Trauma’s ubiquity in society leads to an acknowledgement that damaging experiences likely affect more students than they leave untouched. Dewey acknowledged the importance of the past throughout his theorizing of experience and simultaneously recognized that students need to draw upon past experiences in new learning encounters. In this paper, we argue that Dewey may have opened the door to account for the possibility of traumatic experience affecting learning. We acknowledge the potential of music to prompt a trauma response and seek (...) to explore ways that music education may also provide a mechanism for working through difficult and traumatic pasts. (shrink)

Différend: A case of conflict between (at least) two parties, that cannot be equitably resolved for lack of a rule of judgment applicable to both arguments. . . . A wrong results from the fact that the rules of the genre of discourse by which one judges are not those of the judged genre or genres of discourse. This paper looks at the State of Wisconsin Department of Public Instruction (DPI) Guidelines for Music Teacher Education, a governmentally defined technology of (...) accountability for preservice teacher education.1 In this investigation I draw upon Jean-François Lyotard’s2 analysis of différends to frame the conflict between the state-authorized technologies for accountability (DPI Guidelines) and .. (shrink)

This paper examines how significant musical moments, occurring within singular contexts, may be performative to the development of community. While community is often viewed within music education as an unequivocal good, I argue that this result may not always be beneficent. In this paper, I look at one unique performative moment through the lens of anti-racism education as the potential for community conceived as multicultural human subjectivity. Drawing upon the arguments of Theodore Adorno, Paul Gilroy, and others, I then examine (...) this same moment as one in which the seeds of fascistic community may also be sewn. From this background, I examine the ongoing project of the National Association for Music Education (MENC) known as the National Anthem Project (NAP) as an identity building project, questioning where the lines blur between solidarity, nationalism, and fascistic forms of community within the potentially significant musical moments that NAP may also foster. [End Page 56]. (shrink)