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

我提出的博士研究的重点是围绕产生新的观点，并制定更多的响应能力的教学方法（哈拉维）的器乐教学，支持西方古典音乐教师和非洲/加勒比地区和混合遗产的学生积极的种族认同的发展的愿望。这项研究将有助于通过多个镜头（包括非殖民地，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的核心主题交叉，因为它在非洲/加勒比和混合遗产的学生/教师中表现出来。建议的研究方法是位于后人类/后定性的卡伦巴拉德，唐娜哈拉维，罗西Braidotti，和伊丽莎白圣皮埃尔的作品，教学探索采用这种研究方法的研究人员，包括Annouchka贝利，帕梅拉伯纳德和卡罗琳库克，并借鉴文本从音乐教育和种族/非殖民地研究领域。我借鉴了一种批判范式，包括后结构主义解构作为一种方式来审问占主导地位的意识形态，以及本体论中心的“人”，转向关系本体论。预定的方法包括器乐课/讲习班为基础的共同研究和半结构化的访谈/焦点小组与学生和古典音乐教育工作者的非洲/加勒比和混合遗产。

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.