Critical Theory in Practice
In a recent conversation with Cathy Benedict concerning the National Music Standards, the issue of adopting a more critical approach to teaching music arose. Macey (2000), in referencing Raymond Geuss (1981) defines critical theory as follows: “Critical theory provides a guide for human action, is inherently emancipatory, has a cognitive content, and unlike a scientific theory is self-conscious, self-critical, and non-objectifying” (p. 75). In short, it is a theory that seeks to challenge and question the status quo in order to bring about change. An example of a critical theory analysis would be recognizing positions of power and privilege and seeking ways to change the situation to help those people who are marginalized.
Based upon your understanding and application of this theory to your own teaching situation, what ways have you sought to challenge the status quo by changing your curriculum? How have you experienced issues of social justice, equality, and promotion of democratic values in your classroom/school?
Geuss, R. (1981). The idea of critical theory: Habermas and the Frankfurt School. Cambridge: Cambridge University Press.
Macey, D. (2000). The Penguin dictionary of critical theory. New York: Penguin Books.
Thank you
Thank you for your responses to our initial question! We are very excited about this column and hope that it will develop into a venue for dialogue on important issues. Please let us know if there are any issues that you would like to see addressed here. A new topic will added shortly. Please spread the word to your colleagues and encourage them to post as well! It is clear that music education is slow to change, by your responses, now the question will be what to change, and how to do it!
Thank you again,
Scott Edgar, on behalf of Michael Palmer, and Lisa Furman
The University of Michigan
Does Music Education Need Change?
The MayDay Group began in 1993 as a result of the desire of its founders to critically examine music education practice and to create dialogue about it. In February 1997, seventeen members of the organization met and developed the Action for Change in Music Education document (see website). This document outlined seven ideals that the signatories believed were (are) essential to music education practice. This fall, the book “Music Education for Changing Times; Guiding Visions for Practice” was published. It contains a series of essays by prominent philosophical thinkers in the MayDay Group who speak to the issues outlined in the original Action for Change document. The editors of the book, Thomas Regelski and Terry Gates suggest in the preface and introduction that music education has been slow to change with the times. The book is a public acknowledgment beyond MayDay meetings to the world at large, of the need to initiate a dialogue bringing new ideas, perspectives and suggestions for improving music education.
Question: As a former, recent, or current teacher in P-12 education, do you think music education has been slow to change with the times and in what ways? Why? (Click on the title above to respond.)
