What We Hear is Meaning Too: Deconstruction, Dialogue, and Music

The concept of dialogue as deconstruction introduced in this article is prompted by two concerns: first, the multiplicity of representation in contemporary society, and second, the need to address rather than resolve the other as a central premise for learning. Dialogue as deconstruction is seen as an impactful element in destabilizing sequential forms of teaching ingrained in the contemporary logic of standardization. An analysis of various traditions of dialogic thought and practice is developed, arguing that conflict and provisionality are either absent or seen negatively in these accounts. In order to present conflict as a positive element and a constitutive part of dialogue as deconstruction, the notion of mis-listening is offered, defined not as the inability to recognize commonly agreed-upon sonic ideals but rather the capacity to intentionally hear "wrong." This is seen as an essential element if music education is to emphasize innovation, agency, and dissent.