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143 Notes Preface . Maxine Greene, “I Still Wonder at How Unaware I Was of So Many Frequencies . . . ,” in Variations on a Blue Guitar: The Lincoln Center Institute Lectures on Aesthetic Education (New York: Teachers College Press, 2001), 192. . Ibid. . Charles Dickens, Hard Times (New York: W. W. Norton, 2001), 5. . Ibid., xx. . Douglas C. Orzolek, “The Call for Accountability,” Journal of Music Teacher Education 22, no. 3 (2012): 3–6. . Jack Schneider, “The High Stakes of Teacher Evaluation,” Education Week 31, no. 33 (2012): 28–30. . Randall E. Allsup, “A Place for the Humanities in Music Education,” Music Educators Journal 100, no. 4 (2014): 71–75; Randall E. Allsup, “The Eclipse of a Higher Education or Problems Preparing Artists in a Mercantile World,” Music Education Research 17, no. 3 (2015): 251–261. . Diane Ravitch, The Death and Life of the Great American School: How Testing and Choice Are Undermining Education (New York: Basic Books, 2010). . David Elliott, Music Matters: A New Philosophy of Music Education (New York: Oxford University Press, 1995); David Elliott and Marissa Silverman, Music Matters: A Philosophy of Music Education, 2nd ed. (New York: Oxford University Press, 2014). . Henry David Thoreau, The Journal of Henry D. Thoreau, edited by Bradford Torrey and Francis H. Allen (New York: Houghton, Mifflin, 1906), 9:54 (emphasis added). . Estelle R. Jorgensen, Pictures of Music Education (Bloomington: Indiana University Press, 2011). . Estelle R. Jorgensen, “Values and Philosophizing about Music Education,” Philosophy of Music Education Review 22, no. 1 (2014): 5–21. . Toward Open Encounters . Jon Caramanica, “Snoop Dogg Has More than Money on His Mind,” New York Times Magazine, May 10, 2015, p. MM58. . Ibid. . Ibid. (emphasis added). . See the school’s website at . Diane Ravitch, The Death and Life of the Great American School: How Testing and Choice Are Undermining Education (New York: Basic Books, 2010), 258. . Kelefa Sanneh, “Harlem Chic: How a Hip-Hop Legend Remixed Name-Brand Fashion,” New Yorker, March 25, 2013, pp. 52–59. . Ibid., 55. 144 | Notes to pages 3–12 . Ibid., 56. . Roland Barthes, “From Work to Text,” in Image, Music, Text, trans. Stephen Heath (New York: Hill and Wang, 1977), 160. . Ibid., 55. . Ibid., 57. . Ibid. . Marjorie Perloff, Unoriginal Genius: Poetry by Other Means in the New Century (Chicago : University of Chicago Press, 2010). . Sanneh, “Harlem Chic,” 53. . Henry Kingsbury, Music, Talent, and Performance (Philadelphia: Temple University Press, 1988), 87. . Franz Kafka, “Before the Law,” in The Complete Stories, ed. Nahum N. Glatzer (New York: Schocken Books, 1971), 22. . Ibid., 23. . Ibid. . Kingsbury, Music, Talent, and Performance. . Ibid., 92–93. . Ibid., 65. . Rosie Perkins, “Learning Cultures and the Conservatoire: An Ethnographically-Informed Case Study,” Music Education Research 15, no. 2 (2013): 196–213. . Barthes, “From Work to Text,” 160 (original emphasis). . Roland Barthes, “The Death of the Author,” in Image, Music, Text, trans. Stephen Heath (New York: Hill and Wang, 1977), 147 (emphasis added). . Elizabeth Ellsworth, “Why Doesn’t This Feel Empowering? Working through the Repressive Myths of Critical Pedagogy,” in Feminisms and Critical Pedagogies, ed. Carmen Luke and Jennifer Gore (New York: Routledge, 1992), 90–119. . Dan C. Lortie, Schoolteacher: A Sociological Study, 2nd ed. (1975; repr., Chicago: University of Chicago Press, 2002). . Paulo Freire, Pedagogy of the Oppressed, trans. Myra Bergman Ramos (1970; repr., New York: Continuum, 1990), 37. . Ibid., 40 (emphasis added). . See the program’s website at . See Inga Rikandi, ed., Mapping the Common Ground: Philosophical Perspectives on Finnish Music Education (Helsinki: BTJ, 2010). . See Elizabeth Gould, “Homosexual Subject(ivitie)s in Music (Education): Deconstructions of the Disappeared,” Philosophy of Music Education Review 20, no. 1 (2012): 45–62; Elizabeth Gould, “Legible Bodies in Music Education: Becoming-Matter,” Action, Criticism, and Theory for Music Education 6, no. 4 (2007): 201–223; and Elizabeth Gould, “Feminist Theory in Music Education Research: Grrl-illa Games as Nomadic Practice (or How Music Education Fell from Grace),” Music Education Research 6, no. 1 (2004): 67–79. . Elizabeth Gould, “Devouring the Other: Democracy in Music Education,” Action, Criticism , and Theory for Music Education 7, no. 1 (2008): 32. . Ibid., 33. . See Roberta Lamb, “Feminism as Critique in Philosophy of Music Education,” Philosophy of Music Education Review 2, no. 2 (1994): 59–74; Estelle Jorgensen, “The Artist and the Pedagogy of Hope,” International Journal of Music Education 27, no. 1 (1996): 36–50; Julia Koza, “Aesthetic Music Education Revisited: Discourses of Exclusion and Oppression,” Philosophy of Music Education Review 2, no. 2 (1994): 75–91; Charlene Morton...


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