- The Oxford Handbook of Social Justice in Music Education
- Section I Understanding Social Justice in Music Education Conceptually, Historically, and Politically
- Intersecting Social Justices and Music Education
- Understanding Social Justice from the Perspective of Music Education History
- The Ethics of Policy: Why a Social Justice Vision of Music Education Requires a Commitment to Policy Thought
- Facing the Music: Pursuing Social Justice Through Music Education in a Neoliberal World
- Educational Policy Reforms and the Politics of Music Teacher Education
- The Promotion of Multiple Citizenships in China’s Music Education
- What Did You Learn in School Today? Music Education, Democracy, and Social Justice
- Section II Reclaiming Difference in Music Education
- Disjunctured Feminisms: Emerging Feminisms in Music Education
- A Jazz Funeral in Music Education
- The Space Between Worlds: Music Education and Latino Children
- Music, Social Justice, and Social Inclusion: The Role of Collaborative Music Activities in Supporting Young Refugees and Newly Arrived Immigrants in Australia
- Hidden in Plain Sight: Race and Racism in Music Education
- Ableism and Social Justice: Rethinking Disability in Music Education
- Gender and Sexual Diversity Challenges (for Socially Just) Music Education
- Beyond Toleration—Facing the Other
- Section III Epistemological Shifts and Just Practices
- What Do We <i>Think</i> We Know?
- Multiculturalism and Social Justice: Complementary Movements for Education in and Through Music
- Music Education, Social Justice, and the “Student Voice”: Addressing Student Alienation Through a Dialogical Conception of Music Education
- Informal Learning as a Catalyst for Social Justice in Music Education
- Musical Creativity and “the Police”: Troubling Core Music Education Certainties
- Music Education and Social Reproduction: Breaking Cycles of Injustice
- The Imperative of Diverse and Distinctive Musical Creativities as Practices of Social Justice
- Music Teachers’ Repertoire Choices and the Quest for Solidarity: Opening Arenas for the Art of Living with Difference
- Youth Empowerment and Transformative Music Engagement
- You Gotta Fight the Power: The Place of Music in Social Justice Education
- Section IV Toward Social Justice Pedagogy
- Social Justice in the English Secondary Music Classroom
- Hospitable Music Making: Community Music as a Site for Social Justice
- Social Justice and Urban Music Education
- Social Justice and Music Technology in Education
- Music First and Last: Developing a Socially Just Pedagogical Approach to Music Education with Technology
- Rescuing Choral Music from the Realm of the Elite: Models for Twenty-First-Century Music Making—Two Case Illustrations
- Music Education Assessment and Social Justice: Resisting Hegemony Through Formative Assessment
- Critical Reflection for Social Justice and Inclusion in Music Education
- Can Music Teaching Be a Powerful Tool for Social Justice?
- Section V Social Justice in Practice
- Behind Different Walls: Restorative Justice, Transformative Justice, and Their Relationship to Music Education
- Relationship, Rescue, and Culture: How El Sistema Might Work
- Negotiating Gender, Popular Culture, and Social Justice in Music Education
- Music Education and the Invisible Youth: A Summary of Research and Practices of Music Education for Youth in Detention Centers
- Music: An Alternative Education in the South African Freedom Struggle
- New Faces in Old Spaces: Mexican American Musical Expressions and Music Equity within the Music Curriculum
- The Intersection of Music Teacher Education and Social Justice: Where Are We Now?
- Striving for Justice with Determination and Hope: An Epilogue
Abstract and Keywords
This chapter argues that multicultural music education that focuses on preserving cultural roots and cultivating historically justified, authentic musical practices in the classroom is inadequate as the single guiding approach to teaching music. Since musical diversity is already self-evident for today’s students, teachers should consider opening spaces for students’ own, ongoing negotiations of musics in order to create new musical negotiations and multiple belongings as well as social bonding. Moving toward what is often viewed as intercultural education, the chapter extends some of the starting points found in multicultural music education literature by rereading them against research findings regarding immigrant students’ musical agency and Zygmunt Bauman’s sociological analysis of cultural diversity in contemporary society. It argues that developing learning communities in which epistemological horizons and musical repertoire are brought both from outside the classroom and from within its existences would simultaneously entail ethical choices and working toward solidarity and democracy.
Heidi Westerlund studied music education at the Sibelius Academy, Finland. She also completed bachelor's and master's degrees in philosophy at the University of Helsinki. She earned her doctor of music degree at the Sibelius Academy. She is a professor at the Sibelius Academy, being responsible for the doctoral studies in music education. She has published mostly in the field of philosophy of music education, examining issues such as multiculturalism, the social aspects of music education, the role of students’ experience in theorizing music education, teacher education and pedagogical culture in music education. She has served as a co-chair of the International Society for Philosophy of Music Education and vice-chair of the Finnish Society for Research on Arts Education. She has worked as a reviewer for several international journals and as an editor of the Finnish Journal of Music Education.
Hedmark University College
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