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创造新的视角和制定更具响应性的教学方法(哈拉韦)，以支持西方古典音乐教师和非洲/加勒比和混合血统的学生发展积极的种族认同。这项研究将有助于通过多种视角(包括非殖民主义、土著和批判性种族理论)广泛审查古典音乐教育和教学法，因为它们与种族认同发展这一核心主题相交，因为它在非洲/加勒比和混合血统的学生/教师中表现出来。建议的研究方法位于Karen Barad、Donna Haraway、Rosi Braidotti和Elizabeth St Pierre的死后/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，并借鉴音乐教育和种族/非殖民主义研究领域的文本。我借鉴了一种包含后结构主义解构的批判性范式，以此作为一种方式来质问主导意识形态，以及转向关系本体论的“人”的本体论中心。拟采用的方法包括以器乐课程/讲习班为基础的合作研究以及与非洲/加勒比和混合血统的学生和古典音乐教育者的半结构化访谈/重点小组。

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.