Sociomusicology: Appearance vs. Reality

4/24/08

Appearance vs. Reality

Appearance versus reality is an important theme in human life and discourse that is traceable to the ancients, including Plato’s “Allegory of the Cave” and even the stories of Noah, Job, and Elijah from among the ancient Hebrews. This theme is also relevant to so many of our assumptions regarding both music and education.

So often what we assume about our music students and teachers - or even about music itself - turns out to be wrong. It takes creativity, empathy, a familiarity with the dark side of human nature (deceit, delusion, etc.), a sense of humor, and a determination to be systematic and thorough, in order to stand some chance at finding the elusive “truths” in our field. This is perhaps the best justification for research.

Here are some hilarious video clips that illustrate this theme (don't worry - this was broadcast on American television and is not terribly risque):

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Welcome to Sociomusicology

For over 15 years (since 2007), this website has offered musings on contemporary society and its music by David G. Hebert, PhD. He is a sociomusicologist specializing in global music education who has held academic positions with universities on five continents. Dr. Hebert is now a tenured full Professor with Western Norway University of Applied Sciences, Bergen. There he leads the Grieg Academy Music Education (GAME) research group and manages the multinational government-funded Nordic Network for Music Education, which organizes annual intensive Master courses and exchange of teachers and students across eight countries. He is also an Affiliated Professor with University of the Faroe Islands and an Honorary Professor in China with the Education University of Hong Kong.

Professor Hebert's research applies an international-comparative perspective to issues of pluralism, identity, and cultural relevance in music education, as well as processes by which new music traditions emerge and change - both sonically and socially - as they are adopted into institutions. Born in the 1970s, he is among the most widely-published and globally-active music scholars of his generation (h-index:20; i10-index:30), with professional activities in an average of 8 countries per year across the past decade (2008-2020).