Log in

Relevant bibliographies by topics / Music education advocacy

Contents

Journal articles
Dissertations / Theses
Books
Book chapters

Academic literature on the topic 'Music education advocacy'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Music education advocacy.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Music education advocacy"

1

Elpus, Kenneth. "Improving Music Education Advocacy." Arts Education Policy Review 108, no. 3 (January 2007): 13–18. http://dx.doi.org/10.3200/aepr.108.3.13-18.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Hallam, Susan. "HOW TO ADVOCATE FOR MUSIC: Personal stories of music education advocacy." International Journal of Music Education 23, no. 2 (August 2005): 144–48. http://dx.doi.org/10.1177/0255761405052410.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Bess, David M., and Robert E. Fisher. "Arts Advocacy in Music Education." Music Educators Journal 80, no. 1 (July 1993): 17–22. http://dx.doi.org/10.2307/3398649.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Mark, Michael L. "A History of Music Education Advocacy." Music Educators Journal 89, no. 1 (September 2002): 44–48. http://dx.doi.org/10.2307/3399884.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Shorner-Johnson, Kevin. "Building Evidence for Music Education Advocacy." Music Educators Journal 99, no. 4 (May 23, 2013): 51–55. http://dx.doi.org/10.1177/0027432113483838.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Reimer, Bennett. "The danger of music education advocacy." International Journal of Music Education 23, no. 2 (August 2005): 139–42. http://dx.doi.org/10.1177/0255761405052409.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Payne, Phillip D., Frederick Burrack, Kelly A. Parkes, and Brian Wesolowski. "An Emerging Process of Assessment in Music Education." Music Educators Journal 105, no. 3 (March 2019): 36–44. http://dx.doi.org/10.1177/0027432118818880.

Full text

Abstract:

An effective assessment process can improve student performance, guide instructional decisions, and advocate for a music program. Strategies include designing and administering reliable and valid measures of student learning and using assessments to enhance feedback, longitudinal documentation of assessment results for accountability, and a transparency of assessment processes and findings for increased advocacy. An emerging process of assessment is inherent through the Model Cornerstone Assessments and contributes to an evolving assessment culture within K–12 music education.

APA, Harvard, Vancouver, ISO, and other styles

8

Mark, Michael L. "WHY MUSIC? Essays on the importance of music education and advocacy." International Journal of Music Education 23, no. 2 (August 2005): 94–98. http://dx.doi.org/10.1177/0255761405052399.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Chan, Clare Suet Ching, and Zaharul Lailiddin Saidon. "Advocating for The Sustainability of Semai Indigenous Music Through The Collaborative Creation of New Traditional Music: A Participatory Action Research (PAR) Methodology." Harmonia: Journal of Arts Research and Education 21, no. 1 (June 7, 2021): 9–22. http://dx.doi.org/10.15294/harmonia.v21i1.28715.

Full text

Abstract:

This article provides a critical reflection on the participatory approach methodology and the collaborative creation approach used in an advocacy project to sustain the musical heritage of the indigenous Semai community in Malaysia. These approaches were examined through the medium of an advocacy project that aimed to stimulate the interest of Semai youth in traditional music through relevance, engagement, and connection with their current musical interest and skills. The intention of the project was to also co-create new traditional music with the Semai youth through live musical interaction, improvisation and jam sessions with the research team. This article explored the research team’s use of the “Participatory Action Research” (PAR) method, which involved planning, action, observation, reflection, and revision during the initial stages of our advocacy project. Our findings suggest a narrative style in discussing advocacy processes because they occur in a lateral than the linear or cyclical format used in current action research models. Findings also reveal that any attempts to advocate change in the community would firstly require an established relationship of trust, respect, and belief in the research team. The research team would have to have had prior involvement, commitment, and dedication to the community before members of the team could influence change among the community. A self-review of the research team’s effort to co-create new traditional music with Semai youth led to the conclusion that co-creation between musicians of different musical training would require a “new” compositional method that negotiates Western musical composition techniques with the oral tradition of creating music.

APA, Harvard, Vancouver, ISO, and other styles

10

Mahlmann, John J. "Recent Directions in Music Education: Advocacy, Reform, And Research." NASSP Bulletin 80, no. 581 (September 1996): 8–9. http://dx.doi.org/10.1177/019263659608058105.

Full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Music education advocacy"

1

Major, Marci L. "How They Decide: A case study examining the decision making process for keeping or cutting music education in a K-12 public school district." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274807019.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Flory, Wilson Reese. "From the nightlife to the school day: a survey of informal music learning experiences and perspectives among music educators." Kansas State University, 2014. http://hdl.handle.net/2097/18345.

Full text

Abstract:

Master of Music
Department of Music
Phillip D. Payne
The purpose of this study was to determine if music educators who have had experiences with informal music are more likely to employ informal learning within their classroom. Secondary research objectives included a comparison of survey results against specific demographics of the survey participants, an examination of the types of informal learning that the participants experienced and facilitated, and a look at the perceived barriers and benefits of informal music learning from the viewpoints of the participants. Participants (N=25) were practicing music educators pursuing graduate music studies. The participants were enrolled in a summer Master of Music program at a university in the Midwest. Data was collected by employing a pen and paper survey that provided a demographic description and informal music learning questionnaire. The participants were asked to indicate the frequency of participation in informal music activities prior to becoming a music educator. They further reported what informal music learning activities they facilitate within their school music curriculum. Finally, the participants responded to two short answer questions where they identified barriers and benefits they perceive with the implementation of informal music practices within their music programs. Results from a Pearson correlation showed a moderately strong relationship (p = 0.43) between participants who had informal music experiences (E) and who employed informal music learning within their music curriculum (C). There were no significant differences observed in the results between participants of different gender or school division. Of the short answer responses cataloged, participants cited a lack of experience with informal music and difficulty of connecting informal music learning to the formal music curriculum as the barriers to employing informal music learning in the classroom. The participants discussed the increase in student motivation, expanding musicality, and real-world relevance as the benefits of informal music learning. Knowledge gained from this study may be useful to individuals facilitating informal music learning within music education programs at the primary, secondary, or collegiate levels.

APA, Harvard, Vancouver, ISO, and other styles

3

Shaw, Brian P. "A National Analysis of Music Coursetaking, Social-Emotional Learning, and Academic Achievement Using Propensity Scores." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1586447314622808.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Scavella, Arthur J. N. "The Relationship Between District Concert Band Music Performance Assessment Participation and Student Achievement in Miami-Dade County Public Middle Schools." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3638.

Full text

Abstract:

Since the implementation and achievement score pressures of the No Child Left Behind Act of 2001, elective course offerings such as music have been drastically reduced, especially in the middle school setting. A great deal of correlational research has shown a positive correlation between music education in school and students’ overall academic achievement. This study examined the correlation between those middle school students that participated in the District Concert Band Music Performance Assessment (MPA) versus those middle school students that did not regarding their achievement scores on the 2016 English language arts (ELA) and mathematics subtests of the Florida Standards Assessments (FSA). The theoretical framework of this study was undergirded by Howard Gardner’s theory of multiple intelligences. The researcher used a non-experimental ex post facto research design for the collection of the study’s data. The results indicated that there was a positive, statistically significant difference between both the ELA and mathematics achievement scores of those students that participated in the MPA and those that did not. There was also a positive, statistically significant difference between both the ELA and mathematics achievement scores of those students that participated in the MPA and the level of music their band performed. However, there was not a statistically significant difference between both the ELA and mathematics achievement scores of those students that performed at the MPA and the final overall rating that their band received. School administrators are charged with the responsibility of ensuring that effective programs are instituted in their schools so their students can be successful. The results of this quantitative non-experimental ex post facto study could provide administrators additional research-based evidence suggesting that band on the middle-school level, which is a branch of music education, could be a program to include in the school’s curriculum because it might positively contribute to the school’s ELA and mathematics achievement and academic culture. Additional research can also be conducted to observe the effects of music study on student achievement for students of all grade levels and socioeconomics. This would lead school administrators to continue practicing the notion of educating the whole child while making administrative decisions, which should be the sine qua non of education.

APA, Harvard, Vancouver, ISO, and other styles

5

Hansson, Clare. "Marian McPartland, jazz pianist : an overview of a musical career." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16621/.

Full text

Abstract:

This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aural and visual presentation. Although not claiming to be exhaustive, this Website brings together a comprehensive collection of data covering all aspects of Marian McPartland's career. Data have been gathered and collated from material in the public domain, and all such sources are acknowledged and referenced. The Website is navigable through three links at the bottom of the Home Page - 1) Historical Perspective; 2) Selected Analyses; and 3) Marian McPartland In Context. Part One of the Website provides access to Marian McPartland's various professional roles in jazz, as well as public profiles, and is consolidated by listings of support material. Part Two of the Website contains formal analyses of four of her compositions, each preceded by a short introduction. The analyses are based on scores transcribed from her recorded improvisations. A discussion of her stylistic approach follows the analyses. Part Three of the Website contextualizes Marian McPartland as a woman in jazz during its major historical and stylistic movements. An Introduction and a Conclusion provide the academic framework for this study. The Introduction outlines the rationale for the study, the dimensions of the study, the methodologies used, and the research process. The Conclusion provides critical commentary on Marian McPartland's musical career, and deductions are made about her significance in and contribution to jazz, based on the evidence presented in the Website. A CD of the entire Website completes the presentation of this thesis, included under Supplementary Material in the back pocket of the thesis. This overview of Marian McPartland's entire career makes an original contribution to knowledge on this jazz artist, and, in a broader sense, provides an important resource for future research in the area of jazz music and musicians.

APA, Harvard, Vancouver, ISO, and other styles

6

Rice, Nancy Marie Farley. "Beyond the IEP meeting: parents' perceptions of music education for individuals with exceptionalities." Thesis, 2020. https://hdl.handle.net/2144/41290.

Full text

Abstract:

In this phenomenographical study I documented and analyzed the perspectives of six mothers whose sons attended a postsecondary music academy in the northeast to discern the essence of parental experience and the meanings they attributed to music education. Education for students with exceptionalities arose from parental advocacy and legal battles; however, a review of the literature indicated that research had not documented the essence of parental experience and the meanings parents made of music education. Public Law 94-142 (1975) mandated parental involvement in the education for children with exceptionalities in a system that required parents’ presences at Individualized Education Program (IEP) meetings and, as amended, is still in effect today. This law protects educational rights of individuals with exceptionalities and is designed to enhance their education, while insuring the rights and involvement of parents in educational planning. I explored the relationships between perceived experience and social capital, and documented the actions six mothers took based upon the meanings they made of music education. Parents whose offspring with exceptionalities have pursued music education beyond the American public school system offered insights about their experience and the meanings they ascribed to music education for their children. Bracketing, intuiting, analyzing, and describing were used to document data collected from interviews, blogs, and journals. A theoretical relationship was considered between perceived experience and social capital.

APA, Harvard, Vancouver, ISO, and other styles

7

"Process-Driven Collaboration: Capacities from Teaching Artistry That Enrich the Work of Collaborative Pianists." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57407.

Full text

Abstract:

abstract: The work of collaborative pianists can vary widely, requiring a large spectrum of musical and foreign language skills. In addition, many non-musical skills are required of collaborative pianists in order to adapt to various types of work, the roles they assume, and the needs of the people they encounter professionally. Collaborative pianists usually develop good habits for survival on the job, but rarely receive preliminary training in capacities such as facilitation, maintaining objectivity in collaboration, asking good questions, and giving feedback effectively. The emerging field of teaching artistry offers a wealth of information for the development of these non-musical skills in collaborative pianists. The skills necessary for teaching artistry and collaborative piano frequently overlap, which is instructive for collaborative pianists as they prepare for their various musical and leadership roles. This paper explores shared practices between these disciplines, how they can enhance the activities of a collaborative pianist, and also help them develop skills as arts advocates. Advocating techniques for new music and audience engagement are addressed, as well as programming, content development and building teams around projects. The idea of the collaborative pianist becoming a teaching artist is also explored, as the diverse activities and experiences of a collaborative pianist can serve as valuable resources. All of these approaches to non-musical skills focus on building strong processes, leading to creative activities that are process-driven rather than product-driven. This study seeks to enrich activities of collaborative pianists through the application of teaching artist capacities and pave pathways for new, more effective professional collaborations.
Dissertation/Thesis
Doctoral Dissertation Music 2020

APA, Harvard, Vancouver, ISO, and other styles

8

"The Career of Clifford Demarest (1874-1946): Organist, Social Advocate, and Educator." Master's thesis, 2014. http://hdl.handle.net/2286/R.I.24941.

Full text

Abstract:

abstract: As an organist, church musician, and educator, Clifford Demarest (1874-1946) was a prominent figure in New York during the first half of the twentieth century. However, prior to this thesis, Demarest's place within the history of American music, like that of many of his contemporaries, was all but neglected. This research reveals Clifford Demarest as an influential figure in American musical history from around 1900 to his retirement in 1937. Led by contemporary accounts, I trace Demarest's musical influence through his three musical careers: professional organist, church musician, and educator. As a prominent figure in the fledgling American Guild of Organists, Demarest was dedicated to the unification of its members and the artistic legitimacy of the organist profession. As the organist and choir director of the Church of the Messiah, later the Community Church of New York (1911-1946, inclusive), Demarest played an integral part in the liberal atmosphere fostered by the congregation's minister, John Haynes Holmes (1879-1964). Together Holmes and Demarest directly influenced the nascent National Association for the Advancement of Colored People and supported luminaries of the Harlem Renaissance. Influential figures such as Langston Hughes (1902-1967), Augustus Granville Dill (1881-1956), Egbert Ethelred Brown (1875-1956), and Countee Cullen (1903-1946) were inspired by the liberal environment in the Church of the Messiah; however, prior to this research, their connections to the church were unexplored. As the music supervisor of Tenafly High School and later, for the state of New Jersey, Demarest influenced countless students through his passion for music. His compositions for student orchestras are among the earliest to elevate the artistic standards of school music ensembles during the first four decades of the twentieth century. Archival sources such as church records, letters, and newspaper editorials, are synthesized with current research to characterize Demarest's place in these three professional orbits of the early twentieth century. His story also represents those of countless other working musicians from his era that have been forgotten. Therefore, this research opens an important new research field – a window into the dynamic world of the American organist.
Dissertation/Thesis
M.A. Music 2014

APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Music education advocacy"

1

Francis, David. Traditional music in Scotland: Education, information, advocacy. Edinburgh: Scottish Arts Council, 1999.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Music advocacy: Moving from survival to vision. Lanham, Md: Rowman & Littlefield Education, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

MENC, the National Association for Music Education (U.S.). Music for all students: A leadership guide for planning a music education advocacy day with state legislatures. Reston, VA: MENC, the National Association for Music Education, 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

1956-, Leong Samuel, Nierman Glenn, Callaway International Resource Centre for Music Education., ISME Commission for Music in Schools & Teacher Education., and International Seminar for Music in Schools and Teacher Education (1998 : Kruger National Park, South Africa), eds. Music education at the edge: Needs, identity and advocacy. Shenton Park: ISME Commission for Music in Schools & Teacher Education, Stord-Haugesund University College (Norway), 1999.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Corman, Ned, and Rob Enslin. Now's the Time: A Story of Music,  Education, and Advocacy. Epigraph Publishing, 2013.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Music Educators National Conference (U.S.) and National Coalition for Music Education (U.S.), eds. Teacher's guide for advocacy: Using the Action kit for music education to build community support. Reston, Va: National Coalition for Music Education, 1992.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

National Coalition for Music Education. Teachers Guide for Advocacy: Using the Action Kit for Music Education to Build Community Support. National Coalition for Music Education, 1992.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Lautzenheiser, Tim. Music Advocacy And Student Leadership: Key Components Of Every Successful Music Program, A collection of Writings. G I a Pubns, 2005.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Advocate for music!: A guide to user-friendly strategies. 2016.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Music education advocacy"

1

Feldman, Evan, and Ari Contzius. "Fundraising, Promotion, and Advocacy." In Instrumental Music Education, 390–401. Third edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429028700-24.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Pike, Pamela D. "The Tapestry of Leadership, Creativity and Advocacy." In Leadership and Musician Development in Higher Music Education, 130–48. New York ; London : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9780429503924-11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Ford, Biranda. "From a Different Place to a Third Space: Rethinking International Student Pedagogy in the Western Conservatoire." In The Politics of Diversity in Music Education, 177–89. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_13.

Full text

Abstract:

AbstractConservatoires in the West are now made up of a significant body of international students who come to study the Western canon of classical music. With the canon arising in the same milieu as Enlightenment notions of shared humanity, historically, many have argued that this music has a wide, cross-cultural appeal. Though such tropes of classical music still exist, they also have the potential today to act as awkward anachronisms, markers of elitism, whiteness and cultural hegemony. This chapter starts from the perspective that the considerable economic contribution of international students to host institutions risks reproducing colonial relations if their pedagogical experiences are not thought through carefully. Looking to postcolonial theory to make sense of the dynamics at play, key concepts from Homi Bhabha are used as a lens to view the conservatoire. It is argued that international students are marginalized through stereotyping and positioned ‘in need’ of a Western education, even with attempts to bring their cultural experience of learning into account. I advocate that the conservatoire must move beyond its attempts to contain the effects of cultural diversity and instead harness the potential for self-renewal that comes from embracing cultural difference in a third space.

APA, Harvard, Vancouver, ISO, and other styles

4

"Advocacy for Music Education." In Music Education, 349–433. Routledge, 2013. http://dx.doi.org/10.4324/9780203126660-20.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

"Promotion and Advocacy." In Instrumental Music Education, 327–38. Routledge, 2010. http://dx.doi.org/10.4324/9780203848920-27.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Hammel, Alice M., and Ryan M. Hourigan. "Advocacy for Students with Autism in Music Education." In Teaching Music to Students with Autism, 143–60. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190063177.003.0008.

Full text

Abstract:

Music students with autism are frequently placed in music learning environments not conducive to their needs. Music educators must advocate for the most appropriate learning environment for their students. This chapter focuses on establishing relationships with parents, special educators, special education administrators, and classroom teachers to advocate for the most appropriate learning environment. In addition, this chapter focuses on understanding the necessary components of the musical learning environment for students with ASD and reaching out to community organizations for educational support.

APA, Harvard, Vancouver, ISO, and other styles

7

PASLER, JANN. "Saint-Saëns’s Advocacy of Music Education in Elementary School." In Camille Saint-Saëns and His World, 304–9. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv1mjqv95.35.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

"Therapeutic interventions." In Oxford Handbook of Learning and Intellectual Disability Nursing, edited by Bob Gates and Owen Barr, 293–332. Oxford University Press, 2009. http://dx.doi.org/10.1093/med/9780199533220.003.0009.

Full text

Abstract:

Inclusive communication 294 Advocacy 296 Multisensory rooms 298 Sensory integration 300 Behavioural interventions 302 Family therapy 304 Touch 306 Complementary and alternative therapies 308 Art, drama, and music 310 Intensive interaction 312 Hydrotherapy 314 Conductive education 316 TEACCH 318 Gentle teaching 320 Anger management 322...

APA, Harvard, Vancouver, ISO, and other styles

9

"Discovering Maine’s Intangible Cultural Heritage." In Cultural Sustainabilities, edited by Timothy J. Cooley, 283–94. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042362.003.0023.

Full text

Abstract:

This chapter reviews the historic and ongoing research of the state of Maine's intangible cultural heritage and shows how this work addresses the need for conservation, advocacy, education, and stewardship of this heritage. Maine is especially rich in intangible cultural heritage including the knowledge involved in crafting fine Native American basketry, boat building, fiddle music and dance, knowledge of the natural world among fishermen, woodsmen, millworkers, and farmers, folk singing, storytelling and much more. Cultural rights and ownership, the role of community scholars, and the impact of tourism is considered. The chapter concludes by suggesting that culturally-sensitive and engaged research has strengthened our understanding of how the ecosystem is essential to human life and culture.

APA, Harvard, Vancouver, ISO, and other styles

10

Treloyn, Sally, and Rona Goonginda Charles. "Music Endangerment, Repatriation, and Intercultural Collaboration in an Australian Discomfort Zone." In Transforming Ethnomusicology Volume II, 133–47. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197517550.003.0009.

Full text

Abstract:

To the extent that intercultural ethnomusicology in the Australian settler state operates on a colonialist stage, research that perpetuates a procedure of discovery, recording, and offsite archiving, analysis, and interpretation risks repeating a form of musical colonialism with which ethnomusicology worldwide is inextricably tied. While these research methods continue to play an important role in contemporary intercultural ethnomusicological research, ethnomusicologists in Australia in recent years have become increasingly concerned to make their research available to cultural heritage communities. Cultural heritage communities are also leading discovery, identification, recording, and dissemination to support, revive, reinvent, and sustain their practices and knowledges. Repatriation is now almost ubiquitous in ethnomusicological approaches to Aboriginal music in Australia as researchers and collaborating communities seek to harness research to respond to the impact that colonialism has had on social and emotional well-being, education, the environment, and the health of performance traditions. However, the hand-to-hand transaction of research products and represented knowledge from performers to researcher and archive back to performers opens a new field of complexities and ambiguities for both Indigenous and non-Indigenous participants: just like earlier forms of ethnomusicology, the introduction, return, and repatriation of research materials operate in “social spaces where disparate cultures meet, clash, and grapple with each other, often in highly asymmetrical relations of domination and subordination” (Pratt 2007 [1992]). In this chapter, we recount the processes and outcomes of “The Junba Project” located in the Kimberley region of northwest Australia. Framed by a participatory action research model, the project has emphasized responsiveness, iteration, and collaborative reflection, with an aim to identify strategies to sustain endangered Junba dance-song practices through recording, repatriation, and dissemination. We draw on Pratt’s notion of the “contact zone” as a “discomfort zone” (Somerville & Perkins 2003) and look upon an applied/advocacy ethnomusicological project as an opportunity for difference and dialogue in the repatriation process to support heterogeneous research agendas.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!