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Then, in 1967, the Tanglewood Declaration opened the music classroom to all musics, from all periods and cultures. The period from 1970-2010 represents the next cycle. Musics from the Middle East, Africa, Asia, Australia and the Pacific Islands were added almost overnight to the series textbooks. Jazz was finally fully recognized in the curriculum and popular music began edging its way into the classroom. It is a period full of activity in research, curricular development, publications, and conference presentations at international, national, and local levels. Across this period, terms used to describe what was happening evolved from “ethnic” to “multiethnic” to “multicultural” and finally to “world” musics.
While there was limited research in what could be called multicultural music education over the preceding cycles, beginning in 1970, dissertation research began to look at the topic from various perspectives, often producing cutting edge research designed to help students and teachers understand and implement these new musical additions to the curriculum. Since then, two reviews have examined this scholarship. Between them, they covered nearly all of the dissertations up to 1996. There has been no compendium since then.
Diversity and social justice (with all its ramifications of ethnicity, religion, socio-economic status, sexual persuasion, age, gender and abilities) and popular music/technology could be both the end game (the last and final component) of multicultural music education and, at the same time, the defining moment of the next cycle for music education in the United States. It is time to find out.
This meta-review looks at the dissertations from 1970 to the present seeking trends and developing ideas, and looking forward to the future. Is this the end of multicultural music education research, or just the beginning?
Michael Vecchio, University of Michigan Exploring the Role of Affect in Beginning Instrumental Pedagogy
In this review of literature, I explore the role and importance of affect in beginning instrumental pedagogy through a historical-philosophical lens. Are affective skills an important part of music instruction? What does the literature say about the role of affect in music instruction? How do past and current musical pedagogies account for affect? The literature review is structured around three categories: philosophical foundations, psychological perspectives and pedagogical approaches.
The threads of aesthetic education philosophy can be traced back to John Dewey in his book Art as Experience (1934). Specifically in music education, James Mursell (1948) firmly believed in teaching to the whole student, which became known as the omnibus theory. Charles Leonhard (1998), a student of Mursell, believed that the basis for music education should be the music itself, and should start with the expressive qualities within the music being studied. Bennett Reimer (2003) brought aesthetic education into the twenty-first century by confronting postmodern thought and illuminating the importance of combining mind, body and feeling, resulting in special meanings on personal and cultural levels.
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