Abstract
The main aim of this chapter is to show how multiculturalism and its latest iteration “world music” emerged from the theories of cultural, geographic, 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 century, sequentially appearing as Music Appreciation, Multiculturalism, and World Music.
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Notes
- 1.
Discussions of types of listeners run through the pedagogical literature on music appreciation. See for instance the widely read text by Sir Hubert Parry The Evolution of the Art of Music (London: Kegan Paul, Trench and Trubner, 1883/1901) and Thomas Surette and Daniel Gregory Mason’s The Appreciation of Music (New York: Novello and Co., 1907), I, 1–3.
- 2.
See Penelope Murray’s account of genius in her “Introduction” to Genius: The History of an Idea (London: Basil Blackwell, 1989), 1–8.
- 3.
Also see chapter entitled “The Comparative Worth of Different Races” in Francis Galton’s Hereditary Genius: An Inquiry into Its Laws and Consequences (Cleveland: Meridian Books 1869/1962), 393–404.
- 4.
Literature on music education has recently opened a path to recognizing the diasporic production of music as evidenced in lessons on jazz and rock music. On the whole, however, multicultural texts have maintained the “origin’ narratives for genres predating the Jazz Age. See, for example, Anderson and Campbell (2010: 113).
- 5.
See Ronald Radano’s extended discussion in Lying Up a Nation on the historical construction of African and African American music in his chapter titled, “Resonances of Racial Absence” (2003: 49–104).
- 6.
See Lyrics by Stephen Foster as posted on web by University of Pittsburgh. http://www.pitt.edu/~amerimus/lyrics.htm.
- 7.
Books for adults registered exceptions to racial stereotyping cited by Zinar are America’s Music by Gilbert Chase (1955), John Rublowsky’s Music in America (1967), and Nancy Hess and Stephanie Wolf’s The Sounds of Time (1969).
- 8.
See, for example, Michael Bakan’s World Music: Traditions and Transformations (2012) in which “world” music is treated as a collection of musical works from different nations and ethnicities.
- 9.
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Gustafson, R.I. (2020). Fictions of Origin: Music Appreciation, Multiculturalism, and World Music. In: Exploring Diasporic Perspectives in Music Education. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-52105-9_4
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