms the “majority,” always set the standard for measurement. Fourth, Deleuze derides continuous assessment. His writings suggest that music educators might consider that assessments created for one musical practice or style should not transcend their own “plane of immanence,” that a variety of nonstandardized assessments is desirable, that the effect of measurement on “minoritarian” musical practices must be examined carefully, and that it is essential to ponder the potentials of unmeasured music making.

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