Transforming Music Education

Notes

Notes 1. Setting the Stage 1. One account of these changes for music composition and the possibilities for music education is provided by Edward Williams, “‘Obsolescence and Renewal’ (Musical Heritage, Electronic Technology, Education and the Future),” International Journal of Music Education no. 37 (2001): 13–31. 2. Jacques Attali, Noise: The Political Economy of Music, trans. Brian Massumi (Minneapolis: University of Minnesota, 1985), 19, makes the point that repetition silences others “by mass-producing a deafening, syncretic kind of music, and censoring all other human noises.” 3. Kurt Blaukopf, Musical Life in a Changing Society, trans. David Marinelli (Portland, Oreg.: Amadeus Press, 1992), chap. 3. 4. For a discussion of notions of what educators ought to bring to these “multiplicities and pluralities,” see Maxine Greene, The Dialectic of Freedom (New York: Teachers College Press, 1988), chap. 4. On educational issues arising out of this conservatism , see Michael Apple, Official Knowledge: Democratic Education in a Conservative Age, 2d ed. (New York: Routledge, 2000). 5. The homogeneity of core beliefs, values, expectations, and aspirations in American society evoked by Amitai Etzioni’s “monochrome” metaphor, in his The Monochrome Society (Princeton, N.J.: Princeton University Press, 2001), suggests that while Americans may evidence an array of beliefs and values, they are all shades of one color rather than various colors of the rainbow. 6. This resistance against liberal ideologies of all stripes is evident in responses to feminism; see Susan Faludi, Backlash: The Undeclared War against American Women (New York: Crown Publishers, 1991). 7. The rationale for music education has changed relatively little since music entered the publicly supported schools of Boston in the first part of the nineteenth century; see Estelle R. Jorgensen, “Justifying Music Instruction in American Public Schools: An Historical Perspective,” Bulletin of the Council for Research in Music Education no. 120 (Spring 1994): 17–31. 8. This is seen, for example, in contemporary music education and in its history in the United States. Michael L. Mark and Charles L. Gary, A History of American Music Education (New York: Schirmer Books, 1992); and Michael L. Mark, Contemporary Music Education, 3d ed. (New York: Schirmer Books, 1996). 9. The Music Educators National Conference, now known as the MENC—The National Association for Music Education, led a consortium of arts organizations in formulating and publishing The National Standards for Arts Education: What Every Young American Should Know and Be Able to Do in the Arts, ed. Michael Blakeslee (Reston, Va.: Music Educators National Conference, 1994). 10. On philosophical fallacies, see Anthony Weston, A Rulebook for Arguments, 2d ed. (Indianapolis: Hackett, 1992), chap. 10. Also, see Estelle R. Jorgensen, “What Are the Roles of Philosophy in Music Education?” Research Studies in Music Education no. 17 (December 2001): 19–31. PX17A_notes_147-180 17/10/02 15:46 Page 147 148 notes to pages 3–5 11. This point is made in Estelle R. Jorgensen, In Search of Music Education (Urbana: University of Illinois Press, 1997). 12. Estelle R. Jorgensen, “Philosophical Issues in Music Curriculum,” in New Handbook of Research in Music Teaching and Learning, ed. Richard C. Colwell and Carol Richardson (New York: Oxford University Press, March 2002), 48–62. 13. Samuel Lipman, The House of Music: Art in an Era of Institutions (Boston: David R. Godine, 1984), 263, 265. 14. Growing Up Complete: The Imperative for Music Education, The Report of the National Commission on Music Education (Reston, Va.: Music Educators National Conference, 1991), 3. 15. Lucy Green, Music on Deaf Ears: Musical Meaning, Ideology, and Education (Manchester: Manchester University Press, 1988), chap. 6. For an account of the story of British Secondary School Music in the twentieth century, see Stephanie Pitts, A Century of Change in Music Education: Historical Perspectives on Contemporary Practice in British Secondary School Music (Aldershot, Hampshire: Ashgate, 2000). 16. For example, Robert Walker, “Music Education Freed from Colonialism: A New Praxis,” International Journal for Music Education 27 (1996): 2–15, suggests that music is a Western term for a particular Western cultural activity and that the Ghanaian words dwom or agror might do just as well as music (pp. 8–10). Also, see Robert Walker, Musical Beliefs: Psychoacoustic, Mythical, and Educational Perspectives (New York: Teachers College Press, 1990). 17. Estelle R. Jorgensen, “Engineering Change in Music Education: A Model of the Political Process Underlying the Boston School Music Movement,” Journal of Research in Music Education 31 (1983): 67–75; Bernarr Rainbow, Land without Music: Musical Education in England 1800–1860 and Its Continental Antecedents (London: Novello, 1967); and...