Re-Imagining Curricula in Global Times: A Music Education Perspective (Global Perspectives on Adolescence and Education, 4)

Contents
Part I: Theoretical Foundations
Chapter 1: Changing Curricula for Global Times: Why Music?
	1.1 Introduction
	1.2 Understanding the Global Education Movement
		1.2.1 Domain 1: Knowledge
		1.2.2 Domain 2: Skills
		1.2.3 “Knowledge” and “Skills” in Music Education: The Educational Standards Movement
		1.2.4 Domain 3: Disposition
	1.3 Global Citizenship Education
		1.3.1 Levels of Citizenship
		1.3.2 Developing Global Identity
	1.4 Why Music Education as Global Education?
		1.4.1 Music Is a Global Phenomenon
		1.4.2 Music Is a Human Phenomenon
		1.4.3 Music Is a Social Phenomenon
		1.4.4 Music Is a Transformative Phenomenon
	1.5 Conclusion
	References
Chapter 2: Cultivating Global Dispositions by Considering Intercultural Sensitivity
	2.1 What Is Intercultural Sensitivity?
	2.2 The Developmental Model of Intercultural Sensitivity (DMIS)
		2.2.1 Ethnocentrism
		2.2.2 Ethnorelativism
	2.3 Assessing Intercultural Sensitivity
	2.4 Limitations of the DMIS and Related Assessment Tools
	2.5 Using the DMIS to Cultivate Global Disposition
	2.6 Developing Intercultural Sensitivity in K-12 Settings: A Review of the Research
		2.6.1 Identity Formation
	2.7 Conclusion
	References
Chapter 3: Understanding Systemic Ethnocentrism in Music Education
	3.1 Introduction
	3.2 The DMIS and Music Education “Systems”
	3.3 Systemic Tendency #1: Homogeneous Musical Content
	3.4 Systemic Tendency #2: Program Structure
	3.5 Systemic Tendency #3: Pedagogy
	3.6 Systemic Tendency #4: Assessment
	3.7 Systemic Denial in Music Education
	3.8 Systemic Defense in Music Education
	3.9 Systemic Minimization in Music Education
	3.10 Too Much, Too Soon?
	3.11 Conclusion: Initiating a “Developmental” Approach to Systemic Change
	References
Part II: Practical Applications
Chapter 4: Making Music Education Interculturally Sensitive: A Developmental Approach
	4.1 Introduction
		4.1.1 How Do We Move Forward?
	4.2 Overcoming Systemic Denial in Music Education
		4.2.1 Tradition as a Barrier to Progress
		4.2.2 Acknowledging Diversity
	4.3 Overcoming Systemic Defense in Music Education
		4.3.1 “West is Best” as a Barrier to Progress
		4.3.2 Stressing Commonalities
	4.4 Overcoming Systemic Minimization in Music Education
		4.4.1 “Music is the Universal Language” as a Barrier to Progress
		4.4.2 Debunking “Music is the Universal Language”
	4.5 Beyond Minimization: Achieving Ethnorelativism in Music Education
	4.6 Conclusion
	References
Chapter 5: Educator-Level Applications of the DMIS in Music Education
	5.1 Introduction
		5.1.1 Music Educators and Cultural Bias
	5.2 Music Educator Denial: “It’s Just the Way Things Are …”
	5.3 Beyond Denial: Becoming “Wide-Awake”
	5.4 Music Educator Defense: “It’s the Way Things Should Be”
		5.4.1 Aesthetic Philosophy
		5.4.2 Methodolatry
		5.4.3 Autocracy
	5.5 Beyond Defense: Starting Small
	5.6 Music Educator Minimization: Performing Tolerance
	5.7 Beyond Minimization: Developing Cultural Self-Awareness
		5.7.1 Is Critical Self Reflection Effective?
	5.8 Music Educator Acceptance: Difference “Is”
	5.9 Beyond Acceptance: Taking Risks
		5.9.1 Culturally Responsive Teaching
		5.9.2 World Music Pedagogy
		5.9.3 Value Relativity
	5.10 Music Educator Adaptation: Developing New Knowledge and Skills
	5.11 Music Educator Integration: Does it Exist?
	5.12 Conclusion
	References
Chapter 6: Classroom-Level Applications of the DMIS in Music Education
	6.1 Introduction
	6.2 Denial in the Music Classroom
		6.2.1 Diversifying Content and Pedagogy
	6.3 Defense in the Music Classroom
		6.3.1 Highlighting Human Commonalities
		6.3.2 Starting “Closer to Home”
		6.3.3 Contextualizing
	6.4 Minimization in the Music Classroom
		6.4.1 Discerning Differences
		6.4.2 Developing Familiarity
	6.5 Acceptance in the Music Classroom
		6.5.1 Music-Making
		6.5.2 Re-framing “Good” Music and Music Education
	6.6 Adaptation/Integration in the Music Classroom
		6.6.1 Practice, Practice, Practice
		6.6.2 Modeling Global Disposition
	6.7 Conclusion
	References
Chapter 7: Music Education as Global Education: An Autoethnographic Reflection
	7.1 Introduction
		7.1.1 Synthesizing through Story
		7.1.2 About Autoethnography
	7.2 Ethnocentrism, Ethnorelativism, and Everything in Between: Letters to Myself
	7.3 Closing Thoughts
	7.4 Conclusion
	References
Index