Music education in the United States and Germany as a representative example of internationalization : a philosophical inquiry
- UNCG Author/Contributor (non-UNCG co-authors, if there are any, appear on document)
- Stacey A. Garrepy (Creator)
- Institution
- The University of North Carolina at Greensboro (UNCG )
- Web Site: http://library.uncg.edu/
- Advisor
- Constance McKoy
Abstract: As the world becomes more globalized, the need for the intentional integration of international elements into music education––internationalization––has grown more evident (Knight, 1994; Kertz-Welzel, 2018). While facets of internationalization can be observed across the globe, they are particularly evident in the Anglo-American and German-speaking parts of the world. However, internationalization has often been implemented in superficial or uncritical ways (“surface internationalization”), and thus in-depth inquiry is needed to incorporate varied modes of knowing and cultural understandings in a thoughtful manner (Kertz-Welzel, 2014). In this philosophical inquiry, I argue that Germany and the United States model internationalization in their exchange of ideas about music education. The purpose of this study was to show the relationship of the United States and Germany as a representative example in the internationalization of music. In this study, I critically investigated the role that language and knowledge construction have had on issues of power and dominance. I sought to understand the international relational dynamics at play, examine assumptions and look through the lens of language to answer the question, “How can internationalization of music education be reimagined in a culturally sensitive way?” I employed philosophical inquiry as the method for this study. Philosophical inquiry is a rigorous, critical examination of the grounds for convictions that drive the direction of music education (Bowman, 1992). Via the lens of Small’s musicking (1998) and dialogical reasoning, I analyzed Anglo-American, German, and Scandinavian scholarship to unearth many of the assumptions surrounding U.S. and German music education systems. Starting with language (Stubley, 1992), I explored the philosophical bases for the cultural constructs of music education and its application in Germany and the United States. Dialogue analysis of German and English sources revealed a fundamental divergence in assumptions undergirding music teaching in Germany and the United States, namely in the concepts of Bildung and Didaktik. Bildung loosely translates as “education,” and contends with the relationship of one to oneself to one’s inner and outer world to become a critical-thinking, independent member of society who is constantly learning; the concept of Bildung permeates all of German (and Scandinavian) music education. Didaktik loosely translates to “didactics” however, its meaning is not the same as English “didactic.” Didaktik is both an art and a science and comprises the theory and practice of teaching and learning (Jank, 2013). Throughout history German teachers have developed multiple models of Didaktik. Current German music teachers learn these models in their teacher training and then use this historical knowledge to act as independent professionals who build and implement their own theories of Didaktik in their lessons. Bildung and Didaktik continue to be researched and discussed within German and Scandinavian music education spheres. In the United States, English terms such as “music education” or “curriculum,” are not widely debated; yet there are tacit understandings about their meanings. The aims of American music teachers are enshrined in the National Standards, which are connected to the concept of curriculum. Curriculum serves to systematize American schooling (Westbury, 2000). Educators can trace the lack of discussion around definition of these terminologies to the pragmatic, performance-oriented roots of U.S. music education (Mark & Gary, 2007). The pragmatic elements of U.S. music education and the terminologies used to describe it contrasts with the primarily analysis-based focus of German music education. This investigation revealed several possibilities for a culturally sensitive reimagining of internationalization. First, music education could embrace comparative/international education approaches to scholarship to bring about methodological diversity. Second, being open to alternate formats for sharing of knowledge, such as inclusion of audio-visual materials in research studies and standing language table sessions or alternate-short-form sessions at conferences could open the possibilities for deeper dialogues. Finally, gatekeepers of music education can be reflective, humble, and willing to engage in conversations in which they may not have power or understanding. In this process, music educators may engage in better cross cultural dialogue, facilitating deeper internationalization and enrich our global discipline.
Music education in the United States and Germany as a representative example of internationalization : a philosophical inquiry
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Created on 5/1/2022
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Additional Information
- Publication
- Dissertation
- Language: English
- Date: 2022
- Keywords
- Bildung, Didaktik, Germany, Internationalization, Music Education, United States
- Subjects
- Music $x Instruction and study $z United States
- Music $x Instruction and study $z Germany
- Globalization