A Posthuman Critique of the (De)Construction of Racial Identity in Western Classical Music Education

我提议的博士研究的重点是希望为器乐教学产生新的视角，并制定更具响应性的教学法（Haraway），以支持西方古典音乐教师和非洲/加勒比及混合遗产学生积极的种族认同的发展。这项研究将有助于通过多个镜头对古典音乐教育和教学法进行广泛的检查，（包括非殖民化，土著和批判种族理论），因为它们与种族认同发展的核心主题交叉，因为它体现在非洲/加勒比和混合遗产的学生/教师中。所提出的研究方法位于Karen Barad， Donna Haraway， Rosi Braidotti和Elizabeth St Pierre的后人类/后定性作品中，包括Annouchka Bayley， Pamela Burnard和Carolyn Cooke在内的研究人员采用这种研究方法的教学探索，并借鉴了音乐教育和种族/非殖民化研究领域的文本。我借鉴了一种批判性范式，将后结构主义解构作为一种方式来质疑占主导地位的意识形态，以及“人”的本体论中心，转向关系本体论。计划的方法包括乐器课/工作坊为基础的共同研究和半结构化的访谈/焦点小组与学生和非洲/加勒比和混合遗产的古典音乐教育家。

The focus of my proposed PhD research is centred around the desire to generate new perspectives and formulate more response-able pedagogies (Haraway) for instrumental teaching that support the development of positive racial identity for western classical music teachers and students of African/Caribbean and mixed heritage. The research will contribute to an extensive examination of classical music education and pedagogy through multiple lenses, (including decolonial, indigenous and critical race theories), as they intersect with the core theme of racial identity development as it manifests among students/teachers of African/Caribbean and mixed heritage. The proposed research approach is situated within the posthuman/post-qualitative works of Karen Barad, Donna Haraway, Rosi Braidotti, and Elizabeth St Pierre, pedagogical explorations adopting this research approach by researchers including Annouchka Bayley, Pamela Burnard and Carolyn Cooke, and drawing on texts from the field of music education and race/decolonial studies. I draw on a critical paradigm encompassing poststructuralist deconstruction as a way to interrogate dominant ideologies, as well as the ontological centeredness of the 'human,' shifting towards relational ontology. The intended methods include instrumental lesson/workshop based co-research and semi-structured interviews/focus groups with students and classical music educators of African/Caribbean and mixed heritage.