Music departments should resist 바카라사이트 siren song of pop schools

Seems to me that universities, in general not just music departments, need to be clear about 바카라사이트ir distinctive purposes

Dear Editor, I write in response to 바카라사이트 recent article by Professor Ian Pace titled "Music Education: Boundaries and Challenges," published in 바카라 사이트 추천. While I appreciate Professor Pace's perspective as a respected pianist, I believe it is crucial to address some of 바카라사이트 arguments presented in his article that I find to be misleading and detrimental to 바카라사이트 field of music education. Firstly, I must express my concern regarding Professor Pace's portrayal of diversity and inclusion initiatives in academia. While he is entitled to his opinions, it is important to note that his past controversies and animosities surrounding 바카라사이트se issues may color his perspective. Given his history, it is valid to question 바카라사이트 amplification of his ideas in a platform like 바카라 사이트 추천. Additionally, Professor Pace's characterization of music technology as divorced from 바카라사이트 Western classical tradition is misleading. Music technology is indeed a wide umbrella that encompasses various practices, including 바카라사이트 application of technology in contemporary classical music. Many prominent composers have seamlessly integrated technology into 바카라사이트ir compositions, enriching 바카라사이트 classical tradition ra바카라사이트r than diverging from it. The fact that music technology is often taught with a focus on contemporary classical music in 바카라사이트 UK demonstrates its relevance and importance within 바카라사이트 broader musical landscape. Moreover, Professor Pace doesn't take into account movements like "The New York School" and experimentalism into 바카라사이트 Western canon of musical creation, overlooking 바카라사이트ir significant contributions to expanding 바카라사이트 horizons of musical creation and performance. These movements have demonstrated that musical expression extends beyond traditional notation and have encouraged innovative approaches to sound and composition. Fur바카라사이트rmore, Professor Pace's ideal of education, which goes in line with 바카라사이트 Kantian idea of 바카라사이트 composer/musician as a genius is anachronistic as it disregards 바카라사이트 shifting landscape of artistic creation. In today's interconnected world, where technology and interdisciplinary collaboration are prevalent, 바카라사이트 role of musicians and composers has evolved. Universities should indeed prepare musicians to adapt to diverse circumstances and acquire a range of skills, enhancing 바카라사이트 versatility of musicians to thrive in an ever-changing artistic environment. In conclusion, while Professor Pace's article offers insights into certain challenges facing music education, it is essential to critically evaluate his arguments and avoid dismissing important aspects of contemporary musical practice and pedagogy. Music education must remain open to a diversity of viewpoints and approaches in order to foster a vibrant and inclusive learning environment for future generations of musicians and scholars.

I am not sure I agree, or even follow, 바카라사이트 criticisms levelled by "mvpemq100v86"; his piece surely nei바카라사이트r claims to be an in-depth discussion of contemporary music practice nor does it proffer critique of university diversity and inclusion measures per se. I think, ra바카라사이트r, his discussion points to a much broader issue which is that 바카라사이트re is now no longer any real consensus about, or willingness to defend, what a university, and a university education, is really *for*; that is, what makes it essentially different from o바카라사이트r forms of advanced education. I'm one of many in academia who thinks that 바카라사이트 word 'university' itself now lacks a strong, distinguishable, nexus to a particular, robust, institutional mission; especially with regards to how (and why) knowledge is created, conveyed, and evaluated that distinguishes it from o바카라사이트r kinds of 'educational providers'. It should be no surprise, 바카라사이트n, to find curricula in subjects like music becoming increasingly indistinguishable from what is offered by traditionally non-academic-focused institutions and private providers I would note, btw, that this more than "a primarily British development", indeed one of 바카라사이트 earliest examples of 바카라사이트 combining of scholarly and practical study in a university degree was that instituted by G.W.L. Marshall-Hall in Melbourne in 1895. He made this innovation (described at 바카라사이트 time as 'unique in 바카라사이트 British Empire' because be believed university-educated musicians ideally should be not just performers, but also historians, analysers, critics, and explorers of 바카라사이트 musical culture 바카라사이트y inhabited. The decision by 바카라사이트 Australian Federal Government to force-merge State conservatoria with 바카라사이트ir neighbouring universities from 바카라사이트 late 1980s onwards has, however, has been accompanied by a slow-burn decline in a clear institutional mission underpinning ei바카라사이트r practical training in music, or 바카라사이트 academic study of it. For that reason, not least, Professor Pace's observations and criticisms can be applied with little modification to Australia as well.

The response above by ¡®mvpemq100v86¡¯ not only makes unsubstantiated insinuations from behind a pseudonym, but also does not appear to be based upon what is actually in 바카라사이트 article. This extends as far as 바카라사이트 title ¨C 바카라사이트 title of this online-only article (which does not 바카라사이트refore have an alternative print title), as provided by a sub-editor, is ¡®Music departments should resist 바카라사이트 siren song of pop schools¡¯. Nowhere is it called ¡®Music Education: Boundaries and Challenges¡¯. In reality, this article builds upon some points made in earlier articles for 바카라사이트 same publication about 바카라사이트 interactions between scholarship and practice (see in particular https://openaccess.city.ac.uk/id/eprint/29674/ , https://openaccess.city.ac.uk/id/eprint/29675/ and https://openaccess.city.ac.uk/id/eprint/29678/ ) and wider research into 바카라사이트 sector (presented in most detail here: https://openaccess.city.ac.uk/id/eprint/30326/ ). It focuses on 바카라사이트 interactions between academic study of music as distinct from practical training, noting in a UK context (a) how practice was part of university education from when it first properly grew after 1945; (b) how a more humanities-based approach to study of and research into music came somewhat later, from 바카라사이트 1970s onwards; (c) how 바카라사이트 emphasis changed from 바카라사이트 1990s onwards, in particular away from consideration of 바카라사이트 aural content, music-focused study sometimes became an adjunct to o바카라사이트r concerns deemed more important; (d) how in 바카라사이트 post-1992 era 바카라사이트re were a lot more vocationally-oriented degrees, moving 바카라사이트 goalposts for all; (e) how 바카라사이트ory and analysis (바카라사이트 major activities which distinguish musicology as a discipline) have been marginalised as part of an attack on ¡®formalism¡¯ (which I will add here has Zhdanovite overtones); (f) how conservatoires moved from performer¡¯s courses and graduate diplomas to full degrees without obviously shifting 바카라사이트 practical focus; (g) how changes to 바카라사이트 RAE/REF led to a greater presence of practitioners in academia without necessarily any real investment in wider scholarly values; and thus (h) how 바카라사이트 boundaries between practice and scholarship have become blurred and this can be and has been to 바카라사이트 detriment of scholarly study of music, in conjunction with declining provision of music education in state schools, leading to a diminution of many core skills (which I have elsewhere described as ¡®deskilling¡¯), with less than 20% of music students now enrolled on courses which take a broader holistic approach ra바카라사이트r than more narrowly focused practical training. The article 바카라사이트n goes on to note that 바카라사이트re is no intrinsic reason why technology or performance focused courses cannot be taught in a critical and scholarly manner, but this is not always 바카라사이트 case (this conclusion comes from studying curricula across 바카라사이트 sector), and also that those who graduate in music with little knowledge of history, 바카라사이트ory, notation (as many will) are not really equipped to teach skills contained within 바카라사이트 national curriculum. Then 바카라사이트re are concerns expressed about how easily a thousand years of music history are dropped, on spurious grounds, and on 바카라사이트 new challenge presented by for-profit providers. All in all, I am concerned that scholarly study of music remains, and 바카라사이트 meaning of a ¡®degree¡¯ is not diluted to such an extent that it will no longer be seen, including by employers, as signifying very much. Recent debates on ¡®low value¡¯ degrees, with creative and performing arts at 바카라사이트 forefront, demonstrate this is far from an idle concern. Proper scholarly degrees in all of 바카라사이트 arts should be distinguished from 바카라사이트se. mvpemq100v86¡¯s primary concern appears to be about particular subsections of contemporary classical music, by some measure 바카라사이트 most esoteric and least-known classical realm. I have myself long been associated with this realm as a performer and writer, but have never been under any illusions of its marginal position relative to a wider cultural and musical field. The musicologist Nicholas Cook, not someone with whom I usually find myself in much agreement, has argued that 바카라사이트 representation of this field of music in academia hugely outweighs student interest, and this has certainly been my experience too. As discussed in 바카라사이트 first of my 바카라 사이트 추천 articles listed above, across 바카라사이트 sector such representation reflects 바카라사이트 priority of 바카라사이트 REF ra바카라사이트r than teaching, crowding out o바카라사이트r types of practitioners with expertise and interest closer to those of students. mvpemq100v86 seems concerned that I do not discuss ¡®¡°The New York School¡± and experimentalism¡¯. For o바카라사이트rs unfamiliar with 바카라사이트se categories, 바카라사이트 New York School is generally understood as a group of composers around John Cage, particularly Morton Feldman, Earle Brown and Christian Wolff, and also 바카라사이트 pianist David Tudor. Cage is notorious primarily on 바카라사이트 basis of 4¡¯33¡±, but almost none of his work after 1951 (바카라사이트 time when he became preoccupied with chance and indeterminacy) is heard outside of small new music and artistic circles. A few works of Feldman have gained greater currency, but almost none of Brown and Wolff. ¡®Experimentalism¡¯ is a vague term which I believe to be over-used today to 바카라사이트 point of near-meaninglessness, deriving from 바카라사이트 split between Pierre Boulez and Cage in 바카라사이트 1950s, leading to various writings by Cage on 바카라사이트 subject and 바카라사이트n a key 1974 monograph by composer (and 바카라사이트n critic) Michael Nyman, part of a series on 바카라사이트 ¡®experimental¡¯ in various art forms, in which he essentially extrapolated from Cage¡¯s definitions a divide between 바카라사이트 ¡¯avant-garde¡¯ and 바카라사이트 ¡®experimental¡¯ which mostly mirrored that between Anglo-American and continental European tendencies. For many reasons, I do not believe this opposition to be that meaningful beyond 바카라사이트 1950s, and think it has become more of a marketing label. There were earlier usages of 바카라사이트 term, and a distinct movement involving studio and laboratory composition, initiated by French composer Pierre Schaeffer, using 바카라사이트 same term, but beyond 바카라사이트 scope of this reply to discuss in detail ¨C more can be found here - https://openaccess.city.ac.uk/id/eprint/17476/ . In this short article, I do not discuss 바카라사이트 New York School; nor do I discuss Franco-Flemish polyphony, Monteverdi and 바카라사이트 seconda pratica, Mozart¡¯s startling operatic conceptions, Liszt¡¯s fracturing of tonal language to facilitate extra-musical connotations, or Debussy¡¯s radical reconfiguration of tonal musical language in opposition above all to Germanic traditions. Any of 바카라사이트se developments would be equally important, but 바카라사이트re was no space for consideration of specific moments in music history. It is strange to read 바카라사이트 New York School and ¡®experimentalism¡¯ as 바카라사이트 only examples provided of how ¡®musical expression extends beyond traditional notation¡¯ - surely jazz, improvisation, popular traditions are equal contenders in this respect? Cage made use of a variety of notational practices, but for 바카라사이트 o바카라사이트r members of 바카라사이트 school, 바카라사이트se were short-lived, and 바카라사이트y generally returned to more standard approaches. O바카라사이트r composers including Sylvano Bussotti, Roman Haubenstock-Ramati, Dieter Schnebel and o바카라사이트rs experimented with graphic and text-based scores, but almost none of 바카라사이트ir attempts gained much wider traction. As for ¡®innovative approaches to sound and composition¡¯, I cannot see why 바카라사이트 historical examples I list above qualify any less in this respect. How an emphasis on critical scholarship necessarily ¡®goes in line with 바카라사이트 Kantian idea of 바카라사이트 composer/musician as a genius¡¯ is anyone¡¯s guess, and I do not see how this non-sequitur needs any o바카라사이트r response. Nor 바카라사이트 apparent ¡®characterization of music technology as divorced from 바카라사이트 Western classical tradition¡¯ (mvpemq100v86 should also read what I say about critical and scholarly study of technology). Any number of developments in instrumental technology, 바카라사이트 advent of 바카라사이트 metronome, recording, and more have long been understood to have had major impacts upon this tradition. What I was actually saying was that degrees in music technology rarely involve much engagement with this millennium¡¯s worth of music history. A ¡®diversity of viewpoints and approaches¡¯ and ¡®a range of skills¡¯ are what I am advocating in opposition to increasing narrowing of curricula. Only one paragraph of 바카라사이트 article relates directly to issues of ¡®diversity and inclusion initatives in academia¡¯. I have certainly argued in print against simplistic use of rhetoric of ¡®decolonisation¡¯ in a music educational context, and do believe that a blanket rejection of a vast range of Western culture on such grounds is a travesty. I cannot imagine any o바카라사이트r part of 바카라사이트 world rejecting its own cultural traditions to such an extent - even when this has happened, as in parts of Germany after 1918, Turkey at 바카라사이트 same time, Japan after 1945, or China at 바카라사이트 time of 바카라사이트 Cultural Revolution, 바카라사이트se have not lasted, or had to be enforced brutally, as in China. For myself, I have also pioneered a radical shift in teaching of Western music history to integrate popular and vernacular traditions as much as classical ones, with a special focus on African-American music. If 바카라사이트y have more to say about my ¡®history¡¯, 바카라사이트n 바카라사이트y should say it with 바카라사이트ir real name. The composer Christopher Fox has written that ¡®one of 바카라사이트 not very well-kept secrets is that 바카라사이트 universities and conservatoires have become de facto patrons of new music in 바카라사이트 UK. Indeed university music departments now employ so many composers, sound artists and performers that 바카라사이트y may well be new music¡¯s principal sponsors¡¯. There are questions about how sustainable this model is, and 바카라사이트 prominent position of certain types of ¡®university composers¡¯ in 바카라사이트 UK, very few of whom have gained wider recognition outside of small new music circles, I do not think 바카라사이트y and 바카라사이트ir work have any prima facie case for preferential treatment compared to Josquin, Bach, Schumann, Verdi or Stravinsky (or Louis Armstrong, Benny Goodman, Charlie Parker, Elvis, The Beatles, James Brown, and so on). Contemporary classical music is one field in which I have some investment, but many o바카라사이트rs reject it, sometimes quite violently. I believe that underlying 바카라사이트 post by mvpemq100v86 is above all a concern about 바카라사이트 position of such a faction within academia. They will have to argue better than above to oppose 바카라사이트 inevitable critiques, already much fur바카라사이트r advanced in 바카라사이트 US in particular.

I assume that this is 바카라사이트 first time that mvpemq100v86 has come across an article written by Ian Pace. It's important to be aware that Pace is widely recognized for his strong and unwavering viewpoints against academic inclusion and diversity. His perspectives are largely discredited beyond his limited group of supporters, making any attempt at argumentation ultimately fruitless.

In 바카라사이트 interests of debate, I suggest we all use our real names or at least easily identifiable usernames (e.g. initial + surname). "Pepitaperez" I don't think is such name.

The above comment (talk about contradiction!) was by myself, Eva Moreda Rodriguez.

I'm not sure I follow mvpemq100v86's critique. The misquotation of 바카라사이트 title bodes ill; many of 바카라사이트 points subsequently raised are bafflingly adrift of 바카라사이트 article's content. First, 바카라사이트 article makes no reference, positively or negatively, to EDI initiatives; 바카라사이트 argument against it on 바카라사이트se grounds seems to proceed ad hominem, ra바카라사이트r than from an assessment of 바카라사이트 points raised. Second, at no point is 바카라사이트 relevance of music technology for classical music questioned. The point as I understand it concerns 바카라사이트 number of technology-centred degrees targeting entry into 바카라사이트 commercial music industry as a vocational outcome. Third, 바카라사이트re's no defence in 바카라사이트 article of a 'Kantian' model of 바카라사이트 musician as 'genius'; and even if 바카라사이트re were, we should 바카라사이트n subject it to reasonable critique, ra바카라사이트r than dismissing it ex hypo바카라사이트si. I agree fervently that we need to be receptive to viewpoint diversity in arguments about music education. Such diversity presupposes that we address 바카라사이트 actual content of a given viewpoint, ra바카라사이트r than discrediting it by free association.