Comment citer
Résumé
Le cours de composition « Ensemble PhoeNX » de l’Université Memorial permet une étude de cas de production musicale pédagogique et interculturelle au niveau universitaire, qui a le potentiel d’aborder la question de la façon dont l’enseignement musical peut contribuer à traiter des tensions raciales et culturelles existant dans la société. Durant ce cours, des préoccupations raciales et culturelles sont apparues lorsque les participant.e.s ont négocié leur position individuelle. Une analyse de ces interactions complexes montre en quoi ce cours de composition constitue un exemple d’un cheminement significatif et appréciable vers une pédagogie inclusive et antiraciste dans une salle de classe au Canada. De telles approches peuvent répondre à l’incompréhension culturelle et à l’injustice sociale en contexte universitaire.
Références
Anagnost, Ann. 2000. Scenes of Misrecognition: Maternal Citizenship in the Age of Transnational Adoption. Positions: East Asia Cultures Critique 8 (2): 389–421.
Ancheta, Angelo N. 2006. Race, Rights, and the Asian American Experience. New Brunswick, NJ: Rutgers University Press.
Attariwala, Parmela Singh. 2013. Tuning into the Effects of Multiculturalism on Publicly Funded Canadian Music. PhD dissertation, University of Toronto.
Benessaieh, Afef. 2010. Multiculturalism, Interculturality, Transculturality. In Amériques transculturelles – Transcultural Americas, 11–38. Ed. Afef Benessaieh. Ottawa: University of Ottawa Press.
Bhabha, Homi K. 2004. The Location of Culture. 2nd ed. London: Routledge.
Campbell, Patricia Shehan. 2002. Music Education in a Time of Cultural Transformation. Music Educators Journal 89 (1): 27–32.
Carson, Charles, and Maria Westvall. 2016. Intercultural Approaches and “Diversified Normality” in Music Teacher Education: Reflections from Two Angles. Action, Criticism, and Theory for Music Education (ACT) 15 (3): 37–52.
Chivers, Sarah, and Jolene D. Smyth. 2011. Challenging Our Textbooks and Our Teachings: Examining the Reproduction of Racism in the Sociology Classroom.
In Covert Racism: Theories, Institutions, and Experiences, 189–209. Ed. Rodney D. Coates. Leiden: Brill.
Costello, Matthew, Long Cheng, Feng Luo, Hongxin Hu, Song Liao, Nishant Vishwamitra, Mingqi Li, and Ebuka Okpala. 2021. COVID-19: A Pandemic of Anti-Asian Cyberhate. Journal of Hate Studies 17 (1): 108–18.
Coulthard, Glen Sean. 2014. Red Skin, White Masks: Rejecting the Colonial Politics of Recognition. Minneapolis: University of Minnesota Press.
Dei, George J. Sefa. 2001. Rescuing Theory: Anti-Racism and Inclusive Education. Race, Gender & Class 8 (1): 139–61.
Dorow, Sara K. 2006. Transnational Adoption: A Cultural Economy of Race, Gender and Kinship. New York: NYU Press.
Ellis, Carolyn, Tony E. Adams, and Arthur P. Bochner. 2011. Autoethnography: An Overview. Historical Social Research (Köln) 36 (4): 273–90.
Feagin, Joe. 2006. Systemic Racism: A Theory of Oppression. New York: Routledge.
Fleras, Augie. 2014. Racisms in a Multicultural Canada: Paradoxes, Politics, and Resistance. Waterloo, ON: Wilfrid Laurier University Press.
Fléras, Augie, and Jean Leonard Elliott. 1992. Multiculturalism in Canada: The Challenge of Diversity. Scarborough, ON: Nelson Canada.
Gover, Angela R., Shannon B. Harper, and Lynn Langton. 2020. Anti-Asian Hate Crime During the COVID-19 Pandemic: Exploring the Reproduction of Inequality. American Journal of Criminal Justice 45 (4): 647–67.
Graham, Sandra Jean. 2009. Performance as Research (PAR) in North American Ethnomusicology. In Mapping Landscapes for Performance as Research: Scholarly Acts and Creative Cartographies, 99–106. Ed. Shannon Rose Riley and Lynette Hunter. Basingstoke, UK: Palgrave Macmillan.
Hess, Juliet. 2015. Decolonizing Music Education: Moving Beyond Tokenism. International Journal of Music Education 33 (3): 336–47.
Hess, Juliet. 2017. Equity and Music Education: Euphemisms, Terminal Naivety, and Whiteness. Action, Criticism, and Theory for Music Education 16 (3): 15–47.
Ibrahim, Awad. 2008. The New Flâneur: Subaltern Cultural Studies, African Youth in Canada and the Semiology of in-Betweenness. Cultural Studies 22 (2): 234–53.
Imbert, Patrick. 2010. Transculturalité et Amériques. In Amériques transculturelles – Transcultural Americas, 33–68. Ed. Afef Benessaieh. Ottawa: University of Ottawa Press.
Kajikawa, Loren. 2019. The Possessive Investment in Classical Music: Confronting Legacies of White Supremacy in U.S. Schools and Departments of Music. In Seeing Race Again: Countering Colorblindness Across the Disciplines, 155–74. Ed. Kimberlé Williams Crenshaw, Luke Charles Harris, Daniel Martinez HoSang, and George Lipsitz. Berkeley: University of California Press.
Kamboureli, Smaro. 2000. Scandalous Bodies: Diasporic Literature in English Canada. Oxford: Oxford University Press.
Kendi, Ibram X. 2019. How to Be an Antiracist. New York: One World.
Kishimoto, Kyoko. 2018. Anti-Racist Pedagogy: From Faculty’s Self-Reflection to Organizing Within and Beyond the Classroom. Race Ethnicity and Education 21 (4): 540–54.
Koza, Julia Eklund. 2008. Listening for Whiteness: Hearing Racial Politics in Undergraduate School Music. Philosophy of Music Education Review 16 (2): 145–55.
Kumar, Anant, and K. Rajasekharan Nayar. 2020. COVID-19: Stigma, Discrimination, and the Blame Game. International Journal of Mental Health 49 (4): 382–84.
Lau, Frederick. 2008. Constructing National Music. In Music in China: Experiencing Music, Expressing Culture, 30–58. New York: Oxford University Press.
Louie, Andrea. 2015. How Chinese Are You? Adopted Chinese Youth and Their Families Negotiate Identity and Culture. New York: NYU Press.
McPherson, Gary, and Graham Welch. 2012. The Oxford Handbook of Music Education. Oxford: Oxford University Press.
Mittler, Peter J. 2000. Working Towards Inclusive Education: Social Contexts. London: D. Fulton Publishers.
Omi, Michael, and Howard Winant. 1994. Racial Formation in the United States: From the 1960s to the 1990s. London: Routledge.
Pratt, Mary Louise. 2008. Imperial Eyes: Travel Writing and Transculturation. New York: Routledge.
Reed-Danahay, Deborah. 2017. Bourdieu and Critical Autoethnography: Implications for Research, Writing, and Teaching. International Journal of Multicultural Education 19 (1): 144–54.
Robinson, Dylan. 2020. Hungry Listening: Resonant Theory for Indigenous Sound Studies. Minneapolis: University of Minnesota Press.
Saito, Natsu T. 1997. Model Minority, Yellow Peril: Functions of Foreignness in the Construction of Asian American Legal Identity. Asian Law Journal 4: 71–95.
Schumpeter, Joseph. 1942. Capitalism, Socialism, and Democracy. New York: Harper and Bros.
Sielke, Sabine. 2014. Multiculturalism in the United States and Canada. In The Palgrave Handbook of Comparative North American Literature, 49–64. Ed. Reingard M. Nischik. New York: Palgrave Macmillan.
Skinner, Jonathan. 2012. The Interview: An Ethnographic Approach. London: Berg.
Tessler, Hannah, Meera Choi, and Grace Kao. 2020. The Anxiety of Being Asian American: Hate Crimes and Negative Biases During the COVID-19 Pandemic. American Journal of Criminal Justice 45: 636–46.
Tuan, Mia. 1998. Forever Foreigners or Honorary Whites? The Asian Ethnic Experience Today. New Brunswick, NJ: Rutgers University Press.
Urkevich, Lisa A. 2020. Our Rebirth: Reshaping the Music Discipline after the Covid-19 Pandemic. College Music Symposium 60 (1): 1–8.
Vertovec, Steven. 2007. Super-Diversity and Its Implications. Ethnic and Racial Studies 30 (6): 1024–54.
Veugelers, Wiel, and Yvonne Leeman. 2020. Pedagogical Possibilities in Culturally Diverse Educational Contexts: Theory and Practice of Inclusive Education in the Netherlands. In Moving towards Inclusive Education: Diverse National Engagements with Paradoxes of Policy and Practice, 55–67. Ed. Lise Claiborne and Vishalache Balakrishnan. Leiden and Boston: Brill | Sense.
Wong, Deborah. 2006. Asian American Improvisation in Chicago: Tatsu Aoki and the “New” Japanese American Taiko. Critical Studies in Improvisation 1 (3): 1–33.
Wu, Fengbin (吴凤斌). 1986. Qiyue Huagong Yanbian Qianxi [The Evolution of Indentured Chinese Laborers] 契约华工演变浅析. Nanyang Problems 4: 119–28.
Ébauche de règlement relatif aux droits des auteurs d’articles publiés dans MUSICultures
- L’auteur conserve ses droits sur son travail.
- L’auteur cède au propriétaire de la revue (The Canadian Society for Traditional Music / La Société canadienne pour les traditions musicales) l’exclusivité de la publication de son œuvre.
- L’auteur peut publier une version pré- ou post- publication de son travail (voir les définitions ci-dessous) sur un site Internet personnel jusqu’à douze mois après sa publication dans MUSICultures. Au bout de douze mois, la version pré-publication doit être remplacée par la version publiée.
- L’auteur a la possibilité de déposer le PDF de son travail publié sur un répertoire en ligne à but non lucratif douze mois après que son travail ait été publié dans MUSICultures, ou par la suite à n’importe quel moment à sa convenance.
- Un tel dépôt doit comporter un lien renvoyant à son travail sur le site Internet de MUSICultures, soit https://journals.lib.unb.ca/index.php/MC/article/view/19996
Une pré-publication est un travail en cours – une contribution non encore acceptée, voire encore non soumise, à MUSICultures.
Une post-publication est la version d’une contribution après évaluation par les pairs et acceptation par MUSICultures, les corrections y ayant été apportées.
La version publiée est le fichier PDF de la contribution telle qu’elle apparaît dans MUSICultures.
Veuillez noter que academia.edu et ResearchGate.com sont tous deux des répertoires à but lucratif ; les auteurs ne peuvent y déposer les versions PDF publiées de leur travail avant la fin de la période d’interdiction imposée par la revue.
Pour les autorisations de réimprimer ou de traduire des textes de MUSICultures, veuillez contacter Heather Sparling, rédactrice en chef de MUSICultures (heather_sparling@cbu.ca).