Music Psychotherapy Among Refugees

The doctoral defense of Sami Alanne will be held on October 23, 2010 at the Sibelius Academy in Helsinki, Finand. His dissertation, entitled "Music Psychotherapy with Refugee Survivors of Torture: Interpretations of Three Clinical Case Studies," documents his own music therapy interventions with three immigrant men living in Finland who originally came to Europe from nations in Central Asia, the Middle East, and West Africa. This study combines qualitative observations with data from psychological tests and even factor analysis of events recorded from therapeutic sessions. Alanne originally began his dissertation under emeritus Professor Kai Karma. I worked intensely with Alanne at the Sibelius Academy as his main supervisor across the 2009-2010 academic year, but left Finland for a job in the USA as Alanne was sending out the completed document to reviewers for critique. He will graduate with Sibelius Academy's Lauri Vakeva as his Chair and renowned Norwegian music therapy expert Evan Ruud as the "opponent" reader. I anticipate that Alanne's study will be of great interest to music therapists in multicultural nations who seek to more effectively serve patients from immigrant backgrounds, particularly those who have been traumatized by warfare and other dehumanizing conditions.

Education Reform and the Music Doctorate

I look forward to presenting a paper for an upcoming conference entitled The Effects of Music, which is hosted by the Musicnet West academic consortium, in Bergen, Norway (November 29-30). Prior to that, I will be visiting Abu Dhabi, and plans are underway for me to give a lecture in Damascus.

Below is the abstract for the presentation in Norway:

Education Reform and the Music Doctorate: Current Issues in Europe and North America

Arising from analysis of policy documents, and illustrated with anecdotes from supervision of doctoral dissertations in both Europe and the USA, this paper proposes a theoretical model for conceptualization of recent changes to the music doctorate. Developments affecting music education doctoral studies in USA have previously been chronicled in a series of publications by David J. Teachout and recent contributions by Patrick M. Jones and Bennett Reimer, as well as various publications associated with the Carnegie Foundation’s extensive project “Re-envisioning the PhD”. The evolving European situation is described in key reports by Ester Tomasi, Joost Vanmaele, and others associated with the Polifonia Third Cycle Working Group and the European Association of Conservatoires, which emerged in response to the EU’s Bologna Process. While these kinds of documents offer a holistic view of the rapidly changing terrain of doctoral (third cycle) education, a rich understanding may also be obtained from qualitative accounts of what occurs at the level of individual students and their mentors, which is where narrative description can provide a helpful supplement. It is hoped that this paper will open some timely issues for consideration, including such topics as online mentoring, research quality assurance, and “artistic research” methodologies, as Norwegian institutions consider various ways to envision the future of music education doctoral programs.

The Freedom Singers: Their History and Legacy for Music Education

Congratulations to Dr. Deanna Frith Weber, who has recently submitted the final version of her dissertation for a doctorate degree in music education from Boston University. Her dissertation is entitled The Freedom Singers: Their History and Legacy for Music Education. Based on interpretation of both original interviews and archival data, this unique study profiles Albany, Georgia’s influential Freedom Singers of the Civil Rights era, and proposes ways that African-American music from this important movement may be effectively used by contemporary educators.

Dr. Weber is an accomplished vocalist and Assistant Professor of Music at Albany State University in Georgia. It was a pleasure to serve on Dr. Weber’s doctoral advisory committee along with Dr. Patti Tolbert of Georgia College and her supervisory professor Dr. Richard Bunbury, of Boston University. Congratulations, Dr. Weber!


Here is the abstract of Dr. Weber's dissertation study:

Abstract:
The original Freedom Singers of the Student Nonviolent Coordinating Committee (SNCC) were a group of four young African-Americans, formed in Georgia in 1962, who traveled throughout the United States serving as musical ambassadors for the southern civil rights movement. This is a study of their history, music, and influence. The late 1950s and 1960s was an era of tremendous social upheaval throughout the country; however, this study will focus on the political and musical events which took place in the Deep South, namely Albany, Georgia and the surrounding area. Its cultural landscape was significantly changed by the civil rights era, in which song played an integral part. These changes also had an effect on music education in K-12 classrooms, as school desegregation brought together African Americans and whites, who for the most part, had existed separately from one another, despite their close geographic proximity.

The story of the SNCC Freedom Singers unfolds through interviews with members of the original group, as well as other participants in the Albany Movement (a coalition of workers from the Student Nonviolent Coordinating Committee and local citizens’ groups). Interviews were also conducted with people from the area whose lives were impacted by Movement activities. Pertinent source material from archives, library collections, and museums supports an authentic historical narrative. The study also focuses on implications for music education, regarding a variety of issues such as racism, tolerance, and respect for various peoples and cultures. In order to consider the extent to which the civil rights repertory, including freedom songs, is currently in use in music classrooms, particularly in areas of the Deep South, a qualitative survey questionnaire was sent to music teachers in public elementary and middle/junior high schools in five targeted counties in Georgia, Alabama, and North Carolina. Data was analyzed using frequency tables, and coded using a grounded theory approach. These findings illuminate possibilities for further research into such areas as cross-disciplinary learning, teacher training, and the continuing incorporation into the school music curriculum of the diverse array of cultural musics found in the United States.

Here is a link to Dr. Weber's website:

http://www.linkedin.com/pub/deanna-weber/8/281/400

Challenges of Teaching Music Improvisation

Congratulations to Dr. Joseph Pignato, who has very recently completed his doctorate degree in music education at Boston University with a dissertation entitled An Analysis of Practical Challenges Posed by Teaching Improvisation: Case Studies in New York State Schools. This insightful study examines two cases of music teachers who have pioneered some innovative approaches to the use of improvisation in school music classrooms. Dr. Pignato is a highly-accomplished professional percussionist and composer who works as an Assistant Professor at State University of New York, Oneonta. It was a great pleasure to serve on his doctoral advisory committee along with Dr. Ron Kos and his supervisory professor Dr. Andrew Goodrich, both of Boston University. Congratulations, Dr. Pignato!


Here is the abstract of Dr. Pignato's dissertation study:

Abstract:

For much of the past century, music education researchers have espoused improvisation as an important tool for developing creativity, self-expression, and aesthetic understanding. Improvisation instruction in American school music programs, however, primarily occurs in two limited areas of activity: jazz performance ensembles and the teaching of select elementary music methods. Comprehensive integration of improvisation instruction in school music curricula beyond those domains or via other idioms rich in improvisation remains relatively uncommon. Researchers in music education have documented improvisation and its applications in elementary music methodologies. A large body of extant literature addresses jazz in school music programs, jazz pedagogical methods, and jazz ensemble student experience. Studies examining improvisation in American school music contexts in regard to other genres or teaching modalities, however, are sparse. The purpose of this study was to identify and describe selected New York State music educators, school music programs, and class settings that make improvisation a central part of their curricula in ways that transcend traditional jazz ensemble or elementary methodology offerings. The author employed a case study methodology to study the classrooms of two teachers over the course of one academic year. Data collection utilized ethnographic techniques including formal oral interviews, classroom observations, and informal conversations. Data analysis employed interpretive coding guided by a constant comparative approach.

Data analysis revealed challenges posed by teaching improvisation in the school music contexts studied including lack of curricular resources supporting improvisation instruction, conflicts with tradition and the expectations of colleagues, parents, students, and administrators, and standing apart from the prevailing practices of colleagues. Four themes emerged from participant narratives during the course of investigation: (a) significant epiphany experiences, (b) protracted personal transformations, (c) intentionality, and (d) concerted advocacy. Suggestions for music education include improving integration of exceptional teachers into prevailing practices in ways that foster a multiplicity of approaches to teaching music “of all periods, styles, forms, and cultures” (Choate, 1968, p. 139), minimizing extrinsic challenges to teaching improvisation in school music contexts, enhancing teacher intentionality, and encouraging advocacy efforts to foster acceptance, cooperation, and deeper understanding of the value of incorporating improvisation in school music programs.


Here is a link to Dr. Pignato's website:

http://www.joepignato.com/

Cultural Translation and Music

(photo of Gothenburg, Sweden, by Mikael Miettinen)

At the end of August 2010, I participate as an invited speaker for the international Cultural Translation seminar in Sweden at University of Gothenburg, organized by Prof. Noriko Thunman. Below is the abstract of my presentation for this event:

International Perspectives on the Cultural Translation of Musical Meanings

David G. Hebert

For several generations, musicologists have written about similarities between music and language, and reflected on ways that analytical approaches from the field of linguistics may be effectively applied to music. Linguists, however, have generally taken less of an interest in musicological paradigms. Unsurprisingly, a similar trend may be seen in the emerging field of cultural translation, for which it already appears that linguistic discussion may be dominant relative to paradigms associated with research on other forms of cultural discourse (such as music, theatre, dance, visual art, fashion, etc.). What of consequence to intercultural understanding might inevitably be missed by theorization that arises almost exclusively from examination of a single form of discourse as a basis for cultural analysis? Translators routinely grapple with complex meanings embedded in nonlinguistic forms of communication that defy conventional modes of translation, and consequently a holistic and trans-disciplinary theoretical orientation is seemingly desirable to many proponents of cultural translation. Moreover, like language, music certainly qualifies as one of the “fields in which ideological horizons of homogeneity have been conceptualized” (Buden & Nowotny, 2009, p. 206), and postcolonialist scholars such as Homi Bhabha (1994) and Paul Gilroy (1993) have acknowledged its critical role as an emblem of identity within the very sites of cultural hybridity that are of most interest to scholars of cultural translation. According to the positions advanced in many of its seminal documents (Bassnett, 2002; Gentzler, 2001; Sakai, 1997; Toury, 1995), it would appear that analysis of intercultural musical practices – and the ways in which they are explained – merits a place in the field cultural translation. Specifically, systems of music transmission and pedagogy seem to represent especially fertile areas for research on educational issues in cultural translation (Mehl, 2009). Through reflection on experiences with various cross-cultural research projects in music (Hebert, 2010, 2009a, 2009b, 2008a, 2008b; Hebert & Karlsen, 2010; Heimonen & Hebert, 2010), this paper explores various ways that analyses of musical meanings might potentially contribute to the development of robust theories to advance the field of cultural translation.

References:

Bassnett, S. (1980) 2002. Translation studies. London: Routledge.

Bhabha, H. K. (1994). The location of culture. Routledge.

Buden, B. & Nowotny, S. (2009). Cultural translation: An introduction to the problem. Translation Studies, 2(2), 196-208.

Gentzler, E. (1993) 2001. Contemporary translation theories. Clevedon: Multilingual Matters.

Gilroy, P. (1993). The Black Atlantic: Modernity and double consciousness. London: Verso.

Hebert, D. G. (2010, August). Ethnicity and music education: Sociological dimensions. In R. Wright (Ed.), Sociology and Music Education. Aldershot: Ashgate Press.

Hebert, D. G. (2009a). Rethinking the historiography of hybrid genres in music education. In V. Kurkela & L. Vakeva (Eds.), De-Canonizing Music History (pp.163-184). Newcastle: Cambridge Scholars Press.

Hebert, D. G. (2009b). Musicianship, musical identity and meaning as embodied practice. In T. Regelski & J. T. Gates (Eds.), Music Education for Changing Times: Guiding Visions for Practice (pp.39-55). Dordrecht and New York: Springer Press.

Hebert, D. G. (2008a). Alchemy of brass: Wind music and spirituality in Japan. In E. M. Richards & K. Tanosaki (Eds.), Music of Japan Today (pp. 236-244). Newcastle: Cambridge Scholars Press.

Hebert, D. G. (2008b). Music transculturation and identity in a Maori brass band tradition. In R. Camus & B. Habla, (Eds.), Alta Musica, 26 (pp. 173-200). Tutzing: Schneider.

Hebert, D. G. & Karlsen, S. (2010, August). Editorial introduction: Multiculturalism and music education. Finnish Journal of Music Education, 13.

Heimonen, M. & Hebert, D. G. (2010). Pluralism and minority rights in music education: Implications of the legal and social philosophical dimensions. Visions of Research in Music Education, 15.

Mehl, M. (2009). Cultural translation in two directions: The Suzuki Method in Japan and Germany. Research and Issues in Music Education, 7.

Sakai, N. (1997). Translation and subjectivity: On “Japan” and cultural nationalism. Minneapolis: University of Minnesota Press.

Toury, G. (1995). Descriptive translation studies and beyond. Amsterdam and Philadelphia: John Benjamins.

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Here is a link to my paper from a 2011 conference that extended on the above 2010 conference:
Cultural Translation: Research on Japanese Literature in Northern Europe (2011 symposium proceedings).

Another related link:

http://imerc.blogspot.com/2011/02/lecture-cultural-translation-and-music.html

ISME 2010 in Beijing

The 2010 world conference of the International Society for Music Education (ISME) will be held in Beijing in a few weeks. I am already on my way there - going early to Japan and China - and making final preparations for some conference presentations. Below are the abstracts for two of my presentations, the second of which is an international symposium I will be chairing. I have been asked to participate in two more presentations as well, but it is not yet clear how some scheduling conflicts will be resolved. It will be exciting to learn of new developments in the field from across the world, particularly China which is experiencing so much growth in recent years.

Paper Presentation: On the Musical Instrument Industry and Music Education in Japan

Abstract:
Much has been written in recent decades about the need for music education historians to expand their scope of inquiry to include consideration of the sociocultural, economic and political contexts of music teaching and learning. In many nations, the music industry has largely shaped the emphases of both school and community-based music education, yet its influence has only rarely been considered in historical accounts. Taking a social historical approach, this paper examines the rise of the musical instrument industry in Japan during the early twentieth century, as well as its ongoing relationship to music education that extends to the present day. Japanese music companies with a global impact will be discussed, including Yamaha, Kawai, Korg and Roland. Positions espoused by notable Japanese music industry leaders regarding music education and cultural policy will also be considered in relation to music education practices in and outside of Japan. The paper will conclude with some suggestions for how relationships between music industry and music education practices can be meaningfully examined through coordinated and innovative approaches to historiography.


Symposium: International Perspectives on the Teaching of Keyboard Improvisation

Abstract:
Keyboards are ubiquitous in music education, as the most popular instrument used in music teaching worldwide. Many different music genres feature improvisation, yet techniques for effective teaching of basic keyboard improvisation are often little understood by music teachers and only rarely bolstered by research findings. This international symposium addresses this challenge by offering demonstrations from Germany, Finland, and the United States that effectively integrate research and practice in the field of keyboard improvisation. Brief description of the current state of theory and research findings related to keyboard improvisation pedagogy will be followed by discussion of common challenges faced by keyboard teachers who seek to integrate improvisational activities into their instruction. The presenters will offer practical solutions and effective approaches to meeting the instructional needs of beginning keyboard improvisers.

Mapping Historical Ethnomusicology

I recently learned that my paper on theory and method in historical ethnomusicology has been accepted for the upcoming meeting of the international organization Society for Ethnomusicology, which will be held at UCLA in November, 2010. Below is the abstract for that paper:

Mapping Historical Ethnomusicology: Definitions and Debates

Since the turn of the twenty-first century, historical ethnomusicology has been identified by several scholars as an emerging subfield of ethnomusicology. An active Historical Ethnomusicology Special Interest Group has developed within the Society for Ethnomusicology, yet an array of contradictory positions have also been advanced regarding the extent to which all ethnomusicological scholarship might be seen as “historical” and whether such a specialized subfield as historical ethnomusicology should even exist. How might historical ethnomusicology be meaningfully defined in relation to ethnomusicology proper, and what arguments serve as the foundations for various positions on such a question? What kinds of ethical and epistemological issues are encountered in historical studies of diverse musical traditions that differ from that of fieldwork on contemporary musical practices? In terms of research methodology, what kinds of data collection and analytical strategies are unique to historical studies; and in terms of theory, what might historical ethnomusicologists learn from recent debates in historical sociology, cultural history, philosophy of history, and related fields? Such questions will be considered in relation to the author’s own research in several nations as well as three recent doctoral dissertations on historical topics for which the author served as either supervisor or committee member. The outcome of this discussion will be a conceptual mapping of the intellectual antecedents of historical ethnomusicology, as well as a critical interrogation of some possibilities for the future of this developing field.

The above paper extends further on ideas developed in a paper entitled "Whither Hypermusicology: Ethical and Epistemological Issues in Historical Ethnomusicology" that I gave in March 2010 at another international conference in Finland: Musicology in the 3rd Millennium. The abstracts for that conference can be obtained HERE.

At the conference in UCLA, I will also be leading a meeting of the society's Historical Ethnomusicology special interest group.