In a democracy, disadvantaged group members may experience emotions dissimilar to those of dominant group members. Alison Jaggar calls emotions such as these, outlaw emotions. Interestingly, recent emotion research findings actually accord with Jaggar’s conclusions. In this paper, I argue that members of marginalized, subordinated groups in a democracy, with their enhanced sense of the difference between the promise of equality and the reality of inequality, tend to have more knowledge than dominant group members in political situations, and therefore should (...) be considered even more valuable as leaders than members of dominant groups. (shrink)

In a democracy, disadvantaged group members may experience emotions dissimilar to those of dominant group members. Alison Jaggar calls emotions such as these, outlaw emotions. Interestingly, recent emotion research findings actually accord with Jaggar’s conclusions. In this paper, I argue that members of marginalized, subordinated groups in a democracy, with their enhanced sense of the difference between the promise of equality and the reality of inequality, tend to have more knowledge than dominant group members in political situations, and therefore should (...) be considered even more valuable as leaders than members of dominant groups. (shrink)

Informal instructional approaches have long been an important component of a complete education in general and of music education in particular. But informal approaches have often been subject to bandwagon over-enthusiasm, with proponents inflating their virtues beyond what the concept appears to warrant. In this paper I will, first, examine the theoretical underpinnings of informal learning practices, and compare them to those of more formal learning practices to clarify what might be distinctive and valuable about using informal instructional practices in (...) formal music educational settings; second, take a critical look at one empirical study in which informal learning practices were brought into the formal setting, examining some of the favorable and unfavorable aspects of the methods used; and third, briefly argue that informal instructional practices in music education can, along with formal practices, contribute to the formation of an individual learner's identity and agency through engagement with music. (shrink)

This chapter contains sections titled: Two Categories of the Blues What is Cultural Expression? A Too‐Loose Definition of Culture Conclusion Notes.