Globalizing Music Education , livre ebook

GLOBALIZING MUSIC EDUCATION
COUNTERPOINTS: MUSIC AND EDUCATION
Estelle R. Jorgensen, editor
GLOBALIZING MUSIC EDUCATION
A Framework
Alexandra Kertz-Welzel
Indiana University Press
This book is a publication of
Indiana University Press
Office of Scholarly Publishing
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1320 East 10th Street
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iupress.indiana.edu
2018 by Alexandra Kertz-Welzel
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses Resolution on Permissions constitutes the only exception to this prohibition.
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Library of Congress Cataloging-in-Publication Data
Names: Kertz-Welzel, Alexandra, author.
Title: Globalizing music education : a framework / Alexandra Kertz-Welzel.
Other titles: Counterpoints (Bloomington, Ind.)
Description: Bloomington : Indiana University Press, 2018. | Series: Counterpoints: music and education
Identifiers: LCCN 2017026094| ISBN 9780253032577 (cl : alk. paper) | ISBN 9780253032584 (pr : alk. paper)
Subjects: LCSH: Music-Instruction and study. | Music and globalization.
Classification: LCC MT1 .K4 2018 | DDC 780.71-dc23 LC record available at https://lccn.loc.gov/2017026094
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To Martin Welzel
Contents
Acknowledgments
Introduction
1 Globalization and Internationalization
2 Thinking Globally in Music Education Research
3 Developing a Global Mindset
Conclusion
Bibliography
Index
Acknowledgments
T HIS BOOK HAS been quite a long time in the making. It is the result of a long professional and personal journey. I am indebted to many people I have met on this journey who have supported and challenged me and who have helped me become the person and scholar that I am now. I thank my students and colleagues at Ludwig Maximilian University in Munich, Germany, but also all students and colleagues I have met during my lectures in Germany and abroad. I am particularly grateful to many colleagues in the international music education community, who are too numerous to acknowledge individually. They know how significant they are to me. They have inspired and supported me in countless discussions and helped me elaborate my ideas. Their thoughts and suggestions have aided this publication, enabling me to write a book on a topic that, not long ago, people would have thought dispensable. It is my hope that the thoughts presented here will encourage readers to continue on their professional and individual journeys and to apply and improve the ideas presented. I am particularly indebted to two colleagues who have had an enormous impact on me: Patricia Shehan Campbell and Estelle R. Jorgensen. While I will never be able to repay my debt to them, I will always aim to be a mentor for young scholars. Last, I thank my husband, Martin Welzel. Without him, this book would not exist.
GLOBALIZING MUSIC EDUCATION
Introduction
G LOBALIZATION AND INTERNATIONALIZATION have shaped our lives in ways that we do not notice anymore: the same food or fashion chains in cities worldwide, the same songs wherever we go, similar architecture in different parts of the world. Even though there usually is a touch of local flavor in everything we encounter, the international commonalities are striking. But we also know other facets of globalization and internationalization: the global reality of violence and terror by fanatic international networks, related to ideologies or religious beliefs, threatening our world order and democratic principles; the exploitation of people and resources; or the fear and rejection of globalization and internationalization, because people feel threatened by immigrants and the global economy. These and many more aspects indicate that globalization and internationalization are multifaceted and challenging, shaping lives worldwide. No matter what we think about these developments, we should face that we live in a global world, where everything and everybody is interconnected.
There are certainly various ways of encountering globalization and internationalization, publicly and individually. In the public sphere, regarding global politics or economy, international organizations such as the United Nations (UN), the Organization for Economic Cooperation and Development (OECD), or the North Atlantic Treaty Organization (NATO) stand for a global world order. Likewise, there are representatives of internationalization in specialized fields, such as International Music Council (IMC) or International Society for Music Education (ISME). But globalization and internationalization are also present in personal histories. People studying, working, or living abroad encounter the challenges and opportunities of globalization and internationalization, which shape their professional and private identities.
These personal experiences have been the starting point for this book. I spent three and a half years, from 2002 until 2005, as a postdoctoral researcher at the University of Washington in Seattle, Washington. As someone who had never encountered music education in any other than the German context, I faced personal and professional struggles. Realizing that I was not the only one facing these problems eventually led to the decision to turn these challenges affecting my professional identity into a research project, investigating them from a scholarly and interdisciplinary perspective. This book is the result of this personal and scholarly journey. It provides a conceptual framework for globalizing music education. It offers points of reference for understanding, evaluating, and shaping the formation of a culturally sensitive global music education community. It advocates reconsidering and transforming music education in view of globalization and internationalization, particularly regarding lifelong musical engagement, higher education, and research. This book wants to be a guide for people s own scholarly journeys, as well as for the profession. It raises issues that have never been addressed comprehensively. It can therefore be only a first attempt to start a professional discourse about the impact globalization and internationalization have on music education worldwide and how we can use its benefits for the formation of a culturally sensitive global music education community. This is what globalizing music education means.
Globalization and Internationalization
There are many ways to characterize globalization, this buzzword that seems, as Nikolas Coupland states, to be overconsolidated, overhyped and under-interpreted. 1 Many people use it, often just as a convenient label for certain developments, without knowing exactly what it means. Globalization can be a synonym for economic liberalization, sometimes even in terms of Westernization or Americanization. But globalization also concerns the proliferation of new information technologies. 2 The world is connected through the World Wide Web. There is a global community; the world may even be a global village. The blurring of national borders and the increased speed of transportation support this perception. Thomas Eriksen identifies eight dimensions of globalization, describing the challenges and opportunities it provides: disembedding, acceleration, standardization, interconnectedness, movement, mixing, vulnerability, and re-embedding. 3 Some of these aspects, such as disembedding, acceleration, movement, or interconnectedness, refer to the shrinking of space and time and the subsequent delocalization, increased exchange of information, or constant drive. Other dimensions underline more critical aspects of globalization: standardization describes a process in which homogenization and comparability can lead to artificial sameness all over the world, no matter whether this is in education, food, language, architecture, or music. Individual differences according to local or national traditions disappear because of the demand of a global standard, maybe ensuring quality but also eliminating diversity and its inherent value. Mixing is, at least to a certain degree, the opposite of standardization and characterizes the growing diversity in a global world where many different cultures meet, are transformed, and represent the multifarious facets of today s societies and lifestyles. Vulnerability signifies results of the other dimensions of globalization, such as the disappearance of boundaries or the global economy-refugees from wars or economic problems, epidemics such as AIDS or avian flu, transnational terrorism or climate change-having an impact particularly on developing countries. These global problems cannot be conquered by a single national state but are tasks for the global community. If the world is one, then everybody is responsible for others welfare to some extent. Eriksen s last dimension, re-embedding, emphasizes the dialectical nature of globalization: interconnectedness, for instance, through digital media, can lead to disconnectedness regarding the real world.
Thus, globalization is not an easy phenomenon and is characterized by opposite tendencies, such as homogenization and heterogenization, also exemplifying the dialectics of the global and the local. Arjun Appadurai criticizes oversimplified notions of globalization as simple homogenization and argues for a more nuanced understanding:
Most often the homogenization argument subspeciates into either an argument about Americanization or an argument about commoditization, and very often the two arguments are closely linked. What