Abstract
In this chapter Ippolito introduces the conflict crisis: the inability to effectively negotiate and problem-solve in a twenty-first-century environment. Rooted in dominant culture war and game metaphors that encourage adversarial competition and define success on the basis of “winning”, Ippolito advocates for a cooperative approach to negotiation in order to achieve subjectively and contextually defined optimal outcomes. Such a paradigm shift requires a new metaphoric frame and a new pedagogical approach to negotiation and dispute resolution. To respond to the conflict crisis, Ippolito puts forward the musical ensemble as the new metaphor and model and an arts-based teaching and learning method to explore the effects of this new paradigm.
It is not the strongest of the species that survives, nor the most intelligent, but the one most responsive to change.
—Charles Darwin
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Notes
- 1.
“First generation” pedagogy refers to a form of experiential learning that employs a combination of lectures with simulations and fish-bowl exercises designed to teach diagnostic, analytic and predictive skills related to negotiation. “First generation” pedagogy is employed where negotiation is conceptualized “as a strategic and instrumental process” (Fox 2009, 13). Such conventional pedagogy does not venture into the realm of interdisciplinary learning, learning outside of the classroom or experimentation with hands-on learning beyond standard, “canned” role plays and skills-building exercises.
- 2.
In this study, “music” is both metaphor and method. The collaborative metaphor of the ensemble is offered in place of combative and competitive metaphors most often associated with negotiation and dispute resolution. The ensemble model is not genre-specific or instrument-specific despite the fact that the students in the study were exposed to a classical String Quartet. The ensemble could equally have been a choral group, a jazz combo, a drumming or chanting circle, or any other form of self-directed instrumental, vocal or mixed instrumental/vocal group. The genre of music is likewise irrelevant to both the research study’s framework and with respect to the type of music that could be made as part of the active music-making exercises described in Chap. 4. The musicians interviewed in Chap. 2 in response to the first research question were a mixed group of instrumentalists and vocalists (some of the musicians were both), from the classical, jazz, opera and cabaret communities.
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Ippolito, L.M. (2019). Framing the Problem. In: Music, Leadership and Conflict. Palgrave Studies in Business, Arts and Humanities. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-13628-4_1
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