American Handbooks of Music History: Breadth, Depth, and the Critique of Pedagogy (original) (raw)
Related papers
New Paths for Music History Pedagogy: Challenges for the Next Decade
Musica Docta, 2016
American musicology has experienced a transformation in its acceptance of pedagogy in the past decade but there is still much work to accomplish in the next decade including: (1) strengthening of institutional support for teaching, (2) broadening the documentation on effective methods of teaching, (3) creating required courses on pedagogy in doctoral programs in musicology, and (4) building a greater variety of teaching.
Journal of Music History Pedagogy, 2015
Dirkse kindly shared a draft of his bibliography of music history pedagogy research, compiled for his dissertation. The bibliography documents a noteworthy body of empirical studies of music appreciation, primarily reported in doctoral dissertations in music education or performance, but none of those studies addresses music history curricula for undergraduate music majors. 3. Selected examples include J. Lawrence Erb, "Report of the Committee on Colleges and Universities, "
Navigating the global turn in western music history pedagogy
This paper argues for a deeper understanding of the challenges posed to undergraduate western music history by an increasingly globalised higher education system. Reflecting on the experience of delivering programmes at a music conservatory in Chennai, India, I suggest how curriculum can be adapted to explore the social history of cross-cultural musical practices. A brief case study surveys the role of western music in colonial and post-colonial south India to illustrate how we might foster critical approaches to music history at a global level.
Teaching Music History in the Margins
Musica Docta, 2019
Music history is often pushed to the margins of the public school curriculum. Faced with limited time and resources, teachers need to find concise, non-traditional ways to reintegrate history with performance and the other liberal arts. At the same time, they need to demonstrate, not just describe, the many ways in which music is intertwined with history and culture.
Towards a Decolonized Music History Curriculum
Journal of Music History Pedagogy Vol.10 No.1, 2020
Although musicological scholarship has expanded in recent decades to include critical theories and diverse repertoire, post-secondary music history curricula largely continue to disseminate a Eurocentric canon of composers and works presented within an evolutionary historical narrative. This article places questions of curricular revision in the current context of calls for educational reform through decolonization initiatives. Beginning with an exploration of what decolonizing education might mean, I then investigate the impact that the European colonial project might have had on the standard music history curriculum, uncovering an embedded teleological progression that supports European exceptionalism and culture superiority. A first step in decolonizing music history teaching, therefore, must be to make the historiographical foundations of what we are teaching transparent through contextualizing Western art music history within a critical, global framework.