Wind Bands and Cultural Identity in Japanese Schools

Hebert, D. G. (2012-published). Wind Bands and Cultural Identity in Japanese Schools. Dordrecht and New York: Springer. (Series–Landscapes: arts, aesthetics, education).

This well researched volume tells the story of music education in Japan and of the wind band contest organized by the All-Japan Band Association. Identified here for the first time as the world’s largest musical competition, it attracts 14,000 bands and well over 500,000 competitors. The book’s insightful contribution to our understanding of both music and education chronicles music learning in Japanese schools and communities. It examines the contest from a range of perspectives, including those of policy makers, adjudicators, conductors and young musicians. The book is an illuminating window on the world of Japanese wind bands, a unique hybrid tradition that comingles contemporary western idioms with traditional Japanese influences. In addition to its social history of Japanese school music programs, it shows how participation in Japanese school bands contributes to students’ sense of identity, and sheds new light on the process of learning to play European orchestral instruments.

Content Level » Research

David G. Hebert, PhD is a Professor of Music with the Grieg Academy, Bergen University College, Norway. He previously held academic positions with universities in the USA, Japan, Finland, Russia, and New Zealand, and has directed (or currently directs) music research projects on 6 continents. Widely published and cited as a scholar of global music education, he is chair of the Historical Ethnomusicology special interest group of the Society for Ethnomusicology.

Keywords » All-Japan Band Association - European orchestral instruments - Japanese composers - Japanese influences - Tokyo Kosei Wind Orchestra - Yamaha - japanese schools - music education - wind bands - young musicians

Foreword (by Bonnie Wade).- Part I: A social history of wind bands in Japanese schools. Chapter 1: Introduction: The world’s finest school bands and largest music competition.- Chapter 2: Where are these bands from?: An historical overview.- Part II: An ethnography of wind bands in Japanese schools. Chapter 3: An invitation to the Tokyo middle school.- Chapter 4: The band rehearsal ritual and its participants.- Chapter 5: Instruction in the Japanese school band.- Chapter 6: Scenes from the 50th AJBA national band competition.- Chapter 7: Winning in the band: Views from beneath and within.- Chapter 8: Winning in the band: Views from above and beyond.- Chapter 9: Japanese composers and wind band repertoire.- Chapter 10: Leadership and duty in the ensemble.- Chapter 11: Cooperative learning and mentorship in band.- Chapter 12: Organizational training of the Japanese band director.- Chapter 13: Corporate giants: Yamaha and the Tokyo Kosei Wind Orchestra.- Chapter 14: Metaphors of a Japanese band community.- Chapter 15: Musical identity in the band: Social class and gender.- Chapter 16: National identity in the Japanese school band.- Chapter 17: Ensemble ethos: Theorizing cultures of musical achievement.- Chapter 18: Conclusions.- Afterword.- Glossary.- Index

Ethnicity and Music Education: Sociological Dimensions

Hebert, D. G. (2010). Ethnicity and Music Education: Sociological Dimensions. In R. Wright (Ed.), Sociology and Music Education (pp.93-114). Aldershot: Ashgate Press.

Examines the concept of ethnicity in music education by considering relevant theories and findings from the fields of sociology, musicology, and music education. The approaches to ethnicity of the three disciplines are compared, and current research findings in relation to three major themes are discussed: (1) ethnic diversity and music learning; (2) music, migration, and global understanding; (3) challenges of multicultural music education.

Patriotism and Nationalism in Music Education

Forthcoming multi-author book, co-edited with Alexandra Kertz-Welzel.

Patriotism And Nationalism In Music Education
by David Hebert and Alexandra Kertz-Welzel (edt.)
ISBN-13 : 9781409430803
ISBN-10 : 1409430804
Publisher : ASHGATE PUBLISHING
Format : Hardback
Pub Date : August 2012
Status : Not yet published [complete manuscript now in press]

Music has long served as an emblem of national identity in educational systems throughout the world. Patriotic songs are commonly considered healthy and essential ingredients of the school curriculum, nurturing the respect, loyalty and 'good citizenship' of students. But to what extent have music educators critically examined the potential benefits and costs of nationalism? Globalization in the contemporary world has revolutionized the nature of international relationships, such that patriotism may merit rethinking as an objective for music education. The fields of 'peace studies' and 'education for international understanding' may better reflect current values shared by the profession, values that often conflict with the nationalistic impulse. This is the first book to introduce an international dialogue on this important theme; nations covered include Germany, the USA, South Africa, Australia, Japan, Taiwan, Singapore and Canada.


Hebert, D. G. & Kertz-Welzel, A. (Eds.) (2012, Ashgate, forthcoming/in press). Patriotism and Nationalism in Music Education. [Contributors: Simon Keller, Jane Southcott, Kari Veblen, Ambigay Yudkoff, Carlos Abril, CheeHoo Lum, Eugene Dairianathan, Amy Beegle, Wai-Chung Ho, Marja Heimonen, David G. Hebert, Alexandra Kertz-Welzel].

Thoughts on How Research in Music Education Approaches Music

Hebert, D. G. (accepted for publication in late 2011). “Thoughts on How Research in Music Education Approaches Music” [Keynote speech from 2009 meeting of Nordic Network for Music Education Research] Southern Journal of Music Education.

This philosophical essay outlines a conceptualization of music education research and identifies some current theoretical and methodological issues in the field. It is based on a keynote speech offered for the 2009 meeting of the Nordic Network for Research in Music Education, in Orebro, Sweden, which had a conference theme of How music education research approaches music. The view outlined here is undergirded by a post-positivist position regarding music education research, meaning principally that the author is inclined to: (1) recognize both the value and inherent limitations of quantitative approaches, (2) contend that qualitative research should entail rigorous procedures and robust designs that enable as rich and accurate a description as possible according to the guiding questions of each study, and (3) assert that philosophical and historical scholarship similarly must also meet timeless standards of clarity, accuracy, originality, and convincingness. The author has produced various kinds of research and supervised doctoral dissertations that represent each of the four major methodological classifications of music education research: quantitative, qualitative, philosophical, and historical approaches. This discussion begins with some analysis of key terminology and definitions, and then proceeds to outline a conceptualization of various constructions of research, followed by discussion of fashionable approaches and perennial concerns, ending with a summary and some conclusions.

Music Learning and New Media in Virtual and Online Environments

Prepublication draft.

 Ruthmann, S. A. & Hebert, D. G. (in press). Music learning and new media in virtual and online environments. In G. McPherson and G. Welch (Eds.), Oxford Handbook of Music Education. New York: Oxford University Press.

The recent shift, seen now in much of the world, from a traditional Eurocentric curriculum (typically emphasizing Western classical music) to one that embraces a wider diversity of musical practices is generally based upon an interrelated set of foundational arguments, many of which are quite relevant to the theme of online and virtual music learning. One impetus springs from the recognition that in many nations, the voices and
 histories of minority groups have tended to receive less attention in educational settings, leading to an undesirable reification of systemic cultural alienation. Through free and “user friendly” technologies, many contemporary youth are creating and sharing music online with personal websites and online networks of peers that celebrate shared musical interests. The use of such technologies for music learning enables lessons to be delivered
 in ways that are attractive to the new generation of students.

Jazz and Rock Music

Jazz and Rock Music. In W. M. Anderson & P. S. Campbell (Eds.), Multicultural Perspectives in Music Education, Vol.1 (third edition) (pp.112-127). Lanham, MD: Rowman-Littlefield Publishers.

Discusses the development and characteristic features of jazz and rock music, and demonstrates several creative approaches to the teaching of this music in school classrooms. These lessons encourage student creativity, through beginning songwriting and development of original lyrics and basic arrangements. The lessons are based on examination of music by such artists as George Gershwin, Louis Armstrong, Ella Fitzgerald, Janice Joplin, Suzanne Vega, Bob Dylan, Jimi Hendrix, U2, Michael Hedges, Lenny Kravitz, Carlos Santana, Tito Puente, Bjork, Chet Baker, Nancy Wilson, Stan Kenton, Herbie Hancock, and US3.

Cultural translation and music: A theoretical model and examples from Japan

Symposium proceedings article - Cultural Translations: Research on Japanese Literature in Northern Europe. Nichibunken (International Research Center for Japanese Studies), Kyōto, 2011. Pages: 17-37.

Explores various ways that intercultural analyses of musical meanings may offer theoretical insights applicable to the broader field of cultural translation. Music, like language, qualifies as a field in which “ideological horizons of homogeneity have been conceptualized,” and postcolonialist scholars such as Homi Bhabha and Paul Gilroy have acknowledged its critical role as an emblem of identity within the very sites of hybridity that particularly interest scholars of cultural translation. While much has already been theorized regarding how foreign musical genres may be transplanted, adopted and fused with indigenous traditions, the notion of cultural translation may most accurately fit the specific objective of intentionally representing significant aspects of one musical tradition through the techniques of another distinct tradition. Artistic choices to (or not to) explicitly aim for this mode of cultural translation are routinely made by contemporary musicians active in hybrid genres, and analysis of specific examples from such ensembles as the Helsinki Koto Ensemble, Yoshida Brothers, Moscow Pan-Asian Ensemble, and Tokyo Brass Style illustrate how cultural translation can be either conscious or unconscious, and deliberately highlighted or shunted in such music projects. A theoretical model is proposed as one way of conceptualizing various approaches to cultural translation in music.

Rethinking Patriotism: National Anthems in Music Education

Hebert, D. G. (2006). “Rethinking Patriotism: National Anthems in Music Education,” Asia-Pacific Journal for Arts Education, Vol. 4, No. 1 (pp. 21-39).

Asia-Pacific journal for arts education: Ya Tai yi shu jiao yu xue bao, 4(1) 21-39.

The first international panel on patriotism in music education convened at the Fifth Asia-Pacific Symposium for Music Education Research (Seattle, 2005), with representatives from the U.S., Japan, South Africa, Australia, New Zealand, Germany, and China. Patriotic music education is found to exemplify an intriguing gap between music education theory and practice. While the notion that patriotism would serve as an objective for music education is determined to be antithetical to contemporary music education philosophies, signs of a recent increase in patriotic content are noted within school music education programs of both Japan and the U.S. The development, lyric content, and educational use of national anthems are examined and compared. Characteristics of Gimn Rossijskoj Federatsii (Russian Federation) and God defend New Zealand are contrasted with Kimi ga yo (Japan) and The star-spangled banner (U.S.). Explanations are sought for increases in patriotic content, which are attributed to such factors as corporate partnerships and an 'anything goes' approach to advocacy among music organizations, as well as Taylorization of teacher education programs. The paper concludes by proposing discussion questions for the panel.

Multiculturalism and Music Education (editorial introduction to special issue)

Hebert, D. G. & Karlsen, S. (2010). “Editorial Introduction: Multiculturalism and Music Education,” Finnish Journal of Music Education, Vol.13, No.1 (pp.6-11).

Introduces a special issue in English devoted to current polices and practices related to multiculturalism and music education, particularly within Europe. Offers a definition and overview of issues and concepts in multicultural music education as well as discussion of various critiques of the field and normative positions regarding the role that cultural 'authenticity' should play in music instruction. Introduces articles by contributors who discuss music education among various ethnic minorities in Europe.

Alchemy of Brass: Wind Music and Spirituality in Japan

Hebert, D. G. (2008). Alchemy of Brass: Wind Music and Spirituality in Japan. In E. M. Richards & K. Tanosaki (Eds.), Music of Japan Today (pp. 236-244). Newcastle: Cambridge Scholars Press. 

Investigates how the wind band genre has been adopted, radically reinvented, and imbued with new meanings by the Japanese. Wind band music only came to be popularized in Japan during recent generations, but the Tokyo Kosei Wind Orchestra is now regarded as the world's leading professional wind ensemble, and the All-Japan Band Association (AJBA) national contest has become the world's largest music competition, with nearly 500,000 contestants. The role of spirituality within Japanese wind bands is considered (from grade school through professional levels) in their mission (outreach activities), practices (rehearsal strategies), and repertoire (hybrid repertoire by Japanese composers).

Music Transculturation and Identity in a Maori Brass Band Tradition

Hebert, D. G. (2008). Music Transculturation and Identity in a Maori Brass Band Tradition. In R. Camus & B. Habla, (Eds.), Alta Musica, 26 (pp. 173-200). Tutzing: Schneider.

Keywords: Maori music / Brass bands / Ratana bands / Juji Nakada

Genre: Original cross-national historical research.

Discusses: "some musical implications of the historical relations between Maori prophet Tahupotiki Wiremu Ratana (1873-1939) and Japanese Rev. Juji Nakada (1870-1939), as reflected in contemporary brass bands and liturgical practices."

Educating Professional Musicians for a Multicultural Society

Hebert, D. G. (2010). Educating Professional Musicians for a Multicultural Society: Emerging Issues and New Developments. In proceedings of Orally Transmitted Music and Intercultural Education, symposium offered by EU Culture Initiative Music, Orality, Roots, Europe (MORE) at Cité de la Musique, Paris, France (December 3-4, 2009) 
[http://www.music-orality-roots.eu/sites/default/files/MORE-Symposium1-HebertD-EducatingProfessional.pdf].

Discusses three themes associated with how globalization is currently changing the education of professional musicians in multicultural societies: (1) opportunities and risks of information technologies, (2) changing concepts of music 'rights', and (3) responses to both political and religious fundamentalism in educational contexts. Describes a new postgraduate program that recently emerged in Northern Europe in response to the changing conditions: Master of Global Music program.

A virtualitásról és zenei nevelésről on-line Környezetben/On virtuality and music education in online environments

Parlando: Zenepedagógiai folyóirat, 48(4). In Hungarian translation, Mariann, Ábrahám.

Refereed paper from The Changing Face of Music Education: Music and Environment (CFME09) International Conference, Tallinn University, Estonia (23–25 April 2009). Discusses the notion of virtuality in relation to contemporary musical experience and musical meaning, introduces the concept of 'glocalimbodied' musicality, and contemplates its implications for music pedagogy and learning, specifically online music education.
.................
Theoretical Background/Introduction
Universities have increasingly expanded their sphere of operations to encompass online learning environments in recent years, engendering substantial reforms that extend even to the level of doctoral studies (Lee & Boud, 2009). Online music education has been identified as a vital new growth area (Finney & Burnard, 2007), and already more than 400 students have enrolled in online courses as members of the world’s largest music education doctoral program (Hebert, 2008). Meanwhile, in the field of philosophy, musical meaning has increasingly come to be understood as inextricably connected to embodiment (Hebert, in press). Meaning in online music education, therefore, represents a previously unexamined paradox that serves as the crucial guiding question for this inquiry: To what extent may a ‘virtual’ embodiment retain the same profundity of meanings associated with traditional musical experience, thereby enabling similarly meaningful music making, learning, and teaching within online environments?

Aim/Main Idea
This paper interrogates the notion of virtuality and related concepts of embodiment and meaning in musical experience, specifically in terms of their applications in online education. Consider, for example, that if one accepts that the experience of profundity in music may be substantively articulated and socially shared (Davies, 2002), and that such musical meanings are conceptualized in terms of embodied metaphors (Johnson, 2007), it follows that the conditions of disembodied virtuality in online environments may lead to altered (or impaired) musical experiences. Alternatively, future incarnations of virtual musicality might embody an aesthetic that was previously unimaginable, following trajectories already established in creative online music communities. Either way, such axiological dimensions of virtuality surely have ‘real world’ artistic ramifications (Ostwald 2004). Consider issues raised regarding what are perceived as inevitable shortcomings and insurmountable quality assurance challenges associated with online music education (Austin, 2007; Phillips, 2008). I argue that this notion of virtual musical embodiment provides an ideal foundation from which to devise effective conceptual frameworks to evaluate the meaningfulness of music education in online environments. It follows that musical meanings in this context be considered in terms of qualities of virtuality. Based on this premise, I assert that many traditional programs, lacking in virtuality, are likely to succumb to a ‘blended learning’ format in the future, which embraces the most compelling features of live and virtual environments. Consequently, the need to redevelop educational guidelines and accreditation policies in response to the unique present (and future) challenges of online environments features prominently in my conclusions.

Method(s) and Main Contribution/Application
Although philosophical in method (Jorgensen, 2006), this essay makes frequent reference to current developments in music education practice in order to clearly illustrate its implications. I consider the ontological bases of virtual musical experience and epistemological bases of musical knowledge acquisition via virtual embodiment, the intended result being a clearer understanding of both the fundamental issues at stake and future possibilities for improvement of music education.

Implication/Conclusion
The conclusions of this paper have implications for music educators who are either contemplating expansion into the online environment or seeking to devise effective means of enhancing online program evaluation and quality assurance.

Rock music in American schools: Positions and practices since the 1960s

International Journal of Music Education

The challenge that rock music has historically faced in achieving widespread acceptance within American music education can be attributed to six common arguments: 1) Rock music is aesthetically inferior; 2) Rock music is damaging to the health of youth; 3) School time cannot be spent on the vernacular; 4) Music teachers are not trained in rock; 5) Rock music encourages rebelliousness and anti-educational behavior; and 6) Rock music curriculum is difficult to acquire. The strengths and weaknesses of each of these six claims is herein analyzed, and the authors' conclusions discuss the potential benefits of rock music studies.

The Tokyo Kosei Wind Orchestra: A Case Study of Intercultural Music Transmission

Journal of Research in Music Education

Instrumental music education in Japan has long emphasized wind bands, and in recent decades, Japanese bands have achieved a level of performing excellence that arguably rivals all other nations. This case study of Japan's premier wind ensemble provides insights applicable to bands throughout the nation. The study explores the influence of the ensemble's repertoire and educational activities, traces its religious origins, and examines Frederick Fennell's role as musical ambassador. The findings suggest that Japan has not only assimilated and mastered the band genre, but it has transformed the tradition. Moreover, the subculture of wind bands is argued to be a domain of internationalization that challenges Japanese notions of gender roles and ethnic identity.

Five Challenges and Solutions in Online Music Teacher Education.

Research and Issues in Music Education. Available online, open-access in RIME vol. 5. A response by Kenneth H. Phillips and the author's rejoinder is in RIME vol. 6.

An examination of issues and challenges in the management of online music degree programs. Five key issues are discussed: (1) prejudice regarding the legitimacy of online degrees; (2) coordination between distance education and music departments; (3) pressure to maximize profits at the expense of educational quality; (4) management of adjunct music instructors; and (5) management of student behavior and provision of student services. The author acknowledges criticisms, proposes solutions to various problems, and identifies both the potential strengths and future opportunities associated with online degree programs.
A response by Kenneth H. Phillips and the author's rejoinder is in RIME vol. 6:

See http://www.stthomas.edu/rimeonline/vol5/index.htm
(vol. 5)
Also see http://www.stthomas.edu/rimeonline/vol6/index.htm
(vol. 6)

Rethinking the Historiography of Hybrid Genres in Music Education

In V. Kurkela and L. Vakeva (Eds.), De-Canonizing Music History. Published by: Cambridge Scholars Publishing, Newcastle upon Tyne, England, 2009. ISBN: 978-1-4438-1391-4; 1-4438-1391-5. Pages: 163-184.

The work of mainstream educational leaders and institutions has typically taken center stage in official histories of the field. Music education history has thus neglected examination of multicultural identities, social inequalities, and the experiences of common music learners among newly emergent genres outside formal educational contexts. Research on the systems of power and ideology associated with institutionalization is rarely encountered in historical accounts of music education. The historiography of the field lacks narrative depth, so the ways that we go about doing historical research in music education, and the ways that we explain history to our students may require substantial and immediate change. Describing cases of hybrid music ensembles as exemplary sites of musical innovation and potential wellsprings of new musical traditions, the author argues that the developments associated with the emergence and institutionalization of hybrid music genres merit inclusion in the historiography of music education.


Editors' Introduction:

"David Hebert’s article continues the critical self-examination of music education history by arguing that “the work of mainstream educational leaders and institutions has typically taken centre stage” in official histories of the field. Music education history has thus neglected “examination of multicultural identities, social inequalities, and the experiences of common music learners among newly emergent genres outside formal educational contexts.” According to Hebert, research on the systems of power and ideology associated with institutionalisation is rarely encountered in historical accounts of music education. Because the historiography of the field lacks “narrative depth,” “both the ways that we go about doing historical research in music education, and the ways that we explain history to our students, may require substantial and immediate change.” Describing cases of hybrid music ensembles as exemplary “sites of musical innovation” and “potential wellsprings of new musical traditions,” Hebert argues that the “developments associated with the emergence and institutionalization of hybrid music genres merit inclusion” in the historiography of music education."

Musicianship, Musical Identity, and Meaning as Embodied Practice

Hebert, D. G. (2009). Musicianship, Musical Identity and Meaning as Embodied Practice. In T. Regelski & J. T. Gates (Eds.), Music Education for Changing Times: Guiding Visions for Practice (pp.39-55). Dordrecht and New York: Springer Press.

Based on topics that frame the debate about the future of professional music education, this book explores the issues that music teachers must confront in a rapidly shifting educational landscape.

The book aims to challenge thought and change minds. It presents a star cast of internationally prominent thinkers in and beyond music education. These thinkers deliberately challenge many time-worn traditions in music education with regard to musicianship, culture and society, leadership, institutions, interdisciplinarity, research and theory, and curriculum. This is the first book to confront these issues in this way.

This unique book has emerged from fifteen years of international dialog by The MayDay Group, an organization of more than 250 music educators from over 20 countries who meet yearly to confront issues in music teaching and learning.

.......................

Extending the idea that music has new meanings, David Hebert argues for music (and therefore music education) as embodied culture, and thus urges a more visceral music learning process. Citing examples from a variety of well-known musical traditions, Hebert supports a music education rationale based on humans' capacity for being multi- musical, bringing this capacity to bear on music learning much more systematically than traditional music teaching systems do in most classrooms. This stretches the students (and, of course, the teacher) and encourages them to reach toward the unfamiliar with both confidence and curiosity.
To bring this off within school programs, teachers must recognize that factors of identity play important roles, both in terms of personal self-actualization and in collective identities that are embodied and maintained by institutions. In pursuit of this idea, Hebert explores "fundamentalism" as a feature of identity that resists what he calls "hybridity" and change, but which yields when meaningful avenues for embodied musical experiences are expanded for students. Hebert closes with implications for policy and practice in music teaching and learning.

Reflections on teaching the aesthetics and sociology of music online

International Review of the Aesthetics and Sociology of Music, 39(1) 93-103.

Discusses recent music technologies and the rise of online graduate programs in music, providing reflection on the pioneering experience of teaching online courses in sociomusicology and the aesthetics of music. Three key topics are considered, including effectiveness and outcomes, quality assurance, and international collaboration. While distance education technology may be used, an innovative 'blended learning' approach—utilizing both traditional instruction and online learning—is advocated as an effective program format for international collaboration in graduate music education.

Music transmission in an Auckland Tongan community youth band

International Journal of Community Music

This article reports on findings from a 2006 ethnographic study of a Tongan community youth band in Auckland, New Zealand. To begin, the study's rationale is discussed in relation to previous research, followed by a description of the band's repertoire and rehearsal strategies, instrumentation and uniforms, notational practices and institutional context. The youth band's role in the Tongan community of Auckland is then considered in relation to previous descriptions of ‘community music’. The band's significance in terms of musical identity and its socio-economic context are also examined, followed by a discussion of this study's implications for community music workers in other settings. The findings suggest that community ensembles rooted in musical hybridity may generate innovative models of music learning and play a unique role in cultural preservation.

Pluralism and Minority Rights In Music Education: Implications of the Legal and Social Philosophical Dimension

With Marja Heimonen, Visions of Research in Music Education.

Examines issues associated with minority rights in music education from the perspectives of social and legal philosophy. Specific cases are discussed, including educational policies pertaining to Native Americans in the U.S., Maori and Pacific Islanders in New Zealand, and Okinawans and Zainichi Koreans in Japan. The problem of children's rights in international law is discussed in relation to music activities in educational contexts. The notion of 'soft law' is explained in detail as well as specific applications to music. Concludes with discussion of how cultural heritage and rights to 'one's own music' are increasingly problematized by the phenomenon of cultural hybridity.

World Beat

With Patricia Shehan Campbell, in Multicultural Perspectives in Music Education, vol. 2.

Offers detailed lesson plans for the teaching of contemporary 'world beat' fusion genres from throughout the world in school classrooms. Musicians discussed included Te Vaka (Polynesia), Nesian Mystik (New Zealand), Altan (Ireland), Zap Mama & Erykah Badu and Afro-Celts (Afro-European) and other artists. Music teachers are guided through lesson plans in music and movement that are appropriately guided by cultural knowledge.

Lessons from India: Globalization's implications for music education

Journal of the Indian Musicological Society, 34, pp.38-46.
Also issued as reprint: Hebert, D. G., (2004). Lessons from India: Globalization’s Implications for Music Education. In R. C. Mehta, M. Hariharan & G. Kuppuswamy (Eds.), Music Education in the Asia Pacific Region (pp. 38-46). Mumbai & Baroda: Indian Musicological Society [reprint of refereed journal article].

Explores issues encountered as foreign educators incorporate Indian music into their teaching, and considers what contributions Indian educators might make to aid in such endeavors. Definitions are offered for terms that are relevant to the discussion of global music education: nationalism, internationalism, localization, globalization, appropriation, and representation. Even within India, how best to represent Indian music in textbooks is far from clear. The authors and publishers of elementary music textbooks in the U.S. must balance several competing objectives; in this context, they may be reduced to having to choose three or four songs to represent the entire Indian subcontinent in a textbook. Another issue is to what degree the teacher, in teaching a foreign song to a class, should follow the rules of the culture the song represents: The less familiar the teacher is with the culture represented, the greater the likelihood of producing a representation that could be viewed as inappropriate, or that even reinforces negative stereotypes. Four examples of Indian traditional music used in Western educational contexts are given: (1) Yayoi Uno Everett applies Indian music concepts, including traditional Indian percussion vocables, in teaching a Western aural skills music course to university students; (2) William Anderson has suggested having elementary students sing America in both rāgas bhairavī and pūrvī, and having them construct a jaltarang out of bowls filled with water; (3) Gerry Farrell has documented the teaching of traditional Indian music in London schools; and (4) Roseanna Vitro advocates the study and practice of traditional Indian vocal techniques among her jazz voice students. Further guidance from Indian scholars on how best to acquire and represent Indian music traditions is called for.

Music competition, cooperation and community: An ethnography of a Japanese school band

PhD Dissertation, University of Washington

This ethnography describes an award-winning Tokyo middle school band, and examines its role within the Japanese band community. The findings are based on analysis and interpretation of fieldwork data, including fieldnotes, interviews, videotaped observations, documents, sound recordings, and an open-ended questionnaire. The organizational model of Japanese school bands was determined to entail a symbiotic partnership between school, community, and industry. Education in the Tokyo middle school band differed from its Western counterparts, showing minimal relationship to formal music teacher education. The All-Japan Band Association influenced the objectives, repertoire, and organization of the school band, and its annual band contest was determined to be the world's largest music competition. In terms of curriculum, a genre of music was identified as meaningful to Japan: amateur band repertoire produced by Japanese composers, fusing Japanese and Western influences. Aspects of instruction in the Japanese band differed from Western models of effective musicteaching, and made use of techniques associated with Japanese moral education and traditional music pedagogy. Peer tutoring played a fundamental role in the learning process, as band member interactions negotiated an ethos of cooperation, competition, and duty. Parents were relatively uninvolved in the band. An extreme gender imbalance was observed: predominantly female students among competitive school bands. Band participation played a significant role in the musical identities of its members, particularly in terms of gender and nationality. Japanese school bands are shown to represent a model of transculturation with implications for multicultural music education, as the tradition was mastered and transformed within a fewgenerations. The study concludes with presentation of an Ensemble Ethos Model, which illustrates the relationships and processes utilized by effective teachers to nurture a culture of musical achievement.

Why Recorded Music Matters

Hebert, D. G. (2010). Why Recorded Music Matters: A Review Essay. Journal of Music and Meaning, Vol. 9 (pp.12-15).

Book Review

Teaching Music and Dance of Namibia

Hebert, D. G. (2006). Teaching Music and Dance of Namibia: A Review Essay. International Journal of Education and the Arts, Vol. 7 [http://www.ijea.org/v7r1/index.html].

Book Review and Interview Essay

Launching the Nordic Master of Global Music Program

Hebert, D. G., Martinsen, T. & Hosbond, K. (2010). Launching the Nordic Master of Global Music Program. Finnish Journal of Music Education, Vol.13, No.1 (pp.88-91).

Brief report

Discusses the inception and launch of a unique Master of Global Music program in close partnership between higher education music academies in three European nations (Sibelius Academy in Finland, Malmo Academy of Music in Sweden, and Royal Academy of Music in Aarhus, Denmark) as well as collaborating institutions in Africa and the Middle East.

Conference Review (co-authored): Reflections on the 2011 BFE Conference

McCollum, J. & Hebert, D. G. (2011). Reflections on the 2011 BFE conference. Newsletter of the British Forum for Ethnomusicology [also online at BFE website]

Very brief non-academic report

Music in Expressive Discourse: New Directions for Arts Education in New Zealand

Research in New Zealand Performing Arts

Bruno Nettl's The Study of Ethnomusicology: Thirty-one Issues and Concepts: An Essay Review

Hebert, D. G. (2007). Bruno Nettl’s The Study of Ethnomusicology: Thirty-one Issues and Concepts: An Essay Review. International Journal of Education and the Arts, Vol. 8 [http://www.ijea.org/v8r2/].

Book Review