Titlebook: Exploring Diasporic Perspectives in Music Education; Ruth Iana Gustafson Book 2020 The Editor(s) (if applicable) and The Author(s), under

工作

NATO Science Partnership Subseries: 3 of students are transnational and personal identity is often transethnic. It also describes the advantage of a diasporic paradigm for Latin American music, serving as a model for rethinking the curriculum. The chapter includes surveys of the folk music of particular Caribbean countries, focusing cl

粘连

https://doi.org/10.1007/978-3-030-52105-9musicology; multiculturalism; music teachers; US public schools; philosophy of music; diasporic theory; et

他姓手中拿着

Diaspora: A New Paradigm for Music Education,riculum, multiculturalism. The proposed new paradigm avoids the fragmentation of music by categories of origin whether racial, ethnic, or national. The book’s fundamental breakthrough is to illuminate musical contributions submerged in history and to suggest the existence of unknown sources even bey

extinct

Dysplasia

售穴

Fictions of Origin: Music Appreciation, Multiculturalism, and World Music, and racial origins present in foundational documents of early music education and Music Appreciation, the dominant music curriculum in public schools for most of the twentieth century. It describes the major shifts in the music curriculum from 1900 through the early decades of the twenty-first cent

佛刊

价值在贬值

Diaspora: A New Paradigm for Music Education,e book’s fundamental breakthrough is to illuminate musical contributions submerged in history and to suggest the existence of unknown sources even beyond those that have been granted authenticity by ethnic group, space on the globe, or racial lineage.

种植,培养

The Racial Legacy of the Enlightenment: Early Vocal Instruction, Music Appreciation, and Multicultuity, and nationality in music education. Enlightenment thinking in music education generated a manifold of musical works and teaching methods while creating images of the United States as homogeneously white.

BARGE

Fictions of Origin: Music Appreciation, Multiculturalism, and World Music, for most of the twentieth century. It describes the major shifts in the music curriculum from 1900 through the early decades of the twenty-first century, sequentially appearing as Music Appreciation, Multiculturalism, and World Music.