Music education has historically had a tense relationship with
social justice. One the one hand, educators concerned with music
practices have long preoccupied themselves with ideas of open
participation and the potentially transformative capacity that
musical interaction fosters. On the other hand, they have often
done so while promoting and privileging a particular set of musical
practices, traditions, and forms of musical knowledge, which has in
turn alienated and even excluded many children from music education
opportunities. Teaching multicultural practices, for example, has
historically provided potentially useful pathways for music
practices that are widely thought to be socially just. However,
curricula often map alien musical values onto other musics and in
so doing negate the social value of these practices, grounding them
in a politics of difference wherein "recognition of our difference"
limits the push that might take students from tolerance to respect
and to renewed understanding and interaction. The Oxford Handbook
of Social Justice in Music Education provides a comprehensive
overview and scholarly analyses of the major themes and issues
relating to social justice in musical and educational practice and
scholastic inquiry worldwide. The first section of the handbook
conceptualizes social justice while framing its pursuit within
broader social, historical, cultural, and political contexts and
concerns. Authors in the succeeding sections of the handbook fill
out what social justice entails for music teaching and learning in
the home, school, university, and wider community as they grapple
with issues of inclusivity and diversity, alienation, intolerance,
racism, ableism, and elitism, or relating to urban and incarcerated
youth, immigrant and refugee children, and, more generally, cycles
of injustice that might be perpetuated by music pedagogy. The
concluding section of the handbook offers specific and
groundbreaking practical examples of social justice in action
through a variety of educational and social projects and
pedagogical practices that might inspire and guide those wishing to
confront and attempt to ameliorate musical or other inequity and
injustice. Consisting of 42 chapters by authors from Australia,
Brazil, Canada, China, England, Finland, Greece, The Netherlands,
Norway, Scotland, Spain, South Africa, Sweden, and the United
States, the handbook will be of interest to a wide audience,
ranging from undergraduate and graduate music education majors and
faculty in music and other disciplines and fields to parents and
other interested members of the public wishing to better understand
what is social justice and why and how its pursuit in and through
music education matters.
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