Harvard Educational Review
  1. Spring 2013 Issue »

    From Art as Stained Glass to Art as Mirror

    Addressing a Holistic View of Education

    KOJI MATSUNOBU
    In college I majored in piano performance and music education. I often practiced for long hours—sometimes from morning till midnight—to prepare for exams, juries, and occasional public performances. Upon graduation I taught piano to many students privately and publicly. Piano has always been closely linked to my identity as a musician and teacher. During my graduate studies, however, I was introduced the concept of bimusicality in ethnomusicology (Hood, 1971). Akin to second language acquisition, bimusicality refers to the mastery of a musical idiom other than that associated with one’s own culture. Applied in music education, it suggests that music teachers should be acquainted with multiple musical idioms as a prerequisite for licensure.

    In pursuit of my own bimusicality during graduate school, I tried different types of world music until I encountered the shakuhachi bamboo flute and its surrounding culture. I remember the day I met Takeo at a concert in Japan. A seventy-year-old music student, Takeo struck me as someone whose life had been enriched and transformed by music. He played an old tune on the shakuhachi. His reserved yet determined expression through pure, rich tones revealed that he was a devoted practitioner.


    This is an excerpt from Expanding Our Vision for the Arts in Education.

    Click here to purchase this article.

    Order the Spring 2013 special issue.

    Koji Matsunobu is a postdoctoral research fellow at the University of Queensland in Australia. Originally from Japan, he holds PhDs in music and arts education. As a Fulbright Graduate Scholar in the United States, he explored possibilities of incorporating non-Western ideas into Western contexts of education. He has written widely on matters of spirituality, creativity, and ecology of experience in arts education and has taught music education and world music courses in Japan, the United States, and Australia. He is currently conducting research projects in Canada and Malaysia.
  2. Share

    Spring 2013 Issue

    Abstracts

    Foreword: Exploding Parameters and an Expanded Embrace
    A Proposal for the Arts in Education in the Twenty-First Century
    STEVE SEIDEL
    Editors’ Introduction
    Expanding Our Vision for the Arts in Education
    Edward P. Clapp and Laura A. Edwards
    Expanding Our “Frames” of Mind for Education and the Arts
    JENNIFER S. GROFF
    Expanding Our Vision of Museum Education and Perception
    An Analysis of Three Case Studies of Independent Blind Arts Learners
    SIMON HAYHOE
    Universal Design for Learning and the Arts
    Don Glass, Anne Meyer, and David H. Rose
    Graphica
    Comics Arts-Based Educational Research
    STEPHANIE JONES AND JAMES F. WOGLOM
    Why the Arts Don’t Do Anything
    Toward a New Vision for Cultural Production in Education
    RUBEN A. GAZTAMBIDE-FERNANDEZ
    Afterword: The Turning of the Leaves
    Expanding Our Vision for the Arts in Education
    MAXINE GREENE

    Book Notes

    The Learner-Directed Classroom
    Diane B. Jaquith and Nan E. Hathaway (Editors)

    Critical Aesthetic Pedagogy
    Yolanda Medina

    Hip Hop Genius
    Sam Seidel

    Design and Thinking
    Mu-Ming Tsai (Director)

    Changing Lives
    Tricia Tunstall

    Art Education Beyond the Classroom
    Alice Wexler (Editor)