Decolonizing music education: Moving beyond tokenism
Decolonizing music education: Moving beyond tokenism
复制标题
音乐教育非殖民化：超越象征主义
DOI：
10.1177/0255761415581283
复制
发表时间：
2015
影响因子：
1.8
通讯作者：
Juliet Hess
中科院分区：
文献类型：
--
作者：
Juliet Hess
加拿大目前的音乐教育课程通过强调音乐中明显西方的元素，将西方古典音乐指定为最值得学习的音乐。尽管课程的构建方式，许多音乐教师努力为学生创造多样化的课程。Chandra Talpade Mohanty（2003年）在审查妇女研究项目时提出了三种课程模型，描述了“其他”学科材料在妇女研究学科课程中的参与方式。我重新思考她的教学模式，并将其应用于音乐教育。莫汉蒂的前两个模型在本质上更像是象征性的，而第三个模型则是比较性的。虽然前两种模式有好处，但第三种模式应用于音乐时，揭示了音乐更好地理解关系。Mohanty（2003）的第三种教学模式对音乐教育有很大的启示。
Current music education curricula across Canada designate Western classical music as the music most worthy of study through emphasis on elements of music that are decidedly Western. Despite the way the curriculum is constructed, many music teachers strive to create diverse programs for their students. In her examination of women’s studies programs, Chandra Talpade Mohanty (2003) puts forward three curricular models that describe the manner in which “Other” subject material is engaged in the curriculum within the discipline of women’s studies. I rethink her pedagogical models and apply them to music education. Mohanty’s first two models are more tokenistic in nature while the third model is comparative. While there are benefits to the first two models, the third, when applied to music, reveals that musics are better understood relationally. Mohanty’s (2003) third pedagogical model has much to offer music education.