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Narratives and Reflections in Music Education pp 193–206Cite as

On Mediated Qualitative Scholarship and Marginalized Voices in Music Education

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Part of the book series: Landscapes: the Arts, Aesthetics, and Education ((LAAE,volume 28))

Abstract

This chapter addresses two interrelated questions concerning some of the characteristic features that should exemplify mediated qualitative scholarship in music education and ways in which mediated qualitative scholarship can enable marginalized voices in music education to be heard. Mediated scholarship is broadly defined as scholarship undertaken and/or disseminated through the arts and contemporary media. The term “marginalized voices” refers to those subjects, perspectives, media, approaches, objectives, and modes of dissemination that are not valued, studied, or accounted for in music education research. Drawing on two examples of work utilizing film and video and published as chapters in this book, I examine the possibilities and challenges for mediated qualitative scholarship in music education that highlights the voices of those not otherwise heard.

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Notes

  1. 1.

    Technologically-oriented journals include the Journal of Music Technology and Education and the Media Journal of Music Education. Ancillary web sites to published research articles are maintained by such journals as the Journal of Research in Music Education.

  2. 2.

    I think, for example, of June-Boyce Tillman’s performances as part of her presentations to the International Society for the Philosophy of Music Education and Elizabeth Gould’s Deleuzian performance piece in response to Estelle Jorgensen and Iris Yob, Deconstructing Deleuze and Guattari’s A thousand plateaus for music education, at the 8th International Symposium for the Philosophy of Music Education in Helsinki, Finland, June 2010. See the International Society for the Philosophy of Music Education website at http://www.ispme.net.

  3. 3.

    This film was featured in the 16th Annual Sarasota Film Festival in 2014. See https://film.list.co.uk/article/66881-manakamana/ accessed on February 7, 2018.

  4. 4.

    On trust and intimacy, see Lapidaki (in press).

  5. 5.

    The retitling of Noddings (1984) to Noddings (2013) from a feminine to a relational perspective on ethics and moral education disguises the feminist roots of Noddings’ theory and while ostensibly broadening it, effectively silences the characteristically feminine philosophical voice.

  6. 6.

    Tiryakian (1965) discusses the compatibility of Talcott Parsons’ notion of action frames of reference with existential phenomenology.

  7. 7.

    Yob (in press) makes the case for an inclusive and humane educational approach.

  8. 8.

    This is the case with much educational research conducted in virtual universities. For example, Walden University’s doctoral students in education produce many qualitative dissertations and doctoral documents undertaken virtually and based increasingly on virtual interviews, online surveys, and the like.

  9. 9.

    Former Google and Facebook employees, Jim Steyer and Tristan Harris, are co-founders of the Center for Humane Technology (www.humanetech.com). The Center’s purpose is to examine some of the negative aspects of social media platforms. For example, Steyer and Harris point to Facebook software that is designed to be addictive. This software draws on a human desire to be liked and it effectively distorts reality. See Bowles (2018).

  10. 10.

    For a trailer of Mary Jane Dougherty’s short documentary film on the Boston Children’s Chorus, Let the River Run, an official selection of the IFFB 2018, see https://vimeo.com/249234596 accessed February 18, 2019.

  11. 11.

    Langer (1957b) uses the dynamic metaphor of the river in her to depict the fluidity of dance and music. Reading into Doherty’s film title, music does its work and impacts the lives of young people and adults, and music educators do not impede its flow or otherwise prevent it from running its course.

  12. 12.

    For a discussion of women in music education see, for example, the Philosophy of Music Education Review 17, no. 2 (Fall, 2009) issue.

  13. 13.

    See R. M. Eidsaa, (n.d.). “Narratives from Sarajevo,” unpublished video, available at https://www.dropbox.com/sh/gmlkfjev347xpsh/AAAfO_m2e3yo60Nki4EQtFiUa?dl=0&preview=MDICA_Sarajevo_2+(S).mp4

  14. 14.

    I think of the collaborations between Sibelius Academy of the University of the Arts in Helsinki, Finland, and the Nepal Music Center, the Cultural Diversity in Music Education International Conference (CDIME XIII), Annapurna Hotel, Kathmandu, Nepal, March 29–April 1, 2017. Also, see the Routledge World Music Pedagogy Series in School and Community Practice, edited by Patricia Shehan Campbell.

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Authors and Affiliations

  1. Indiana University, Bloomington, IN, USA

    Estelle R. Jorgensen

  2. Walden University, Minneapolis, MN, USA

    Estelle R. Jorgensen

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Correspondence to Estelle R. Jorgensen .

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    Tawnya D. Smith  & Karin S. Hendricks  & 

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Jorgensen, E.R. (2020). On Mediated Qualitative Scholarship and Marginalized Voices in Music Education. In: Smith, T.D., Hendricks, K.S. (eds) Narratives and Reflections in Music Education. Landscapes: the Arts, Aesthetics, and Education, vol 28. Springer, Cham. https://doi.org/10.1007/978-3-030-28707-8_15

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