Post 136.
I hope these are useful for you as you consider implementing pedagogies that can protect, nurture, and renew our natural environments.
Aesthetics (Ecologically informed): n., Using music as an art to internalize sustainability as an orientation through embodiment—human musical participation in the more-than-human world--imagination, and care.[1] Simply put, aesthetics draw ecologically conscious music educators attention to beauty created by humans, animals, and within nature.
Anthropocentric: n., Human-centered ways of conceiving of ecological and musical notions. A worldview that understands humans as having intrinsic value, while other species and geographical places have merely use value.[1]
Biocentrism: n., An organism-centered way of conceiving of ecological and musical notions found in Thoreau, and placing humankind in nature, rather than above it.[2]
Care (as Eco-pedagogy): v., Actions taken by biological organisms that are sympathetic, empathetic, and kind. E.g., the humpback whale demonstrated care, guarding the seal pup from predating orcas. An eco-pedagogical approach, cultivating emotional well-being and flourishing, helping children fulfill their purpose.[1]
Climate Change: n., Gradual increase in the world’s temperature because of human activity, increasing carbon dioxide in the atmosphere.[2]
Climate Refugee: n., A person forced to flee their home due to natural disasters, such as heatwaves, hurricanes, and droughts, exacerbated by climate change.[1] Music therapy practices have been used to help refugees experiences of trauma, lack of agency and self-care.[2]
Commons: n., Shared resources, such as land and waterways, unmediated by capitalism. Cultural commons include musics that are free to share without copyright. Recommoning is the act of recovering power by the oft-powerless.[3] Often uneducated men and women can claim beliefs about learning free from intermediation by educational institutions, which are ecologically sustaining and regenerative.[4]
Development: n., A contorted metaphor that creates a hierarchy of those nations, cultures, and individuals who are developed as opposed to those who are in need of development, and are under- or undeveloped.[1] A procedure of manufacturing needs through which people are detached from their cultural commons, decimating diverse musics, languages, and ways of knowing.[2]
Ecofeminism: n., A philosophical system that emerged out of the Deep Ecology Movement (e.g., Vandana Shiva and Judi Barr) and in criticism to it (e.g., Val Plumwood) drawing our attention to the parallels of injustice between the oppression of women and the domination of nature,[1] and challenges value hierarchies.[2] Ecofeminists assert that the way toward a more sustainable and regenerative future begins with the work of women, and especially indigenous women.[3]
Literacy: n., The ability to read and write (e.g., music).[1] One of four types: functional, cultural, progressive, and critical.[2] Progressive movement from naïveté to a critical attitude.[3] Ecological Literacy: Reflection and action for progressive transformation of humanity in relation to the ecological crises we face.[4]
Localism: n., An ethical stance that resists globalist, internationalist, and nationalist discourses, favoring rather the bioregional, community, cultural, and traditional ways of being and knowing.
Globalism: n., An ethical stance that seeks one-world solutions to be generally applied; treating the whole world as the proper sphere for political influence.[5] In Music Education, globalism offers a developmental framework for critical reflection with the aim of transforming the world.[6]
Praxialism (as Ecological): n., Praxialists view music as a verb, something people do, emphasizing the human, cultural, and social dimensions of music, including diversity.[1] From an ecological perspective, praxialism is anthropocentric, but can be modified by deep ecological theory to broaden its lens.[2]
Sixth Mass Extinction: n., An ongoing extinction event caused by human overconsumption of the earth’s natural resources, spanning families of plants and animals. It is often called the sixth mass extinction, following extinctions identified in geologic history by Jack Sepkoski and David M. Raup.[1] Looking toward indigenous ways of sustaining diverse ecosystems in place may be a way music educators can resist the sixth great extinction.[2]
Technocracy: n., An educational worldview that reduces education to the purchase of ever-new technologies without any guidelines for what to purchase and, alternatively, what not to purchase.[1] The technocratic view of teaching is connected to a relativistic, “do your own thing,” ethic.[2]
TEK: n., Traditional Ecological Knowledge. Understandings and practices of peoples in comparatively nontechnological cultures, who are reliant on upon local resources, relative to living with another people, non-human animals, and the physical environment.[3]
Urbanormativity: n., A prevalent urban-centric ideology that defines urban places, musics, and people as sophisticated, and valued, and, alternatively non-urban places, musics, and people as uncouth, uncivilized, “in the middle of nowhere,” and in need of sophistication.[4] Urbanormativity leads to urbanization, the uprooting of rural people to be resources to enrich cities, which is devastating for many rural communities and people.[5]
DS
[1] Vincent C. Bates and Daniel J. Shevock. The Good, the Bad, and the Ugly of Social Media in Music Education. The Oxford Handbook of Social Media and Music Education, edited by Janice L. Waldron, Stephanie Horsley and Kari K. Veblen (New York: Oxford University Press, 2020), 619-644.
[2] Thomas A. Regelski. Critical Theory as a Foundation for Critical Thinking in Music Education. Visions of Research in Music Education 6, no. 3 (2005), 1-24.
[3] Robin Wall Kimmerer. Weaving Traditional Ecological Knowledge into Biological Education: A Call to Action. Bioscience, 29, no. 5 (2002).
[4] Vincent C. Bates. Thinking Critically About Rural Music Education. Visions of Research in Music Education 32, no. 3 (2018), 1-16.
[5] Daniel J. Shevock. Music Educated and Uprooted: My Story of Rurality, Whiteness, Musicing, and Teaching. Action, Criticism, and Theory for Music Education 15, no. 4 (2016), 30-55.
[1] Wikipedia, link: https://en.wikipedia.org/wiki/Extinction_event#The_%22Big_Five%22_mass_extinctions
[2] Shevock, 2017, 25.
[1] Philip Alperson. What Should One Expect From a Philosophy of Music Education? Journal of Aesthetic Education 25, no. 3 (1991): 215-242; David J. Elliott. Continuing Matters: Myths, Realities, Rejoinders. Bulletin of the Counil for Research in Music Education 132 (1997): 1-37; Thomas A. Regelski. The Aristotelian Bases of Praxis for Music and Music Education as Praxis. Philosophy of Music Education Review 6, no. 1 (1998): 22-59.
[2] Vincent C. Bates. Sustainable School Music for Poor, White, Rural Students. Action, Criticism, and Theory for Music Education 10, no. 2: 100-127; Shevock, 2017.
[1] Dictionary.com, Link: https://www.dictionary.com/browse/literacy
[2] Elizabeth Gould. Music Education Desire(ing): Language, Literacy, and Lieder. Philosophy of Music Education Review 17, no. 1 (2009), 47.
[3] Paulo Freire. Education for Critical Consciousness (New York: Continuum, 2011/1974), 38-9.
[4] “Cultivating 20 Years of Ecoliteracy,” https://www.ecoliteracy.org/sites/default/files/Center-for-Ecoliteracy-20yrs.pdf
[5] Merriam-Webster Dictionary online, link: https://www.merriam-webster.com/dictionary/globalism
[6] Jennifer M. Mellizo. Music Education as Global Education: A Developmental Approach. TOPICS for Music Education Praxis 2019, no. 1 (2019), 1-36.
[1] Karen J. Warren. Ecofeminist Philosophy: A Western Perspective on What It Is and Why It Matters (Lanham, MD: Rowman & Littlefield, 2000).
[2] Smith, 2021; Shevock, 2017.
[3] Vandana Shiva. Women’s Indigenous Knowledge and Biodiversity Conservation. Indiana International Centre Quarterly, 18, no. 1/2 () 205-214.
[1] Gustavo Esteva. Development. The Development Dictionary: n. A Guide to Knowledge as Power, 2nd edition, edited by Wolfgang Sachs (London, UK: Zed Books, 2010), 1-23.
[2] Ivan Illich. Needs. The Development Dictionary: n. A Guide to Knowledge as Power, 2nd edition, edited by Wolfgang Sachs (London, UK: Zed Books, 2010), 95-110.
[1] Shevock and Bates, 2024, 92-3.
[2] Anna Papaeti and M. J. Grant. Musicological Research with Refugees. The Routledge Handbook of Music and Migration, edited by Nils Grosch, Susanne Scheiblhofer, Ulrike Präger and Wolfgang Gratzer (New York: Routledge, 2023), 223-252.
[3] Gustavo Esteva. The Revolution of the New Commons. Aboriginal Rights and Self-Government: The Canadian and Mexican Experience in North American Perspective, edited by Curtis Cook and Juan D. Lindau (Montreal, CA: McGill-Queen’s University Press, 2000), 186-217.
[4] Gustavo Esteva, Dana L. Stuchul and Madhu Suri Prakash. From a Pedagogy of Liberation to Liberation From Pedagogy. Rethinking Freire: Globalization and the Environmental Crisis, edited by C. A. Bowers and Frédérique Apffel-Marglin (Mahwah, New Jersey: Lawrence Erlbaum Associates Publishers, 2005): 13-30, 16.
[1] Tawnya D. Smith. Music Education for Surviving and Thriving: Cultivating Children’s Wonder, Senses, Emotional Wellbeing, and Wild Nature as a Means to Discover and Fulfill Their Life’s Purpose. Frontiers in Education 6, no. 648799 (2021): 1-10.
[2] Cambridge Dictionary Online: https://dictionary.cambridge.org/dictionary/english/climate-change;
[1] Arne Naess. The Basics of Deep Ecology. Trumpeter, 21, no. 1 (2005): 61-71. Revised version of a paper given in Canberra, Australia, 1986; Shevock, 2015.
[2] Daniel J. Shevock. Eco-literate Music Pedagogy (New York: Routledge, 2017); Jeff Todd Titon. Thoreau’s Ear. Sound Studies 1, no. 1 (2015), 144-154.
[1] Katja Sutela. Shapes of Water—A Multidisciplinary Composing Project Visioning an Eco-socially Oriented Approach to Music Education. Research Studies in Music Education 45, no. 2 (2023), 415-428.
I hope these are useful for you as you consider implementing pedagogies that can protect, nurture, and renew our natural environments.
Aesthetics (Ecologically informed): n., Using music as an art to internalize sustainability as an orientation through embodiment—human musical participation in the more-than-human world--imagination, and care.[1] Simply put, aesthetics draw ecologically conscious music educators attention to beauty created by humans, animals, and within nature.
Anthropocentric: n., Human-centered ways of conceiving of ecological and musical notions. A worldview that understands humans as having intrinsic value, while other species and geographical places have merely use value.[1]
Biocentrism: n., An organism-centered way of conceiving of ecological and musical notions found in Thoreau, and placing humankind in nature, rather than above it.[2]
Care (as Eco-pedagogy): v., Actions taken by biological organisms that are sympathetic, empathetic, and kind. E.g., the humpback whale demonstrated care, guarding the seal pup from predating orcas. An eco-pedagogical approach, cultivating emotional well-being and flourishing, helping children fulfill their purpose.[1]
Climate Change: n., Gradual increase in the world’s temperature because of human activity, increasing carbon dioxide in the atmosphere.[2]
Climate Refugee: n., A person forced to flee their home due to natural disasters, such as heatwaves, hurricanes, and droughts, exacerbated by climate change.[1] Music therapy practices have been used to help refugees experiences of trauma, lack of agency and self-care.[2]
Commons: n., Shared resources, such as land and waterways, unmediated by capitalism. Cultural commons include musics that are free to share without copyright. Recommoning is the act of recovering power by the oft-powerless.[3] Often uneducated men and women can claim beliefs about learning free from intermediation by educational institutions, which are ecologically sustaining and regenerative.[4]
Development: n., A contorted metaphor that creates a hierarchy of those nations, cultures, and individuals who are developed as opposed to those who are in need of development, and are under- or undeveloped.[1] A procedure of manufacturing needs through which people are detached from their cultural commons, decimating diverse musics, languages, and ways of knowing.[2]
Ecofeminism: n., A philosophical system that emerged out of the Deep Ecology Movement (e.g., Vandana Shiva and Judi Barr) and in criticism to it (e.g., Val Plumwood) drawing our attention to the parallels of injustice between the oppression of women and the domination of nature,[1] and challenges value hierarchies.[2] Ecofeminists assert that the way toward a more sustainable and regenerative future begins with the work of women, and especially indigenous women.[3]
Literacy: n., The ability to read and write (e.g., music).[1] One of four types: functional, cultural, progressive, and critical.[2] Progressive movement from naïveté to a critical attitude.[3] Ecological Literacy: Reflection and action for progressive transformation of humanity in relation to the ecological crises we face.[4]
Localism: n., An ethical stance that resists globalist, internationalist, and nationalist discourses, favoring rather the bioregional, community, cultural, and traditional ways of being and knowing.
Globalism: n., An ethical stance that seeks one-world solutions to be generally applied; treating the whole world as the proper sphere for political influence.[5] In Music Education, globalism offers a developmental framework for critical reflection with the aim of transforming the world.[6]
Praxialism (as Ecological): n., Praxialists view music as a verb, something people do, emphasizing the human, cultural, and social dimensions of music, including diversity.[1] From an ecological perspective, praxialism is anthropocentric, but can be modified by deep ecological theory to broaden its lens.[2]
Sixth Mass Extinction: n., An ongoing extinction event caused by human overconsumption of the earth’s natural resources, spanning families of plants and animals. It is often called the sixth mass extinction, following extinctions identified in geologic history by Jack Sepkoski and David M. Raup.[1] Looking toward indigenous ways of sustaining diverse ecosystems in place may be a way music educators can resist the sixth great extinction.[2]
Technocracy: n., An educational worldview that reduces education to the purchase of ever-new technologies without any guidelines for what to purchase and, alternatively, what not to purchase.[1] The technocratic view of teaching is connected to a relativistic, “do your own thing,” ethic.[2]
TEK: n., Traditional Ecological Knowledge. Understandings and practices of peoples in comparatively nontechnological cultures, who are reliant on upon local resources, relative to living with another people, non-human animals, and the physical environment.[3]
Urbanormativity: n., A prevalent urban-centric ideology that defines urban places, musics, and people as sophisticated, and valued, and, alternatively non-urban places, musics, and people as uncouth, uncivilized, “in the middle of nowhere,” and in need of sophistication.[4] Urbanormativity leads to urbanization, the uprooting of rural people to be resources to enrich cities, which is devastating for many rural communities and people.[5]
DS
[1] Vincent C. Bates and Daniel J. Shevock. The Good, the Bad, and the Ugly of Social Media in Music Education. The Oxford Handbook of Social Media and Music Education, edited by Janice L. Waldron, Stephanie Horsley and Kari K. Veblen (New York: Oxford University Press, 2020), 619-644.
[2] Thomas A. Regelski. Critical Theory as a Foundation for Critical Thinking in Music Education. Visions of Research in Music Education 6, no. 3 (2005), 1-24.
[3] Robin Wall Kimmerer. Weaving Traditional Ecological Knowledge into Biological Education: A Call to Action. Bioscience, 29, no. 5 (2002).
[4] Vincent C. Bates. Thinking Critically About Rural Music Education. Visions of Research in Music Education 32, no. 3 (2018), 1-16.
[5] Daniel J. Shevock. Music Educated and Uprooted: My Story of Rurality, Whiteness, Musicing, and Teaching. Action, Criticism, and Theory for Music Education 15, no. 4 (2016), 30-55.
[1] Wikipedia, link: https://en.wikipedia.org/wiki/Extinction_event#The_%22Big_Five%22_mass_extinctions
[2] Shevock, 2017, 25.
[1] Philip Alperson. What Should One Expect From a Philosophy of Music Education? Journal of Aesthetic Education 25, no. 3 (1991): 215-242; David J. Elliott. Continuing Matters: Myths, Realities, Rejoinders. Bulletin of the Counil for Research in Music Education 132 (1997): 1-37; Thomas A. Regelski. The Aristotelian Bases of Praxis for Music and Music Education as Praxis. Philosophy of Music Education Review 6, no. 1 (1998): 22-59.
[2] Vincent C. Bates. Sustainable School Music for Poor, White, Rural Students. Action, Criticism, and Theory for Music Education 10, no. 2: 100-127; Shevock, 2017.
[1] Dictionary.com, Link: https://www.dictionary.com/browse/literacy
[2] Elizabeth Gould. Music Education Desire(ing): Language, Literacy, and Lieder. Philosophy of Music Education Review 17, no. 1 (2009), 47.
[3] Paulo Freire. Education for Critical Consciousness (New York: Continuum, 2011/1974), 38-9.
[4] “Cultivating 20 Years of Ecoliteracy,” https://www.ecoliteracy.org/sites/default/files/Center-for-Ecoliteracy-20yrs.pdf
[5] Merriam-Webster Dictionary online, link: https://www.merriam-webster.com/dictionary/globalism
[6] Jennifer M. Mellizo. Music Education as Global Education: A Developmental Approach. TOPICS for Music Education Praxis 2019, no. 1 (2019), 1-36.
[1] Karen J. Warren. Ecofeminist Philosophy: A Western Perspective on What It Is and Why It Matters (Lanham, MD: Rowman & Littlefield, 2000).
[2] Smith, 2021; Shevock, 2017.
[3] Vandana Shiva. Women’s Indigenous Knowledge and Biodiversity Conservation. Indiana International Centre Quarterly, 18, no. 1/2 () 205-214.
[1] Gustavo Esteva. Development. The Development Dictionary: n. A Guide to Knowledge as Power, 2nd edition, edited by Wolfgang Sachs (London, UK: Zed Books, 2010), 1-23.
[2] Ivan Illich. Needs. The Development Dictionary: n. A Guide to Knowledge as Power, 2nd edition, edited by Wolfgang Sachs (London, UK: Zed Books, 2010), 95-110.
[1] Shevock and Bates, 2024, 92-3.
[2] Anna Papaeti and M. J. Grant. Musicological Research with Refugees. The Routledge Handbook of Music and Migration, edited by Nils Grosch, Susanne Scheiblhofer, Ulrike Präger and Wolfgang Gratzer (New York: Routledge, 2023), 223-252.
[3] Gustavo Esteva. The Revolution of the New Commons. Aboriginal Rights and Self-Government: The Canadian and Mexican Experience in North American Perspective, edited by Curtis Cook and Juan D. Lindau (Montreal, CA: McGill-Queen’s University Press, 2000), 186-217.
[4] Gustavo Esteva, Dana L. Stuchul and Madhu Suri Prakash. From a Pedagogy of Liberation to Liberation From Pedagogy. Rethinking Freire: Globalization and the Environmental Crisis, edited by C. A. Bowers and Frédérique Apffel-Marglin (Mahwah, New Jersey: Lawrence Erlbaum Associates Publishers, 2005): 13-30, 16.
[1] Tawnya D. Smith. Music Education for Surviving and Thriving: Cultivating Children’s Wonder, Senses, Emotional Wellbeing, and Wild Nature as a Means to Discover and Fulfill Their Life’s Purpose. Frontiers in Education 6, no. 648799 (2021): 1-10.
[2] Cambridge Dictionary Online: https://dictionary.cambridge.org/dictionary/english/climate-change;
[1] Arne Naess. The Basics of Deep Ecology. Trumpeter, 21, no. 1 (2005): 61-71. Revised version of a paper given in Canberra, Australia, 1986; Shevock, 2015.
[2] Daniel J. Shevock. Eco-literate Music Pedagogy (New York: Routledge, 2017); Jeff Todd Titon. Thoreau’s Ear. Sound Studies 1, no. 1 (2015), 144-154.
[1] Katja Sutela. Shapes of Water—A Multidisciplinary Composing Project Visioning an Eco-socially Oriented Approach to Music Education. Research Studies in Music Education 45, no. 2 (2023), 415-428.
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