Theory of Social Justice in Philosophy of Music Education :

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  • 音楽教育哲学における「社会正義」論の地平
  • 音楽教育哲学における「社会正義」論の地平 : ポストコロニアル批評,脱構築,リベラリズムに基づく議論の諸相
  • オンガク キョウイク テツガク ニ オケル 「 シャカイ セイギ 」 ロン ノ チヘイ : ポストコロニアル ヒヒョウ,ダツコウチク,リベラリズム ニ モトズク ギロン ノ ショソウ
  • Perspectives of Postcolonial Theory, Deconstruction, and Liberalism
  • ― ポストコロニアル批評, 脱構築, リベラリズムに基づく議論の諸相 ―

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Abstract

<p>  Music education researchers, particularly in Western countries, are increasingly focusing on “social justice” in/through music education. Vaugeois (2007) criticizes the philosophical works of Reimer (2003), Elliott (1995), and Woodford (2005), which have been the primary source of social justice theories in music education, and their tendencies of modernism and liberalism, based on postcolonial analysis. Dale (2012) adopts Derridean deconstruction to review the works of Reimer and Woodford ; he exemplifies aporia and the (im) possibility of justice in music education based on his personal experience of conducting music classes in an inner city. Woodford (2012) analyses the political history of music education in the US and criticizes Reimer and his aesthetic music education theory. Thus, all three researchers focus on relating “Others” and are critical of multiculturalism. In this study, I analyze and compare these interrelated articles to highlight the significance and diversity of social justice in music education and present suggestions for music educators in Japan. In addition, I emphasize the importance of discussing the social and political function of music in music education context.</p>

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