Music Education as Global Education: A Developmental Approachtopics.maydaygroup.org/articles/2019/Mellizo_2019.pdf · important common ground that can serve as a natural starting

TOPICS for Music Education Praxis

2019:01http://topics.maydaygroup.org

ISSN: 2469-4681 © 2019, Jennifer M. Mellizo

Article URL: http://topics.maydaygroup.org/2019/Mellizo2019.pdf

MusicEducationasGlobalEducation:ADevelopmentalApproachJenniferM.Mellizo

UniversityofWyomingLaboratorySchool,Laramie,WY,USA

ABSTRACTAlthoughtherehavebeenisolatedpocketsofdiscussionabouttheconnectionbetweenmusicparticipationandglobalcitizenshipidentifications,inmanywaysmusiceducationhasremainedonthesidelinesofthewiderglobaleducationmovement.Socioculturalunderstandinghasbeendiscussedasapositivebyproductofmusiceducation,butnotusuallyasanexplicitgoal.Yet,asCampbell(2013)argues,theconsequencesofanever-changing,increasinglydiverseandconnectedworld“areconsiderableforsystemsofmusiceducation,andforindividualteachers”(16).Itisimperativeforpractitionersandscholarstoconsiderthewaysinwhichlearningexperiencesinthemusicclassroomcancultivatehigherlevelsofglobalcompetencywithoutdiminishingmusicallearning.Throughthisarticle,Iproposeadevelopmentalframeworkforunderstandingtheuniquepotentialofmusiceducationtofunctionasglobaleducation(MEGE).Mycoreargumentisgroundedbytheworkofscholarswhocontendmusiceducationcultivatesasenseofgroupbelonging,releasesimagination,andfostersempathy.However,theframeworkIproposepointsthisworkmoreintentionallytowardglobalistendsandapplications.Specifically,Iarguemusiceducatorshaveuniquepotentialtohelpstudentsextendanddeepentheirunderstandingof“community”(Greene1995).Iftoday’sstudentscandevelopstrongin-groupaffiliationsatmultiplelevelsofcommunity(e.g.local,cultural,national/governmental,andglobal),theycanbecomethetypesofcitizenswhowillsolveproblemsthatextendbeyondgeographicalborders,andcollectivelytransformourworldintoamorejustandhumaneplace.

Keywords:globalism,citizenship,community,culturallyresponsiveteaching,multicultural,intercultural,musiceducation,globaleducation

TOPICS for Music Education Praxis 2019: 01 • Jennifer M. Mellizo

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Overthepasthalfcentury,ourworldhasexperiencedunprecedentedchanges

(Campbell,2013).Internationaltourismisatanall-timehigh(UNWTO2016),andpeople

aremovingwithinandbetweennationsathigherratesthaneverbefore(Banks2015).

“Porousborders”and“social,culturalanddemographicsshifts”(Campbell2013,16)have

transformedsocietiesthatwereoncemostlymonoculturalintosocietiesthatarenowmore

multicultural–“coloringthepopulationofchildrenandyouthinnewshadesofraceand

ethnicity”(16).Inadditiontodemographicchanges,“themediahascatapultedtoits

currenthigh-poweredpositionofinfluence”(23)and“technologyhasgivenrisetovarious

modesofhigh-speedcommunication”(23),whichhasinturncompletelyrevolutionized

thewaysinwhichhumansfromeverycorneroftheworldcanaccessinformation,and

interactwithoneanother.

Astheseexamplesclearlyindicate,“theworldischangingrightbeforeourvery

eyes”(Campbell2013,23)–andeducationalsystemsrespondaccordingly.Tofunction(and

hopefullythrive)inaglobalizedworld,today’sstudents(tomorrow’scitizens)willneedto

possessnewkindsofknowledge,differenttypesofskills,andmostimportantly,“the

attitudinalandethicaldispositionsthatmakeitpossibletointeractpeacefully,respectfully

andproductivelywithfellowhumanbeingsfromdiversegeographies”(Reimers2009,

184).Helpingstudentsdevelopthesetypesofcompetencieswithinformal,state-directed

educationsystemsisanissuethattranscendstraditionalsubjectareaboundaries.

Promotinga“globaldimensioninthecurriculum”(Hicks2003,270)shouldbeapriority

forallteachers,inallsubjectareas,everywhere.

Althoughtherehavebeenisolatedpocketsofdiscussionregardingthewaysin

whichmusicparticipationcanfosterglobalcitizenshipidentifications(Jorgensen2004;

Heimonen2012;ElliottandSilverman2015;Regelski2016;SilvermanandElliott2017),in

manywaysmusiceducationhasremainedonthesidelinesoftheglobaleducation

movement.Socioculturalunderstandinghasbeendiscussedasapositivebyproductof

musiceducation,butnotusuallyasanexplicitgoal.Yet,asCampbell(2013)argues,the

consequencesofanever-changing,increasinglydiverseandconnectedworld“are

considerableforsystemsofmusiceducation,andforindividualteachers”(16).Itis


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thereforeimperativethatmusiceducationpractitionersandscholarsfullyengagein

meaningfulconversationsaboutthewaysinwhichlearningexperiencesinthemusic

classroomcan(andshould)canbepurposefullydesignedtosupportstudents’growth

towardshigherlevelsofglobalcompetency,therebyenhancing(notdiminishing)their

musicallearning.

Throughthisarticle,Iwillproposeadevelopmentalframeworkforunderstanding

theuniquepotentialofmusiceducationtofunctionasglobaleducation.Ihopethis

frameworkwillserveasaspringboardforlivelyconversationandcriticalreflectionabout

thisimportanttopic.Mycoreargumentisgroundedintheimportantworkofavarietyof

musiceducationscholarswhoarguemusicparticipationfostersasenseofgroupbelonging,

releasesimagination,fostersempathy,andprovidesopportunitiesforstudentstodiscover

theirindividualandcollectivepotentialtopositivelytransformtheworldaroundthem.

ThedevelopmentalframeworkIproposedependsonoutcomessuchasthese,butpoints

thisworkmoreintentionallytowardglobalistendsandapplications.

GlobalEducation

Ina2012reportwrittenfortheCollegeBoard,Balistrerietal.summarizethe

primaryrationalefortheglobaleducationmovement.Theystate,

Thereisanever-increasingawarenessamongeducators,students,parents,

policymakers,andthegeneralpopulationthateducationneedstorespondtothe

constantlyevolvingglobalparadigm.Inparticular,studentsmustlearninwaysthat

preparethemtoengageeffectivelyinaworldincreasinglydefinedbyglobal

interconnectednessandglobalissues(4).

Globaleducationcanthereforebeunderstoodasaperpetuallyincomplete

educationalmovementthat“simultaneouslyaddressestheissuesbroughtaboutby

globalizationtodate,whilepreparingstudentstobetheinventorsofanunknownfuture

thatcontinuestobeshapedbyglobalforces”(Balistrerietal.2012,10).Globalcompetency,


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whichisoftendiscussedastheprimarygoalofglobaleducationinitiatives,canbe

understoodasanall-encompassingtermfortheuniquecombinationofknowledge,skills,

anddispositionrequiredtobesuccessfulinanever-changingworldthatisnot

predominatelydefinedbynationalborders(Hicks2003;Reimers2009;Balistrerietal.

2012).Thisterminologycanbebrokendownmorespecificallyinthefollowingways:

• Globalknowledge:“Informationstudentsneedtoknow”(Balistreri2012,11)tobe

successfulinaninterconnected,increasinglynon-national,andever-changingworld.

• Globalskills:“21st-centuryskills”(13),suchascriticalthinking,creativity,problem

solving,innovation,andmulti-lingualcommunicationthatisincreasinglynon-

verbal.

• Globaldisposition:Amindsetthatacknowledgespeopleofallcountriessharea

commonthreadofhumanity,suchastheneedforlove,water,shelter,and

community(www.globalsolutions.org).

Thisconceptualizationofglobaleducation(andrelatedactionidealssuchasglobal

competency)drawsfrom,butremainsdistinctfromothereducationalorientations,suchas

multiculturaleducation,interculturaleducation,internationaleducation,andcosmopolitan

education.Theconnectionsanddistinctionsbetweentheseeducationalorientationswill

befullyunpackedwithintheremainingsectionsofthispaper.

WhyMusicEducationasGlobalEducation?

ElliottandSilverman(2015)assert,“musiceducationmaybeoneofthemost

powerfulwaysto...preparechildrentoworkeffectivelyandtolerantlywithothersto

solvesharedcommunityproblems”(449),andtheyarenotaloneinthislineofthinking.

Historically,anumberofmusiceducationscholarshaveelaboratedonthecompelling

reasonswhyourfieldisuniquelypositionedtoleadeducationalinitiativesdesignedtohelp

studentsdevelopglobalcompetencies.

1.Musicisaglobalphenomenon:Thepresenceofmusicasanimportantpartof

thehumanworldissomethingeverycultureintheworldhasincommon(Nettl1992,


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1995;Gates1999;Campbell2004;Ilari,Chen-Hafteck,andCrawford2013).Thisnotion

hasbeenwidelydiscussed,especiallybyethnomusicologistsandworldmusiceducators.

Nettl(1992)states,“musiccanbebestunderstoodasanaspectofthecultureofwhichitis

apart,andunderstandingcaninturnhelpustounderstandtheworld’sculturesandtheir

diversity”(4).No,musicisnotauniversallanguagethroughwhichallpeoplecan

immediatelyunderstandandappreciateoneanother,but(likelanguage)itprovides

importantcommongroundthatcanserveasanaturalstartingpointforgloballearning

experiences.

2.Musicisahumanphenomenon:Thenotionofmusicasahumanphenomenonis

groundedbyapraxialphilosophyofmusiceducation,whichstressesthewaysinwhich

“peopleareatthecoreofallmusicaltransactions”(ElliottandSilverman2015,1).Elliott

andSilverman(2015)state,“Formusictoexist,peoplemustfirstenactmusic.Nopersons,

nomusic”(86).Proponentsofapraxialapproachthereforerecommendparticipatory

experienceswithawidevarietyofdiversemusicasameansofpromotingdeeperlevelsof

musicalandculturalunderstanding,aswellashumanempathy.Elliott(1990)contends

theactivemusic–makingprocess,whichprovidesindividualswithconcreteopportunities

to“live”inor“make”(158)agivenmusicculture,breaksdownbarriersofotherness,

buildsbondsofhumanness,andhelpspeoplemakesenseoftheculturallypluralisticworld

inwhichtheylive.EducationalscholarMaxineGreeneagrees,andhighlightsthewaysin

whichparticipatoryencountersintheartsrequireusto“useourimaginationstoenterinto

thatworld(anotherperson’s),todiscoverhowitlooksandfeelsfromthevantagepointof

thepersonwhoseworlditis”(1995,4).Sheclarifies,“Thatdoesnotmeanweapproveitor

evennecessarilyappreciateit.Itdoesmeanthatweextendourexperiencesufficientlyto

graspitasahumanpossibility”(4).Greeneargues,“Imaginationiswhat,aboveall,makes

empathypossible”(3).

3.Musicisasocialphenomenon:Buildingupontheideaofmusicasahuman

phenomenon,proponentsofapraxialphilosophyofmusiceducationfurthercontendmusic

isasocialphenomenon,becauseitissomethinghumansmakeanddoforandwithothers

(ElliottandSilverman2015).Fromthisperspective,musicparticipationfunctionsasa


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uniqueformofcollectiveidentity–building.Regelski(2016)contends,“Musicservesasa

foundationforgroupbelonging”(18),whileGates(1999)asserts,“Musicstudycan

uniquelygivereinforcementtothemanyperson-grouprelationshipsthattheschoolis

designedtobuild...andthiscertainlyincreasestheirtolerancefordiversity”(66).

Whenpeoplecometogetherasacommunityofmusic-makers,theyconstruct

musicalexperiencesthataresatisfying,relevant,andmeaningful,inbothindividualand

collectiveways.Withineducationalsettings,themusic-makingcommunitiesthatemerge

exemplifytheinclusiveclassroomenvironmentGreene(1995)envisioned:Aplacewhere

students“whocomefromdifferentculturesanddifferentmodesoflife”(5)can“discover

togetheragainstthediversityof(their)backgrounds”(119),“solveproblemsthatseem

worthsolvingtoallofthem”(5),anddevelop“sharednormsthatarecontinuallyremade

andrevisedinthelightofdifferingperspectives”(195).

4.Musicisatransformativephenomenon:Freire(1970)contendstheideal

educationalenvironmentistransformativeforeveryoneinvolved:Teachersandstudents

“becomejointlyresponsibleforaprocessinwhichallgrow”(61),andovertime,builda

sharedunderstandingof“whatandwhotheyaresothattheycanmorewiselybuildthe

future”(65).Jorgensen(2004)appliesthenotionoftransformationtomusiceducation,

discussingthewaysinwhichmusicparticipationpossessesuniquepowertotransform

peopleforthebetter.Shestates:“It(atransformativemusiceducation)preparespeopleto

careforandaboutthemusicalexperience,respectandcareforthemusicaltraditionsof

others,andreshapethemwherenecessary.Itprovidesthemwiththeskillstoexpress

themselvesmusicallyinavarietyofways”andopportunities“tobecomenotonlybetter

musicians,butalsobetterpeople”(141).SilvermanandElliott(2017)takethenotionof

transformationonestepfurther,suggestingpeoplecanpurposefullyusetheirartto

transformtheworldaroundthembyengaginginartisticcitizenship.Theyarguethe

processofbecominganartisticcitizenisinherently“guidedbyaninformedandethical

dispositiontoactartisticallyandeducativelywithcontinuousconcernforimproving

humanwell-beinginasmanywaysaspossible”(89).


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TransformativeCitizenshipEducation

Fromthefieldofmulticulturaleducation,Banks(2015)bringsforthideasthatare

relatedtoJorgensen’sconceptualizationoftransformativeeducationandSilvermanand

Elliott’snotionofartisticcitizenship.Banksarguestheprocessofbecominga

transformativecitizenisdevelopmental,andverymuchdependentonaperson’slevelof

in-groupidentificationasa“member”ofagivencommunity.Forthisreason,headvocates

foradevelopmentalapproachtotransformativecitizenshipeducation,encouraging

educatorstohelptheirstudentsdevelopclarified,reflective,andpositivein-group

identificationsatvariouslevelsofcommunity(seeFigure1foravisualdepictionofthis

idea).AccordingtoBanks’theory,onlyapersonwhoreachestheoutermostlayerofthis

diagramcanbecomeatransformativeglobalcitizen:apersonwhohasacquired“the

knowledge,values,andcommitmenttotakeactiontomaketheirlocalcommunities,the

nation,andtheworldmorejustandcaringplacesinwhichtoliveandwork”(33).


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Figure1.Thisillustration,inspiredbyBanks’(2015)notionoftransformativecitizenship,depictsthedevelopmentalprocessofconstructingin-groupidentificationsatmultiplelevelsofcommunity.

ADevelopmentalFrameworkforMusicEducationasGlobalEducation(MEGE)

Iproposeadevelopmentalframeworkforconceptualizingmusiceducationasglobal

education(MEGE)thatisinformedbytheillustrationshowninFigure1.Iarguemusic

educatorsnaturallypromotetheoverarchinggoalsofglobaleducationforthereasons

previouslypresented,butcanandshoulddomoretohelpstudentsdeveloptheknowledge,

skills,anddispositionsneededtomeaningfullyengagewithmusicandpeoplefroma

varietyofculturalsettingsinanever-changing,diverseworld.Byincreasingthe

intentionalitywithwhichtheychooseandimplementmusicallearningexperiencesin


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formaleducationalsettings,musiceducatorscanhelptheirstudentsdevelopclarified,

reflective,andpositivein-groupidentificationsascontributingmembersoflocal,cultural,

national/governmental,andultimatelyglobalcommunities.Iftoday’sstudentsdevelop

strongin-groupaffiliationsateverylevelofcommunitytheywillneedtonavigatethrough

inthefuture,theycanbecomethetypesofcitizenswhowillworktogethertosolve

problemsthatextendbeyondgeographicalborders,andcollectivelytransformourworld

intoamorejustandhumaneplace.

AssumptionsofthisMEGEFramework

BeforediscussingeachlayershowninFigure1individually,Iwouldlikeemphasize

severalimportantassumptionsthatarebuiltintothisdevelopmentalmodel:

1. Musicallearningbeginsatthecoreoftheframework,andgraduallyexpandsoutward

asonegainstheknowledge,skills,anddispositionsnecessarytomeaningfullyengage

withmusicthatismoreunfamiliar.

2. Ateachlayeroftheframework,oneneedstolistenandlooknon-judgmentallyto

discoverwhatothersfindmeaningful—thatis,atleastinterestingifnotbeautiful.

3. Onedoesnotdiscardskills,knowledge,dispositions,andin-groupcitizenship

identificationsgainedatotherlevels,butinstead,theseprovidethegroundfor

confidenceandunderstandinginthemovetowiderviewsofmusicandculturethat

aremoreunfamiliar.

4. Ateachlayeroftheframework,oneneedstobereadyandwillingtoshareaspectsof

his/herownmusicalskills,knowledge,andvalues(includingrepertoiresand

exemplars).Thisprocessofdialoguerequirestrustandastrongcommitment

towardsthecommongoaloftransformingmusiceducationforthebetterforall.

UnpackingtheMEGEFramework

IndividualIdentification

Thecore(center)oftheMEGEframework(Figure1)acknowledgestheeducator’s

responsibilitytomeettheuniqueneedsofeachindividualchildwhenhe/sheentersthe


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musicclassroom.Severalauthorshighlighttheimportanceofthislearner-centered

philosophyinmusiceducation.Heimonen(2003)states,“Theindividualisthestarting

point;hisorhergoalsanddreamsaremostimportant”(21),whileCampbell(2010)urges

musiceducatorstofindwaystoguidetheirindividualstudentsfrom“whotheymusically

aretoalltheycanmusicallybecome”(273).AccordingtoCampbell,thisprocessrequires

teachersto“listenforthemusicchildrenmanifestandgaugetheirmusicalinterestsand

needsaccordingly”(216).Beforegrowthatanyotherlevelofthisdevelopmental

frameworkcanunfold,individualstudentswithinagivenclassroomcommunitymustbuy

intotheirmusicallearningenvironment.Theymustdevelopgoodrapportwiththeir

teacher,andsubsequentlyanindividualidentificationasa“musician”.

Unfortunately,althoughvirtuallyallstudentsaremusical,relativelyfewconsider

themselves“musicians”withinthecontextofschoolmusicprograms,becausethistermhas

sooftenbeenassociatedwiththeideaof“atrainedprofessional”insteadof“someonewho

regularlyperformsmusic”(Regelski2004,191).Inmanycases,studentsinterpretthe

conceptof“musicianship”asahighlevelofproficiencyinperformance-drivenschoolmusic

ensemblesthatprioritizethe“notatedmusicoftheEuropeanstandardrepertoire”(190).

Musicalrepertoirederivedfromthistraditionisoftenportrayedasthe“goodmusic”(191)

bymusiceducatorswhoweretrainedthroughtheiruniversitypreparationprograms“to

believethatmusicoftheEuropeancanonissuperior,andthusthemostappropriatefor

educationalpurposes”(Bradley2007,149).Thislineofthinkingisdamagingtoschool

musicprograms,andthusunderminesthepositivemusicalidentitiesofmanyindividual

students,becauseitalienatesalargepercentageofstudentswhodonotpersonallyidentify

withthisverynarrowconceptualizationof“music”.Althoughthesestudentsmostlikely

connectwithmusicininformalways,theyprobablydonotconsiderthemselves

“musicians”.

Totakethisideaonestepfurther,studentswhodoidentifyas“musicians”within

thecontextoftheirschoolmusicensemblesaresometimesthoughttopossessspecial

musical“talent”.Regelski(2004),Campbell(2010),andElliottandSilverman(2015)

lamenttheuseofthisterminourfield.Campbell(2010)arguesfewterms“havebeenas


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devastatingtochildren’s(musical)developmentasthatof‘talent’”(217).Shecontinues,“It

isasiftosaythatsomechildrenareeitherbornwithenormousmusicaltalent,ortheyare

not,andthatthereisneitheraspectrumofmusicalgiftsnorthechancetostimulate

throughtrainingtheirmusicalgrowth.”

Whenstudentsdonotconsiderthemselves“musicians”becausetheydonotfeel

successfulintheirmusicclassroomenvironment,ordonotbelievetheypossessthe

“talent”neededtofullyparticipateintheschoolmusicensemblesthatare

emphasized/prioritizedinthecurriculum,theywillnotlikelycontinuetoparticipatein

schoolmusicprograms,whenparticipationinsuchprogramsbecomesoptional.The

resultsofrecentresearchintheUnitedStatessupportsthisnotion.Elpus(2014)reports

only34%ofallAmericanpublicschoolsecondarystudentsenrollinatleastonemusic

courseduringtheirhighschoolyears.Thisnumber(relativelystablefrom1982–2009)

indicatesmusicteachersintheUnitedStatesaremissingcrucialopportunitiestohelp

approximately60-70%ofpublichighschoolstudentsfullydiscoverthewaysinwhich

musiccanenhancetheirpresentandfuturelives.

Inordertohelpstudentsdeveloppositiveindividualidentitiesas“musicians”(the

coreofthisdevelopmentalframework),musiceducatorsshouldrecognizethat

relationshipsarethesinglemostimportantfactorinanylearningenvironment.Thetrust

relationshipbuiltbetweenteacherandstudentcomprisesthefoundationfromwhichall

futuremusicallearningoccurs.Itisthereforeimperativeformusicteacherstotakethe

necessarytimetobuildstronghumanrelationshipswithallstudents–thisistimewell

spent.

CulturallyResponsiveTeaching

Theprocessofrelationshipbuildinginthemusicclassroomisdeeplyrelatedtothe

notionofculturallyresponsiveteaching,apedagogicalideathatisquicklygainingtraction

inourfield(Shaw2012;Abril2013;Wiens2015).Abril(2013)contends,“Tobeculturally

responsive,itisessentialthatteachersseeandknowtheirstudentsbothasindividualsand

asmembersofextendedsocialcircles”(8).Aculturallyresponsivemusiceducatorlearns

aboutthewaysinwhichtheirstudentsfindmusicmeaningfulandenjoyableoutsideof


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schoolandusesthisknowledgetobridgetheirhomeandschoolmusicallearning

experiences.Insteadofstrivingtoselect“goodmusic”(Regelski2016,17),aculturally

responsivemusiceducatorchoosesmusicandmusic-makingexperiencesthataddvalueto

thealreadyvibrantmusicallivesofthechildrenandadolescentstheyteach,ateachstageof

theirdevelopment(Regelski2004,2016;Campbell2010).Aculturallyresponsivemusic

educatortendsnottousetheword“talent”ormakejudgmentalstatementsabout

particulargenresofmusic,becausehe/sheunderstandsthateverythinganeducatorsays

anddoeswithintheconfinesoftheclassroomwallshasadirectimpactonstudents’

personal,cultural,andmusicalidentitiesinbothpositiveandnegativeways.

LocalIdentifications

Onceastudenthasestablishedapositivetrustrelationshipwiththeteacherandhas

developedapositiveindividualmusicalidentity,he/sheisreadytomakeapositive

contributionasanimportantmemberoftheclassroommusic–makingcommunity.This

layeroftheMEGEframeworkisverymuchinformedbythepraxialphilosophyofmusic

education,especiallythenotionofmusicassocialpraxis(ElliottandSilverman2015;

Regelski2016).

AtthesecondlayeroftheMEGEframework,studentsshouldhaveopportunitiesto

engageinactive,participatorymusicmakingexperiencesattheclassroomlevelasmuchas

possible,sotheycandiscoverforthemselvesthewaysinwhichmusicasasocialpractice

promotesasenseofgroupbelonging(Gates1999;ElliottandSilverman2015;Regelski

2016).Musicteacherscanfurthercultivateanemergingsenseofclassroomin-group

identificationbyhighlightingsongs,musictraditions,andlearningexperiencesthatare

importantandmeaningfultotheindividualswhocomprisetheclassroomcommunity,

organizingtheclassroomasamusicproductionworkshop.Ihavefoundthatelementary-

agestudentslovetobringinstrumentsfromhometosharewiththeirclassmates,and

often,parentsareverywillingtocomeintotheclassroomtoshareaboutaspecialfamily

musictraditionaswell.Engaginginthecollaborativeprocessofcreatingaclasssongor

ritualisanotherpowerfulwaytobuildclassroomcommunitythroughmusic.Overtime,


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thenotionofmusicasasocialpracticecanexpandoutwardtothegrade-levelcommunity,

theschool-widecommunity,andthegreaterlocalcommunity.Amongotherideas,music

teacherscanpromotepositive,clarified,andreflectivelocalidentificationsbyestablishing

astrongmusicalpresenceatschool-widegatheringsandcelebrations,andmakingtimeto

performinthelocalcommunity(Bates2013).

CulturalIdentifications

Allstudentsenterourclassroomswithavarietyofpre-existing(andco-existing)

culturalidentificationsandattachmentsthathaveimplicationsinthelearningenvironment

(Gay2010).CultivatingcommunityattheculturallayeroftheMEGEframeworkinvolves

helpingstudentsreflectuponandclarifytheseidentities,andthewaysinwhichthey

intersectwithintheclassroomorschool-learningenvironment.

MulticulturalEducation

Unfortunately,moststudentsdonothavefrequentopportunitiestoclarifytheir

culturalidentitiesandattitudeswithintheschoolenvironmentbecausecurriculaand

teachingstrategiesinmanysubjectareascontinuetobederivedprimarilyfromone

dominantpointofview(Gay2010;Banks2015).Thisisaproblemthateducatorsand

scholarsinthefieldofmulticulturaleducationattempttorectify.FromaUSperspective,

Gay(2010)contends,“toofewteachershaveadequateknowledgeabouthowconventional

teachingpracticesreflectEuropeanAmericanculturalvalues”(22).Thisdeeplyengrained

tendencyhurtsallstudentsinagivenclassroomsetting.Itputsstudentswhodonot

identifywiththedominantperspectiveatadistinctdisadvantageacademicallyandsocially,

anditfailstoprovidestudentswhodoidentifywiththedominantperspectivewith

importantopportunitiestoplacetheirownvalues,beliefsystems,andbehaviorswithina

culturalcontext(Banks2015).

Oneexampleofhegemoniccurriculartendenciesinmusiceducationisthe

continuedlevelofimportanceplacedonlearninghowtoreadmusicthroughwrittenstaff

notation.Manyscholarsnotethewaysinwhichthisparticularpracticeisgrounded

(whetherconsciouslyorsubconsciously)bydeeplyrootedbiasesandmusical/cultural


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assumptionsaboutwhatitmeanstobemusicallyliterate.Koza(2001)andRegelski

(2016)remindusthatmostoftheworld’spopulationlearnsmusicalmostexclusivelyby

ear.Yet,withinformalmusiclearningsettings,manyeducatorscontinuetoplacewritten

staffnotation“highestinahierarchyatopthe...instructionalapproachesofsomanyother

richtraditions”(Campbell2004,xvi).

Theextenttowhichmusiceducationcanpromotein-groupidentificationsatthe

culturallayeroftheMEGEframeworkdependsontheteacher’swillingnesstoconfront

his/herowncultural/musicalbiasesandassumptionsaboutwhatitmeanstoteachand

learnmusic.Thisprocessofculturalandmusicalself-reflectionrequiresustoacceptand

embracetheideathatmusicconceptsandterminologythatmayseemfoundationaltoour

personalexperiencesandprofessionalidentitiesarenotuniversallyunderstood.Eventhe

notionofwhatconstitutesmusiccannotbetakenforgranted.Nettl(2015)notes,“most

languagesoftheworlddon’thaveatermtoencompassmusicasatotalphenomenon”(24).

Hecontinues,“whenasocietyorculturedoeshaveawordroughlytranslatableas‘music’,

thatwordmayincludethingsweinWesternurbansociety,despiteourownloose

definition,donotincludeasmusical,andontheotherhanditmayspecificallyexclude

otherphenomenathatwedoregardasmusic”(24).Ifweexpectourstudentstoaccept,

respect,andvaluethewaysinwhichculturalidentitiesintersectandinteractwithina

givenmusicalcommunity(suchastheclassroomcommunity),we,astheeducators,must

modelthisattitudefirst,throughbothactionsandwords.StephenSondheim’swords

certainlyringtrueinthiscase:“Carefulthethingsyousay,childrenwilllisten...carefulthe

thingsyoudo,childrenwillseeandlearn”(fromIntotheWoods).

Ihavegrappledwiththisideainmyownclassroomformyentireteachingcareer.

JustlastyearIcaughtmyselftellingan8thgradestudentitwastimeforhimtostopwriting

noteletternamesintohisbandmusicbecauseitwasa“badhabit.”Afterclass,Ireflected

onthesewordsandthemessagetheysent,notonlytothisstudent,butalsotothoseseated

aroundhim:Hismusicalcontributionwasinferiortohisclassmates’contributionsbecause

hewasnot“reading”thestaffnotation.Fromalternativeperspective,thisstudentwas

actuallyengagingina“goodhabit”—ahabitthatallowedhimtobringmusicalive,asa


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contributingmemberofhisclassroommusicalcommunity.Althoughmywordswerenot

groundedinmalice,theyweremostcertainlygroundedindeeplyrootedcultural

assumptionsaboutmusicallearning.Inhindsight,IwishIhadpraisedthisstudentfor

takingthenecessarystepstoensurehecouldplaythismusicalpassageduringclass,and

foundamoreconstructivewaytodiscussthefunctionalaspectsofwrittenmusicalnotation

withtheentireclassroomcommunity.Clearly,Istillhavemuchworktodointermsof

creatingaclassroomenvironmentwhereallmusicalrealitiesarevaluedequitably.

FromMulticulturaltoIntercultural?

Severalauthorsadvocateforaterminologyshiftfrommulticulturaltointercultural

todescribetheeducationalorientationdesignedtohelpstudentsacknowledgemultiple

perspectivesandembraceculturaldiversityinmusic(O’Flynn2005;ElliottandSilverman

2015;WesterlundandKarlsen2017).O’Flynn(2005)contendsthetermintercultural

betterreflectstheunderstandingthatmusicalpracticesareculture–specific,andtherefore

shouldbeenactedinwaysthataresensitivetothe“practicesandconceptionsofmusicin

thecommunitiesandsocietiesconcerned”(199).AccordingtoO’Flynn,interculturalism

pushesbeyondthe“matterofbroadeningrepertoire”,andrequiresdynamicdialogueand

sharing“betweenandamongmusicians,teachers,learners,andvariousmusical–social

groups”(196).

WesterlundandKarlsen(2017)objecttothewayinwhichthelabelmulticultural

(asitisoftenusedinthefieldofmusiceducation)“prioritizesdistinctionand

preservation”,andobscures“formsofinequalityandinjusticethatfalloutsideofits

conceptualframes”(80).Bradley(2015)alsoarguesmulticulturalmusiceducationis

guiltyofportraying“musicaltraditionsasstatic,ratherthandynamic”(16),butcautions

againstassumingterminologythatdirectlychallengesracismandotherformsof

oppressionisnolongerneededintoday’sworld.Infact,asBradleyobserves,“racist

languageseemstohaveexperiencedarenaissance”andoppressionandmarginalizationof

peoplefromcertainculturalgroupsremains“institutionalizedwithinalllevelsofeducation

andeducationalpolicy”(22).


16

Asthesedivergentperspectivesillustrate,theprocessofcultivatingclarified,

reflective,andpositiveculturalidentificationsthroughmusiceducationcannotyetbe

sufficientlydescribedthroughonesingleterm.Theprocessofculturalidentityformation

requiresthekindofopendialogueandsharinginterculturalistsemphasize,yetonemight

argueinterculturaldialogue,inandofitself,doeslittletoaddresstheunequalpower

structuresandsystemichegemonictendenciesthatmulticulturalandanti–racisteducation

scholarsactivelyseektoidentifyandchange.

Place-basedEducation

DespitethecomplexitiesinherentintheculturallayeroftheMEGEframework,we

shouldcontinuetoidentifyspecificpedagogicalpracticesthatcanfacilitatemovement

towardsclarified,reflective,andpositiveculturalidentificationsinthemusicclassroom.

Onesuchapproach,whichoriginatedinthefieldofecological/environmentaleducation,is

knownasplace-basededucation.Inageneralsense,place-basededucationcanbe

understoodas“theprocessofusingthelocalcommunityandenvironmentasastarting

pointtoteachconceptsin...subjectsacrossthecurriculum”(Sobel2004,29).Appliedto

musiceducation,thisapproachinvolvesincorporatingmusicalcontentormusical

perspectivesthatarerootedinaparticularplace.Thetermplacecanrefertogeographicor

physicallocation,butalso“extendsbeyondthephysicalstructurestoincludethe

connections,memories,andspecificculturaltieswiththeplace”(Wiens2015,21).Stauffer

(2009)elaboratesontheimportanceofplaceinmusiceducation;illustratinganexampleof

abandinstructorwhostartedamariachiprogramathisschoolafterrecognizinghis

instrumentalprogramwasunderservingalargepercentageofhislocalschoolpopulation

(thepeopleinhisplace).Subconsciously,thismusiceducatorhadtoworkthrough

importantcriticalquestions,suchas:

Whogoestothisschool?Whoisintheband?Whoisnotincluded,eitherinthebandoranyotherensemble?Whatdoesthecommunitytellmeabouthowtoserveorengagethemarginalized?Whatismyroleandresponseasamusicianandteacher?WhatchangescanImake?WhocanIhelp?WhatdoIneedtolearn?Whatismyroleinthisnewensemble?Howcanthecommunityhelpus?Whatcanwereturntothecommunity?(180).


17

Inadditiontomakingin-schoolmusicallearningexperiencesmorerelevantfora

higherpercentageofstudents,place-basedinitiativesinmusiceducationprovidestudents

whoidentifywiththecultural/musicalmajoritywithconcreteopportunitiestolookatthe

worldfromthealternativeperspectivesthatexistintheirplace.Regardingtheprevious

example,althoughthemariachiprogrambecamea“pointofpride”(Stauffer2009,179)for

Latino/astudents,theteacherwhoimplementedthisprogramassertedthe“greatestpart”

oftheprogramwasthefactthatstudentsfromavarietyofethnicitiesparticipated.From

Stauffer’sdescriptions,itappearsasiftheseparticularstudentsmadegreatstridestowards

attainingclarified,reflective,andpositivesocio-cultural/musicalidentificationsthrough

participationinthisensemble.Studentswhodidnotoriginallyidentifywithmariachimusic

throughculturaltieswereabletodeveloptheknowledge,skills,anddispositionsneededto

meaningfullyparticipateinthismusictraditionfroma“we”(ratherthan“us/them”)

perspective.

Robinson(2017),ablackmusiceducatoratanaffluent,pre-dominantlywhite

privateschoolinMassachusetts,USA,providesanadditionalillustrationofaplace-based

perspectiveinmusiceducation.Robinsonusessongsandchildren’sliteratureabout

Bostontodesignaplace-basedunitthatpromptshis2ndgrademusicstudentstoconfront

theirpersonalassumptionsandbiasesaboutthecity.Hisstudentsconsiderimportant

questions,suchas:“Wholivesinthecity?Whohasthepoliticalpowerinthecity?Who

seemstobeintheupper,middle,andlowersocio-economiclevelsofstatus?What

historicaleventshavehelpedshapeBoston’sheritageandlegacy?”(88).Lastyear,thisunit

culminatedwithafieldtripandtourofthecity,whichherelatedbacktomusicalrepertoire.

Every2ndgraderinRobinson’smusicprogramratedthisparticularmusicalunitasoneof

theirfavoritesinanendofyearreflection.

National/GovernmentalIdentifications

Onceanindividualhasdevelopedclarified,reflective,andpositivecultural

identifications,he/sheisreadytoconsiderhis/herroleasamemberofalarger,national

community,aswellasamemberofothergovernmentaldivisions(regional,state,


18

provincial,etc.).Withinthefieldofmusiceducation,authorsofferdifferentopinions

regardingtheappropriatenessofusingmusictocultivatenational/governmentalidentities

inschoolsettings.HeimonenandHebert(2016)questionwhethermusicshouldbeplaced

inthispredominantlyfunctionalroleatall,whileSouthcott(2016)pointsoutcultivating

citizenshipisaninherentfunctionofschools,andbyextension,schoolmusicprograms.

Despitedifferingperspectivesonthistopic,scholarsgenerallyshareacautionaryview

regardingthepowerofmusicandthewaysinwhichithashistorically“beenusedbothfor

separatingandunitingpeopleandnations”(Rasanen2010,22).Southcott(2016)points

out,“Asmusiceducatorsweshouldbeawareofjusthowpowerfulourmediumisandhow

itcanbeusedforgoodorillinourschools”(43).

TheMEGEframeworkIproposeincludesadistinctlayerintendedtocultivatein-

groupidentificationsfromanationaland/orgovernmentalperspective.However,itis

importanttonotemyuseoftheterm“nation”isnotmeanttobesynonymouswiththe

term“country”.AccordingtoKeller(2016),“Acountryisaterritorygovernedbyastate,”

while“anationisapeople,definedbyasharedbackgroundandidentity”(xvi–xvii).While

insomecasesitisappropriatetoapplythenotionofnationalidentitytoacountry,inother

casesthisnotionhasmuchmoretodowithfactorssuchasethnicity,religion,and/or

commonlanguagethangeographicbordersand/orgoverningbodies.

Althoughmusicallearningexperiencesconceivedfromanationalperspectivevary

duetoanumberoffactors,theycommonlyinvolve:

1. Performingmusicdrawnfromacceptedandvaluedmusicaltraditions,anddevelopingfamiliaritywithassociatedrepertoire,composers,creators,andperformers.

2. Learningtoplayinstrumentsassociatedwiththesemusictraditions.

3. Learningabout/demonstratingkeyindicatorsof“quality”withinagivenmusicaltradition.

4. Learningabout/demonstratingperformanceandaudienceetiquettethatis

expectedwithinagivenmusicalsetting.


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StandardizedCurriculum

Somecountries(orstates,provinces,etc.)havewell-establishedmusiceducation

policies,programs,andrelatedcurriculumdocumentsthatattempttostandardizemusical

content,learningprocesses,andassessmentpracticesfromanational/governmental

perspective.IntheUnitedStates,thefieldofmusiceducationhasfollowedapathof

increasednationalstandardization,asevidencedbynationalmusicstandards,originally

adoptedin1994,andrevised/updatedin2014(SEADAE).Onanationallevel,these

standardsdonotspecifymusicalcontent.However,theydoimposeEurocentric

conceptualizationsofteachingandlearningmusic,evidencedbyastrongemphasison

learningtoreadandwritemusicusingstandardwrittennotation,andidentifyingWestern

musicconceptssuchasdynamics,articulation,harmonicstructureandphrasing,regardless

oftheculturalsettingfromwhichthemusicisdrawn.Additionally,musicperformance

rubrics/assessmenttoolsusedinUnitedStatessettingsconsistentlyimposeethnocentric

andsubjectiveindicatorsofmusicalquality,suchasintonation,tonequality,blend,and

balance,regardlessoftheculturalsettingfromwhichthemusicisdrawn.Musiceducators

canresistthesetypesofhegemonictendenciesbystrivingtoembrace/includeavarietyof

musicalperspectivesthatexistwithinalargernationornation-stateinthecurriculum,and

assessingmusicalproficiency/masteryinwaysthatareconsistentwithindicatorsof

qualitythatareacceptedwithineachmusicculture.

PatrioticMusicinSchools

Insomenational/governmentalsettings,educationalpolicyrequires(orencourages

throughconditionalfunding)theinclusionofcertainpatrioticrepertoire(suchasnational

anthems)inthecurriculum(Hebert2016;Southcott2016).IntheUnitedStates,teaching

theStar-SpangledBannerinpublicschoolsisnotusuallyarequiredpractice,butitishighly

encouragedandlocallysupported.AfterthetragiceventsthatoccurredonSeptember11,

2001,Abril(2016)asserts,“apatrioticfervorsweptthecountry”(77).ManyAmerican

schooldistrictsimplementedritualsthatinvolved“recitingthe‘PledgeofAllegiance’

and/orsingingthenationalanthemeachday”(77).Localschoolboards/schools/teachers

whoresistedorquestionedthispracticewereinsomecaseslabeledas“un-American.”


20

In2005,theNationalAssociationforMusicEducation(NAfME)launched“The

NationalAnthemProject,”aninitiativethatpromotedtheuseoftheStar-SpangledBanner

“inthe(music)curriculumandinschoolperformances”(Abril2016,77)asameansof

“restor[ing]America’svoice”(Bradley2009,68).AlthoughBradley(2009)observesvery

fewpracticingAmericanmusicteachersquestionedtheappropriatenessofthisnational

campaignatthetime,Hebert(2016)contends,“Thisprojectwaswidelyrejectedbythe

academiccommunity”(9).Bradley(2009)notesthe“strongmilitarypresence”(68)

embeddedintheproject,asevidencedbypicturesontheaccompanyingwebsiteandthe

listofsupportingorganizations,whileAbril(2016)argues,“Thelessonplansandother

documentsassociatedwiththeprojectpropelabsolutistviews,wheredeclaredtruthstake

afrontsettodiscoveredordivergentunderstandings”(90).

Buildingfromtheseperspectives,Iarguepatrioticpracticesinmusiceducation

(suchasrequiringlearningthenationalanthemaspartoftheschoolcurriculum)may

indeedpromoteasenseofnationalloyaltyandpridewithinthecontextofschool,butmost

often,thesepracticesdolittletoensurestudentsdevelopnationalidentitiesthatare

reflectiveinnature.Abril(2016)agrees,notinghisownpersonalexperienceswiththe

Star-SpangledBannerasadailyritualinanAmericanelementaryschoolrarelyextended

beyondmindlesslysingingalongwitharecording.Hearguesrequiringstudentsto

participateinthistypeofactivity,withoutthought,discussion,andguidedcritical

reflection,functions“asawaytoreinforceblindpatriotism”(89).Althoughitcertainlyis

possibletoincorporatepatrioticmusicselections(suchastheStar-SpangledBanner)in

reflectiveways,AbrilcontendsthisapproachisnotthenorminAmericanschools.Asan

Americanmusiceducatormyself,Itendtoagree.

Blindpatriotisminmusiceducationisproblematic.Itnegativelyaffectstheprocess

ofdevelopingclarifiedandreflectivenationalidentitybecauseitreinforcesnotionsof

nationalsuperiority,andencouragesindividualsto“topromotetheirowncountry’s

interestsbyanymeans”(HeimonenandHebert2016,159).HebertandKertz-Welzel

(2016)contenddangersrelatedtopatrioticmusiceducationaremorepronouncedin

powerfulnations(forexampleGermany,Russia,theUnitedStates,andChina),where


21

“thereismoreofawidespreadtendencytoassumethatinternationalcooperationis

unnecessary”(176).Withincountriessuchasthese,“aninternationalistattitudetends

moreoftentobeviewedwithsuspicionrelativetosmallernationsforwhichitsnecessityis

undeniable”(176).

Musiceducatorscanavoidthepitfallsofblindpatriotismwhilesimultaneously

promotingpositivenationalidentitybychoosingmusicselectionsthatreflectnational

valuesofwhichmanycitizensareproud.AsanAmericanmusicteacher,Itryto

incorporatesongsthatreflectvaluessuchasequality,justice,andthepursuitofliberty,

ratherthansongsthatglorifymilitaryprowess/strengthoremphasizenational

superiority/exceptionalism.ManyAustralianmusiceducatorsusesongbookspublished

eachyearbytheAustralianBroadcastingCommission(ABC)asameansofdiversifying

repertoireandcelebratingtheculturalpluralitythatexistswithinthecountry(Southcott,

2016).AlthoughthesebooksdoincludesomeAustralianfolkandcomposedsongs,much

oftheincludedrepertoireconsistsoffolkandpopularsongsfromacrosstheworld,witha

particularemphasisonsongsfromcountriesthatreflectthedemographicmake-upof

Australia’smulticulturalsociety.Historically,songsfromtheBritishIsles,Germany,Italy,

andthecontinentofAfricahavebeenincludedintheseannualsongbooks.Recently,the

inclusionofmoresongsfromcountriessuchasVietnamandSamoareflects

acknowledgmentandacceptanceofthewaysinwhichAustralia’sdemographicscontinue

tochangeovertime.HebertandKertz-Welzel(2016)takethenotionofrepertoire

diversificationonestepfurther,recommendingmusicalrepertoireandrelatedlessonsthat

activelypromote“reconciliationintherelationshipsbetweenethnicgroupsornationsthat

shareahistoryofpoliticaltensionsoreventhehostilityofarmedconflict”(177).These

authorscontendareconciliatoryapproachis“muchmorecompatiblewiththeauthentic

spiritofmusicalcreativitythananypatrioticagenda,sincetheveryessenceofmusical

expressionmaybefoundinthesharedcreationofaudiblebeautythatinherentlyfeaturesa

profoundlysubconsciousandvisceralpowerwhichtosomeextenttranscendsethnic

boundariesandeventheinadequaciesoflanguage”(177).


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InternationalMusicEducation

Incertaincases,learningexperiencesconceivedthroughaninternationallenscan

alsohelpstudentsdevelopclarifiedandreflectivenationalidentitiesinthemusic

classroom.Whileweshouldbemindfulofrisksrelatedtoessentialism,thereismuchtobe

learnedbyexploringthereasonswhymusictraditionshaveevolvedintoasourceofpride

forpeopleincertaincountriesaroundtheworld.Amongotherbenefits,thesetypesof

learningexperiencescanhelpstudentsclarifyandbetterunderstandtheirownnational

connectionsto/feelingsaboutcertainmusicalsounds.Forexample,inTrinidadand

Tobago,thedistinctsoundofthesteelpan“hasbecomeasymbolofnationalidentity”

(Dudley2004,4).ManypeopleinTrinidadinitiallydisregardedthismusictradition,which

originatedinlowerclassneighborhoods,asnothingmorethan“abominable”noise.Dudley

(2004)states,“therewasageneralconsensusin1940sTrinidadthata‘respectable’person

wouldnothaveanythingtodowithasteelband”(57).Yet,overtimethistraditionhasbeen

embraced,celebrated,andpracticedbymusiciansfromabroadrangeofclassandethnic

groups.DespitethemusicalandculturaldivisionsthatstillexistinTrinidadandTobago,

this“storyofstruggleandtriumph”makesthesteelpan“acompellingsymbolforthe

nation”(53),andprovidesapowerfulmediumthroughwhichstudentsfrommany

differentlocalescanclarifyandreflectupontheirownnationalattachmentstomusic.

GlobalIdentification

ThegloballayeroftheMEGEframework(outermostlayerinFigure1)sharesmany

ofthetheoreticalunderpinningsthathavealreadybeenexplainedinthisarticle,especially

thoserelatedtothepotentialofmusicassocialpraxis.Musicallearningexperiencesatthe

globallayeroftheMEGEframeworkareintendedtofurtherexpandstudents’musical

horizons,andwidentheirnotionsof“citizenship”and“in-groupidentification”.Coon

(2000)referstothisideaas“pan-humanism,”whichheasserts“developswhenan

individualcomestobelievethatmanymillionsofpeople,ofvaryingcreedsandcolors,are

allonhisorteam”(86).


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Globalismvs.Interculturalism

Thisshiftfroman“us/them”focustoa“we”focusisadistinguishingfactorthat

separatesanintercultural/internationalorientationfromaglobalorientation.

Intercultural/internationalapproachesemphasizethewaysinwhichcross-cultural

learning,sharing,andcooperationcanemergewhenpeoplearewillingtoopentheirears,

hearts,andmindstodifferentperspectives.Althoughthisaimisquitepositiveinnature,

thewordbetweenmaintainsacleardistinctionseparatinggroupsofpeople.Incontrast,

thegloballayeroftheMEGEframeworkIproposeconsidersthewaysinwhichmusic

educatorscanbestpromoteall-encompassing“human”in-groupidentificationsthat

transcendrealandimaginedboundaries.

Globalismvs.Cosmopolitanism

Althoughbothglobalandcosmopolitaneducationalapproachespromotea“moral

stancethatrequireseveryhumantobeconcernedwiththewellbeingofeveryotherhuman

beingonearth”(Bates2014,310),Icontendglobalandcosmopolitaneducatorsapproach

thelearningprocessfromdifferentvantagepoints.Whereascosmopolitaneducatorstend

toprioritizelearningexperiencesthathighlighthumansimilarities(realorperceived),

globaleducatorstendtoprioritizelearningexperiencesthatexplore(andpromotethe

acceptanceof)humandifferences.

Cosmopolitanisminmusiceducationreliesheavilyonthetenetsofaesthetictheory,

whicharedeeplyengrainedandreinforced(ifnotexplicitlytaught)inmanyuniversity

musicteacherpreparationprogramsaroundtheworld(Regelski2016).Aesthetictheoryis

groundedinthebelief(consciousorsubconscious)thatmusicalsensibilityisuniversal—

thatis,allhumanscanagreeonwhichmusicalsoundsareinnatelymeaningfuland

beautifulwithinthetraditionsatstake.Thisunderlyingassumptionleadstosituationsin

whichwell-meaningeducators,whohaveneverbeenpromptedtoquestion“the

dominatingaestheticideologyanditseducationalrationale”(Regelski2016,25)usewhat

theyperceivetobe“musicaluniversals”tocultivateasenseofin-groupglobal/human

identityintheirclassrooms.Yet,weshouldrememberthat“musicisnotone‘universal

language’thatisthesameforeveryonearoundtheworld”(Meyer,ascitedinHeimonen


24

2012,66).Musicmightmoreaccuratelybedescribedasconsistingof“severallanguages

that...havecertainsoundsincommon”(66),buteventhen,weshouldbemindfulofthe

waysinwhichmusicalmeaningisdeeplyinfluencedbycontextualfactors,inadditionto

sounds.

Bates(2014)contendsanadditionalweaknessofcosmopolitanisminmusic

educationisitsrelianceonthehegemonicassumptionthatourworld“isprogressing

towardsagloriouscosmopolitanfuturepatternedafterNorthAmericanandEuropean

middleandupperclass,urbaneculturalnorms”(313).Acceptanceofthisassumptionhas

contributedtoaconnoisseurshipperspectiveinmusiceducation:Westernartmusicis

widelyregardedasthemost“cosmopolitanandsophisticated”formofmusic,and

proficiencyinthistraditionisthereforeconsidered“thehighestofallmusical

accomplishmentsworldwide”(314).Musicallearningexperiencesconceivedfroma

connoisseurshipperspectiveprivilegeWesternartmusicanditsrelatedelements,

concepts,andskills.Insomemusiceducationsettingsaroundtheworld,theselearning

experiencesareemphasizedinthenameofequity.Stakeholdersandpolicymakersassume

“exposure”to“sophisticated”musiccanhavea“civilizingeffect”(315)onchildren

(especiallythosewhocomefromrural,non-cosmopolitan,and/orlow-income

populations),andthereforeargueALLstudentsshouldhaveequalopportunitiesto

“developunderstandingandskillsdirectlyrelatedtoperformingclassicalmusic”(315)

withinthecontextoftheirschoolmusicprograms.

MusicEducationasGlobalEducation(MEGE)canbeviewedasanalternativetothis

cosmopolitanapproach.Musicallearningexperiencesdesignedthroughagloballens

providestudentswithopportunitiestodeveloptheknowledge,skills,anddispositions

requiredtoencountermanydifferentmusicculturesinmeaningfulways.Westernart

musicisnotneglected,butinsteadrepresentsjustoneofthesemusiccultures(Campbell

2004).Globalmusiceducatorscultivate“supportiveandcaringsurroundings”(Heimonen

2012,68),inwhichstudentsexperienceandcriticallyexaminemusicaldifferencesin

respectfulways,ultimatelyleadingthemtowardsheightenedlevelsofmusicalsensitivity.


25

MusicexperiencesconceivedatthegloballayeroftheMEGEframeworkIpropose

aregroundedbyseveraladditionalguidingprinciples,broughtforthbyworldmusic

educatorsworkingatthe“intersectionofethnomusicologyandmusiceducation”

(Campbell2003,28)andpraxialmusiceducationscholars.Theseprinciplesfurtherclarify

thecoredifferencesbetweenglobalandconnoisseurship/aestheticperspectivesinmusic

education.

1. Throughouttheworld,therearemany“highlysophisticatedmusictraditions

basedondifferentbutequallylogicalprinciples”(AndersonandCampbell2010,

2).Nomusictraditionissuperiortoanother.

2. SinceALLmusicis“goodfor”somethingtosomeone(Regelski2004,2016),all

musicisworthyofstudyineducationalsettings(Gates1999).

3. Studentsshouldhaveopportunitiestoactivelyengagewithawidevarietyof

culturallydiversemusictraditionsfromaroundtheworldintheirmusic

classroom.Theseexperiencesshouldinclude,butshouldalsoextendfarbeyond

musicalculturesthatexistinthelocal(andevennational)community(Elliott

1989;Koza2001;Campbell2004).

Campbell(2004)contendsmusiceducatorswhoapplyglobalprinciplessuchas

theseintheirclassroomscanhelpstudentscometoknow“musicwithacapital‘M’,Music

asitsoundsandfunctionsacrosstheglobe”(28).Sheasserts,“Itisfairandfittingfor

studentstolearnmusicasthehumanphenomenonthatitis,initsdiversityofformsand

functions,componentsandcontexts,andstylisticsubtletiesacrosscultures”(237).

Throughtheseexperiences,studentscandevelopcopingstrategiesthatpermitthemto

interactmeaningfullyinaglobalmusicalculture.

ImaginedContactthroughMusic?

Evenwhenamusictraditionisveryunfamiliarandstudentslackanimmediate

frameofreferencefromwhichtheycandraw,Elliott(amongothers)contendsthe

participatorynatureofthemusicalexperienceitselfprovideslearnerswithanimportant

opportunitytoimaginetheworldfromadifferentpointofview(1990),openingthedoor


26

toempathyonagloballevel.Agrowingbodyofresearchrelatedtotheimaginedcontact

hypothesissupportsthisnotion.Thistheoryisbasedon“theideathatsimplyimagining

intergroupcontactwithanoutgroupmembermaybeenoughtoelicitmorepositive

intergroupattitudes”(Crispetal.2009,2).In2014,ameta-analysisofover70studiesin

thisarearevealed“imaginedcontacthadareliablesmall-to-mediumeffectacrossall

measuresofintergroupbias”relatedtointerculturalattitudes,emotions,andbehavior

(MilesandCrisp,14).Thesepositiveeffectsweresignificantlylargerininchildrenthan

adults,possiblybecause“childrenareataformativestagewhereimageryisakey

componentofhowtheylearnabouttheworld”(19).Thenotionofimaginingcontact

throughactivemusicparticipationtakesthistheorytoawholenewlevel,butthusfarhas

notbeenexplored.

FromEssentialismtoPluralism

Despiteclearevidencethatculturally–diversemusicalexperiences(includingthose

thatinvolve“imaginedcontact”)canhavesocioculturalbenefits(Edwards1998;Abril

2006;Chen-Hafteck2007;Mellizo2016),Regelski(2010)remindsusthattheyareoften

groundedbyessentialistassumptions.Specifically,hearguesthesetypesoflearning

experiencescommonlyassumemusicdrawnfromaparticulargeographicregionorethnic

groupcanbesimplified“intoahomogeneousentity...thathasitsowndistinctive

‘character’”(95).Thisessentialistperspectiveisproblematicbecauseitignorestheways

inwhich“belongingtoonegrouptypicallyintersectswithparticipationinahostofother

groups”,andhighlightscommontraitsthat“areoftensharedonlysuperficially”(95).

Whenwelabelmusicselectionsas“authenticrepresentations”ofamusicculture,werisk

stereotypingand/ormisrepresentingbothmusicandpeople.

RelatingthisideatotheMEGEframeworkIpropose,musicallearningexperiences

thatdeviatefromthecorewilllikelybemoreunfamiliar(forbothteacherandstudent),

andthus,risksrelatedtoessentialismwillincrease.Overthepastseveraldecades,

practicingmusiceducatorshavebecomeincreasinglyawareoftheserisks,and

unfortunately,manyhaverespondedbychoosingnottoengageinculturallydiversemusic

educationatall(SchippersandCampbell2012).Oneofthechallengesthatlieaheadwill


27

mostcertainlyinvolveremindingourselves(andothers)tobemindfulof(butnot

paralyzedby)issuesrelatedtoessentialism,authenticity,andmisrepresentation.AsNettl

(1992)argues,“TheideaisnottoteachTHEmusicofthesecultures,buttoteach

somethingaboutthemandforstudentstoknowtheyexistandareworthyofattentionand

respect”(5).

Regelski(2010)suggestsmanyofthepitfallsrelatedtoessentialismcanbeavoided

whenmusiceducatorsacceptandembracethenotionofpluralism.Ratherthanpresenting

musicalselectionsasauthenticrepresentationsofagivenmusicculturebyplanningand

implementingsinglelessonsorunitsthatfocusononeworldmusiccultureindividually,

educatorscanintegratemusicfromallovertheworldinthematicways.Regelski(2010)

andSchippers(2010)provideexamplesofthemesthatcouldbeemphasized,suchasmusic

oftheroyalcourts,musicandlove,musicandresistance,musicasritual,sociality,

celebration,andrecreation.

Thispluralisticapproachinmusiceducation,whichIcontendisyetanother

distinguishingfactorbetweeninterculturalandglobalmusiceducation,isbothintimidating

andempowering.Itrequiresustoadoptanewworldview.Inmanycaseswemust

relinquishtheroleof“knowledgekeeper”andembracetheroleof“co-learner/facilitator”

intheclassroom.Atthesametime,itprovidesuswithuniqueopportunitiestomodelthe

typeofopen-mindednessandthirstfornewknowledgewewouldlikeourstudentsto

develop.

Additionally,apluralisticapproachinmusiceducationrequiresustoacceptand

embracethenotionofchange.Engaginginculturallydiversemusic–makingineducational

settingsalwaysinvolveschangingthemusicinsomeway...anewinstructionalculture

emergeseachtimewebringunfamiliarmusictolifeinourclassrooms(Campbell2004).As

globaleducators,wedonotdisregardwhatmusicmeanstopeopleintheoriginalcultural

setting,butweemphaticallymustunderstandthatinordertoachievemoremeaningful

musicalexperiences,ourstudentswillneedtomergethisunfamiliarculturalperspective

withtheirown(Elliott1990)astheyengageintheactivemusic-makingprocess.As


28

Schippers(2010)asserts,“Thecoreofmusicisnotcorrectnessbutitspowertomove

people”(2455).

Conclusion

Cultivatingcommunitythroughmusicissomethingthatalreadyoccursnaturallyin

musiceducationsettingsaroundtheglobe.Therefore,theMEGEframeworkIpropose

throughthisarticledoesnotrequiresweepingchanges.Instead,itattemptstoincreasethe

intentionalityofthisnaturalinclinationthroughadevelopmentalapproach.Itseeks“to

extendanddeepenwhateachofusthinksofwhenheorshespeaksofacommunity”

(Greene1995161).Itconsidersthepathwaysthroughwhichouryoungpeoplewillneed

tonavigateastheybuildtheglobalknowledge,skills,anddispositionstheywillneedto

developintosuccessfulandtransformativecitizenswhowill“buildbridgesamong

themselves”(167)and“choosetoengageincooperativeorcollectiveactioninorderto

bringaboutsocietalrepairs”(66).Fromadevelopmentalperspective,thisframework

providesawaytoconceptualizetheimportantcontributionsmusiceducatorscanmaketo

aneducationaleffortthattranscendstraditionalsubject-areaandgeographicboundaries.

Thejourneythatliesaheadwillnotbeeasy.Wearecurrentlynavigatingthrough

theunchartedwatersofanincreasinglyinterconnectedandinterdependentworld,in

whichpeoplecannolongerhideorisolatethemselvesfromthediversitythatexistsall

aroundthem.Unfortunately,manyrecentevents(frommyperspectiveparticularly

prevalentintheUnitedStates),suchasterroristattacks,whitesupremacistmovements,

newborderwalls,gaymarriagedebates,travelbans,increasedfrequencyofnuclear

weaponstesting,andtighteningofimmigrationpolicies,indicatemanypeoplehave

respondedtotheirheightenedawarenessofhumandiversitywithfearandhaterather

thanacceptanceandlove.Itistimeforthemusiceducationcommunitytodeeply

contemplateourimportantroleinahealingprocessthatsimplymusthappen.Theorizing

abouthowmusiceducationcanfunctionasglobaleducationisanimportantandnecessary

stepinthisprocess.


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TheMEGEframeworkIproposethroughthisarticleisnecessarilyincomplete,since

“changeandtheneedtorespondtochangeareinherentpartsofglobaleducation”

(Balistrerietal.2014,10;RegelskiandGates2009,passim).Globaleducatorsinallsubject

areasmustbeopentodialogue,criticalreflection,andchangesthatwillmostcertainlybe

necessaryinthefuture.Afterall,wecannotpredicttherealitiesthatanever-changing

worldhasinstoreforourstudents.Yet,thislimitationdoesnotdiminishthevalueofthe

experiencesmusiceducatorscanprovidenow–whichwillserveallstudentswell,

regardlessofwhatthefutureholds.Together,weCANprovideourstudentswithactive,

meaningfulandvaluableopportunitiesto“attendtoarangeofhumanstories”(Greene

1995,167)throughmusicalencounters,andcollectivelyparticipateinamicrocosmofthe

futureworldwehopetosomedaysee.

Movingforward,Ihaveidentifiedseveralquestionsthatrequirefurther

consideration:

1. Inspecificterms,whatskillsandcopingstrategies(musicaland/or

sociocultural)doesapersonneedtointeractmusicallyinaglobalsetting?

2. Howcantheseskillsandcopingstrategiesbehighlightedinteacher

preparationprograms,sofuturemusiceducatorswillbereadytofacilitate

musicallearningexperiencesfromaglobalperspective?

3. Whatarethespecificinstructionaloutcomesofaglobalmusiceducation?

4. Whatmeasurescanbedevelopedtoverifytheseoutcomes?

5. Asadiversecommunityofmusiceducators,howcanwefosterthelevelof

trustrequiredtoengageincontinuousmeaningfuldialogueaboutglobal

musiceducationissues?

CallforPapers:Iinviteothermusiceducatorsandmusiceducationscholarstoconsider

questionssuchastheseandrespondtomyproposedframeworkforMusicEducationas

GlobalEducation(MEGE).AcceptedpaperswillcompriseaspecialissueofTOPICS,which

willunpacktheuniquepotentialofmusiceducationtofunctionasglobaleducation.


30

Whensubmitting,pleasenotetheTOPICSstyledocument.Pleaseemailsubmissionsto

DarrylA.Coan([email protected])with“TOPICSsubmissionglobalmusiceducation”inthe

subjectfield.Providecompleteauthorcontactinformationinthecoveringemail,butno

authoridentificationonthemanuscriptitself.Thedeadlineforsubmissionstothis

specialissueofTOPICSissixmonthsfromthedateofpublicationofthisinvitation.

Mission:ThemissionofTOPICSforMusicEducationPraxis(Themes,Opinion,Practices,

Innovation,Curriculum,Strategies)istofillthegapbetweenmusiceducationscholarship

andpractice.Inparticular,thisjournalwillfocusonthe“practice”(practical,praxial,

pragmatic)sideofthe“theoryintopractice”and“practiceintotheory”bypublishing

papers,articles,documents,andothertextsthatcontributetomusiceducationpraxisand

praxialtheoryinternationally.TheintendedaudienceofTOPICSwillbemusiceducation

students,schoolmusic,communityandprivatemusicteachers,andprofessorslargely

engagedwithpreparingundergraduateandmaster’slevelmusiceducation

students.Doctoralstudents,whoplayanimportantroleinbridgingtheworldsofmusic

educationpractitionersandprofessors,arehighlyencouragedtoauthorarticles.All

articleswillbealignedorconsonantwiththeActionIdealsoftheMDG,aspublishedonits

website,however,viewsexpressedbyTOPICSauthorsaretheirownandmayormaynot

reflecttheviewsoftheeditors.

PeerReview:Submissionsthatfitthescopeofthisprojectwillbesubjecttoarigorous

processofdoubleblindpeerreview.Finalpublicationdecisionsrestwiththeeditor.


31

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Documents

Music Education as Global Education: A Developmental Approachtopics.maydaygroup.org/articles/2019/Mellizo_2019.pdf · important common ground that can serve as a natural starting