期刊名称：Action, Criticism and Theory for Music Education
印刷版ISSN：1545-4517
出版年度：2007
卷号：6
期号：4
页码：132-132
出版社：Southern Illinois University Edwardsville, MayDay Group
摘要：Although general education has focused attention in this direction for some time, it seems that
the concept of social justice may finally have become a topic of widespread interest within
music education, signaled by the International Conference on Music Education, Equity, and
Social Justice held in October 2006 at Teacher¡¯s College, Columbia University in New York
City. I say ¡°finally¡± because the concerns are not new. Issues of social justice have lurked in
the academic margins of music education for quite some time. Nearly two decades have
passed since Roberta Lamb and Julia Koza brought feminist critiques of music education
philosophy and practice into its discourse. The concerns they raised about gender bias in
choral (Koza 1993a, 1993b), instrumental and general music education settings (Koza 1992;
Lamb 1994a; Lamb 1987) and feminist critiques of music education philosophy (Gould
1994; Koza 1994a, 1994b; Lamb 1994b; Lamb 1996; Morton 1994) motivated me to think
more deeply about what it means to teach music. The issues raised in their work, as well as an
increasing understanding of music¡¯s sociality (Bowman 1994a, 1994b) piqued the curiosity
that eventually became my scholarly focus on issues of multiculturalism and racial politics.
The reasons for my turn toward anti-racism as a discursive lens for analysis will be addressed
later in this paper, but my use of this lens is by no means a rejection of feminist ideals. I
continue to find inspiration in the work of scholars whose analytic views might be
characterized as ¡°feminist¡± (Gould 2005; Jorgensen 1996, 2003; Koza 2001, 2003;
O'Toole 1994, 2005) and whose writings address the ways music education reproduces
unequal power relations through practices that are often exclusionary.
