The author contends that the title of this collection, "Music and the Racial Imagination," is provocative. It simultaneously does several things. It brings together "music" and "race," which have not previously been given equal emphasis in musicology, and then links these two things with imagination. The title also creates an imagined space where…

In their introduction of "Music and the Racial Imagination," co-editors Ronald Radano and Philip Bohlman assert that although music is "saturated with racial stuff", "musicology--in its historical, structural-analytical, and ethnographic expressions--has sought to deny the racial dimension." Much as the author agrees with them, he also thinks that…

Regardless of race, gender, class, physical- and cognitive-ableness, as well as sexual orientation, to be musical in North American and western European societies is to be queer--particularly for men (Fuller and Whitesell, 2002), and maybe specifically for men, since women barely register in discussions of musicians. In this article, the author…

"Music and the Racial Imagination" triggered the reminiscences from the author's teens described in the "diary presented in this article." These memories undoubtedly played a role in her decision to enter an undergraduate music education program at the age of 40. These and other memories have been called up in a variety of contexts more recently…

A deafening counterpoint arose from the destruction of New Orleans by Hurricane Katrina on 29 August 2005, and within that counterpoint race and music undeniably became the dominant voices. The devastation of New Orleans, however, was no more a "catastrophe of biblical proportions," as many with power have piously claimed, than the populist denial…

The book, "Musical Identities" (Raymond MacDonald, David Hargreaves, Dorothy Miell, eds.; Oxford and New York: Oxford University Press, 2002) consists of 11 essays on the psychology of music. The editors divided the essays into two groups: those on developing musical identities ("identities in music" involving recognizable social and cultural…

After reading the book "Musical Identities" (Raymond MacDonald, David Hargreaves, Dorothy Miell, eds.; Oxford and New York: Oxford University Press, 2002), this author states she finds it difficult to separate "identities in music" from "music in identities." In fact, she cannot conceive of music apart from identity. It is Lamb's view that the…

Music plays an important part in the lives of people of all ages. It can have symbolic significance for nation-states and regions, can be a source of deep emotional experience for the individual, or can be an expression of life-style, image and social belonging. Music affects, but is itself affected by forces influenced by different purposes and…

This study focuses on music education for children and adolescents offered by music and arts schools receiving public financial support (from the municipality or the state) and that are "independent" of the comprehensive and secondary school. For these purposes, then, "extra-curricular" music education will be understood as "voluntary" instruction…

This article addresses one of the four questions of the MayDay Group Action Ideal No. 7: "To what extent and how can music education curriculums take broader educational and social concerns into account?" A multifaceted music curriculum model (MMC Model)--one that addresses relevant issues, criteria, and parameters typically involved or often…

The article presents the text of a guest lecture delivered at Richland College in Dallas, Texas, in April 2003, by Brian A. Roberts, professor of music education at the Memorial University of Newfoundland. Speaking to an audience of music education students, he discusses his ongoing research of the identity construction of music educators (do they…

This author, a composer, states that music has been the primal generator of his existence and the definition of living creatively; and that understanding the bicameral reality of creativity through a study of the nature of consciousness involves a symbiotic host of disciplines. In the study of the occurrence of "creativity," consciousness as well…

The idea of praxis, and thus the idea of music as praxis, is not widely known in the fields of music and music education. Nonetheless, musicians and music teachers typically take for granted as sacrosanct the noble sounding, metaphysical, even spiritual profundity of music hypothesized by mainstream aesthetic philosophies. Thus accounts of music…

Since 1988, the author and his colleague Stephan Bladh, from the Malmo Academy of Music, have followed the student teachers that started their music teacher education that autumn (Bladh, 2002; Bouij 1998a). They started their research project with 169 hopeful students. The music teacher education program was then four years long, but some of the…

In this paper the author makes a short presentation of an ongoing longitudinal research project in Sweden. However, he wants to focus on the theoretical perspective he has found fruitful for his understanding of music teachers' professional socialisation, and on the question whether the music teacher must also be a musician in order to possess…