Abstract:The commitment to all things democratic in educational spheres has inspired and generated much contemporary conversation in music education scholarship. Aside from demonstrating the possible discrepancies between what democratic ideals in education pledge to do and how they are materialized in learning situations, at least on the theoretical plane, there has not been strong opposition to, or refutation of the pillars upon which the construct of democracy, political or otherwise, is seated. Informed by Achille Mbembe’s concept of necropolitics, I would (...) like to extend the critique to interrogate (the adjective) “democratic” in education and citizenship discursive practices as a lethal problem. I seek to unravel the violence inherent in the notion of democracy in the field of music education and suggest that a music education based solely on the ideals of democratic participation and engagement risks becoming half of what it purports to do and be. It becomes an effigy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Complicating, Considering, and Connecting Music Education by Lauren Kapalka RichermeNasim NiknafsLauren Kapalka Richerme, Complicating, Considering, and Connecting Music Education (Bloomington, IN: Indiana University Press, 2020)Laurern Kapalka Richerme courageously engages with some of the significant concepts of Gilles Deleuze and Félix Guattari in a timely bounded volume, Complicating, Considering, and Connecting Music Education. Through this colossal endeavor, though not the first time a music education scholar deeply explores Deleuzian (...) concepts and theoretical analyses, Richerme provides a fresh perspective on his oeuvre within the field and paves the way for more engaged scholarly exploration on the roles and responsibilities of music education.1Considering the vanity in saying what one sees, as “what we see never resides in what we say,”2 any review of works related to Deleuzian concepts is more of an arborescent endeavor than a rhizomatic one. Consequently, the current review of Richerme’s book may also refute and go against Deleuze and Guattari’s most salient arguments. However, I would like to specifically elaborate on Richerme’s treatment of time; a much welcomed and overlooked aspect of education that Richerme has appositely and strongly delivered. “Music education is not a stagnant ‘what’ but a temporal ‘when’... While the question, ‘What is music education?’ solidifies music education into an immobile identity, asking ‘When is music education?’ emphasizes the differing, individually constructed nature of [End Page 202] educational experiences.”3 Not necessarily an original proposition to treat music education as a process rather than a product, a journey rather than a destination, a meandering rather than walking on a straight line, a desired path rather than a pre-constructed road, Richerme’s angle of this conversation takes on an entirely new path. Rather than solving the problem, as the problem is one’s music education, she elegantly modifies the question: “When is music education?”4 Richerme redirects the reader’s attention from the “spatial turn” in which the field has been engrossed to a temporal one, and from a totalizing music education to a totality of music education:5 “My voice cannot be ‘lost’ or ‘found,’ only silenced or embraced—restrained or encouraged to grow. It will always exist in an uncertain middle, differing day after day.”6Written in eight chapters with two bookending chapters with the same title, “Rhizomatic Journeying,” while the middle chapter re-considers considering and the penultimate chapter discusses the when in music education, Richerme demands the reader to attend to not only the book’s content but the poetic delivery of its prose. One could even recite the sentences and feel the elevation. Richerme’s unique voice is laudable for its humility of approach and candid pronouncements of mistakes made along the way of becoming-toward7 music educator. When reading, I felt I was a fellow traveler crossing paths with her while she shared some of her moments with me. She and I were the Nighthawks of Edward Hopper’s painting. Richerme was there to tell her story and I was there to silently listen; “the story is told and untold. Then retold.”8 And it is in this retelling that I would like to situate this review.This volume is first and foremost an ode to music education. Richerme has a command of the music education literature which manifests itself in the myriad examples she explores. She does not claim to portray novel ideas but crossing paths with other scholars in music education concerning not only Deleuzian concepts but ethical matters of education: “deeming something ‘good for’ is not the same as finding it ‘good’ in the ethical sense.”9 She does not disagree with scholars, perhaps following Deleuzian footsteps, but complements them; an exercise in nuance and scholarly practice not always historically prevalent in the field.However, this practical side of the book that attempts to situate Deleuzian concepts within music education are brought forth at the expense of a deeper level of theoretical analysis of and engagement with their comprehensively theorized concepts such as becoming, striated space, immanence, refrain, and deterritorialization. At times, it feels as though these concepts have been magiccarpeted rather than integrated within music education situations. This volume comes across, marvellously... (shrink)

Abstract:In this article, by providing a reading of three songs related to Tehran, created by three Iranian rock musicians, Behzad Khaivchi, Behzad Omrani, and Raam, I investigate a particular form of music education in a city that generates a supplemental narrative to the normative discourse of music education. Through Foucault’s notion of heterotopia, these musicians emerged in an other temporal, spatial, and imaginary space within the pseudo-colonial understanding of the Middle East region. Given the multiple teleological narratives of the region, (...) I seek to investigate the musicianship of selected musicians in this region to understand how they negotiate the often-conflicting narratives of their Middle Eastern home locally and how their musicianship contributes to the greater understanding of music education. More specifically, I challenge the concept of resistance in Iranian music education to counteract the representational politics with which these musicians grapple in their day-to-day music education practices, influenced by the Western media and the normative discourse of music education. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Lauren Kapalka Richerme, "The Diversity Bargain and the Discourse Dance of Equitable and Best," Philosophy of Music Education Review 27, no. 2 (Fall, 2019)Nasim NiknafsI was asked to write a response to Lauren Richerme's convincing research on why and how one should distinguish between "equitable educational practices"1 and what she calls following Ellen Berry the "diversity bargain" where equity as the second-best option has always taken a (...) hit from the more dashing diversity. If I may metaphorically put this conversation into a romantic comedy, equity is always the wingperson of color to diversity as the main protagonist; by the end of the show it is the main protagonist who survives the hardship and reaches salvation, be it a long-lost love, an oasis of sorts, or making it to the finish line. The rest of the cast have the function of complementing and highlighting the main actor but never substituting for it; or they are as Homi Bhabha would say, "almost the same but not quite."2 For the sake of filling in the blank of let's-add-more-color-into-it, the genuine conversation over the nuances of equitable practices gets undermined and diffused of its poignancy. And this is what Richerme is arguing against: let us not forget that a more significant challenge than a mere technicolor presence is at play. In that, my response to Richerme's essay would [End Page 215] not be so much of a response but a grand nod, a body gesture, an embedded signal of approval between two human beings born and raised in two different parts of planet earth who after years of diverse and perhaps un-equitable educational access ended up in the same room at the same time. Thus, my nod to Richerme also originated from personal experiences and intimate familiarities with unequitable educational access. Yes, people of color can be assets to their institutions and their corresponding fields who add to the diversity of knowledge creation practices, but it is not people of color's project or responsibility to act as the trophy to alleviate the unhappy conscience of educational malpractice or give a helping hand to the main protagonists for whom the scenario has already been written. Undoubtedly, they can take on that role if they want to, but it is only contingent upon where their desires lie not where they should lie.I strongly agree with Richerme's claim that music classrooms and I would add any classroom and learning environment should be a place and space for "sharing stories and insights"3 to not only learn about the content material whatever it may be but to learn to empathize with one another, understand positive and negative human behaviors toward humans and their environment, and act against discriminatory practices, racial, ethnic, religious, and gender prejudices, and to the point of Richerme's essay, unequitable practices that are insistent in today's political climate on a global scale.At this very juncture I diverge not from Richerme's fine thesis and argumentation, but from the larger issue of the premise of her arguments grounded on Thomas Green's educational framework.4 Green argues that the "rank order of political arguments that can be mustered in support of the [educational] system … [is] roughly as follows": (1) the fundamental or compelling interests of the state; (2) the aggregate of individual or parental interests; (3) societal interests; and (4) educational goods for their own sake."5 Following Green's framework Richerme analyzes contemporary music education initiatives in relation to the differing political strengths of each group of stakeholders: the state, parents, society, and educational goods for their own sake.There is a sense of mistrust in the local and national government implied by Green's framework, reminding one of the cumulative mistrust of the elite by U.S. citizens. Years of neglect, condescension, and lack of attention to the real and tangible needs of people amalgamated into what today one sees as white nationalism, plutocracy, and protectionism across borders. Green wrote his book, Predicting the Behavior of the Educational System, in 1980; historically the world order was increasingly metamorphosing and establishing itself... (shrink)

Experiential and behavioural aspects of emotions can be measured readily but developing a contactless measure of emotions’ physiological aspects has been a major challenge. We hypothesised that different emotion-evoking films can produce distinctive facial blood flow patterns that can serve as physiological signatures of discrete emotions. To test this hypothesis, we created a new Transdermal Optical Imaging system that uses a conventional video camera to capture facial blood flows in a contactless manner. Using this and deep machine learning, we analysed (...) videos of the faces of people as they viewed film clips that elicited joy, sadness, disgust, fear or a neutral state. We found that each of these elicited a distinct blood flow pattern in the facial epidermis, and that Transdermal Optical Imaging is an effective contactless and inexpensive tool to the reveal physiological correlates of discrete emotions. (shrink)