CFP DOSSIER | Society and culture. Musical experiences and globalization in the 21st century.

Call for Papers • Volume 7 • Issue 33 • July-September 2022 Society and culture. Musical experiences and globalization in the 21st century.

Guest Editor: 

PhD. Sibel Celik. Dicle University - Turkey

Submission deadline: June 15, 2022

Editorial guidelines: instructions and templates 

Submission method: Consult the checklist

APC: Consult policies and waivers

Accepted languages: Spanish, English, or Portuguese


In general, the definition of education is based on the idea that it is an intentional achievement that aims to influence changes in the individual being educated. The changes achieved through music education are often based on musical experiences and result in relatively permanent behavioral changes. Music is believed to be a universal language and understood by all people, as it is not only a phenomenon but also a universal language.

Until the 20th century, music scholars compared Western European music with that of other cultures, even until now considering European music superior in all forms and trends, especially in comparison with folk music (Bradley, 2006). Based on European conquests, European music has triumphed over other songs, melodies, and cultural hymns. This notion of superiority is correlated with the economic, military, and moral superiority that European rulers have imbued throughout the world, which has entitled them to control and direct all other native people (Said, 1993). At the root of European superiority is the concept of colonialism (Meiners, 2001). 

Since the end of the 20th century and the beginning of the 21st century, multiculturalism has been the notion that has accompanied the proposal of education in general. Multicultural education uses an approach to teaching and learning based on democratic values that encourage cultural pluralism. In its most comprehensive form, it is a commitment to achieving equality in education, developing curricula that enhance understanding of ethnic groups, and combating oppressive practices (Bennett, 1990). James Banks, one of the pioneers of multicultural education, found his theory of multicultural education on the idea of "educational equality" (Banks & Banks, 1995). Ensuring equality of opportunity is essential in multicultural education regardless of differences, it is considered to reinforce tolerance and understanding within communities (Gay, 1994).  He, along with other theorists, asserted that it was important to examine all aspects of schools, including, but not limited to, policies, educational materials, assessment, tutoring, and teaching styles (Banks & Banks, 1995; Bennett, 1990; Sleeter & Grant, 1988). In the 1990s, and especially now, research has focused on the development of multicultural education models for the classroom and multicultural teacher education (Banks, 1992; Nieto, 1992; Volk, 1998). The most important issue in multicultural music education research is that a precise definition of multicultural music education cannot be made. Unfortunately, so far this has not been related. The definitions of "world music education," "ethnic music education," and "cultural music education" have been used. Camphell (1992), on the other hand, approached with a more holistic and process-oriented approach. He made classifications of age, gender, religion, race, language, etc. In addition, the performance gain was defined. Other researchers (Quesada and Volk, 1997) have defined multicultural music education as the use of music from various parts of the world in music education. Qusesada and Volk's definition of multicultural music education is used for the purposes of this study.

The World Declaration on Education for All (UNESCO, 1990; 1996) emphasizes providing education that responds to the demands and needs of the environment, appropriate to the lives of all children, youth, and adults. In addition, the Report of the International Commission on Education for the Twenty-first Century lists four basic elements of lifelong learning. A related issue is a relationship between ethnic identities and society in general. Thus, multiculturalism comes to the fore in music belonging to different cultures. The curriculum content chosen to be taught in multicultural music education is selected according to regional or national culture, ethnicity, religion, function, or ethnicity. Music is approached from a conceptual point of view; that is, concepts related to musical elements, processes, functions, and behaviors are used by curriculum developers; music is learned and taught as it is learned and taught in its original culture (Elliott, 1989, p.17).

Historical knowledge highlights because multicultural education and music are adapted to the majority culture but include pedagogical practices to strengthen the confidence and effectiveness of teachers to teach multicultural music as a valuable instructional tool.  There seems to be much debate about what multicultural education is.

The aim of the dossier is to analyze, from the perspectives and research approaches of multicultural music education, new trends and currents related to socio-cultural issues and questions, national identity of music, and how to underpin local music culture in the educational process of the 21st century.

Topics and approaches may include, but are not limited to:

- New and continuing approaches to the study of music.

- Multicultural music education approaches

- National music education and training in curricula

- Debates on the axis of multicultural music education

- Globalization and music

- National identity and musical approaches in music education

- Students’ musical experiences in the context of society and culture

- Challenges in music education

- Social values, society, identity in music

- Multicultural music curricula and practices



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