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Musical Bridges: Crossing the Divide...

Abu-Khader, Shireen.

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Musical Bridges: Crossing the Divide of Where Fear Meets Music: How Autoethnography Contributes to an Evolving Cultural Identity through Multiple Musical Worlds.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Musical Bridges: Crossing the Divide of Where Fear Meets Music: How Autoethnography Contributes to an Evolving Cultural Identity through Multiple Musical Worlds./
Author:	Abu-Khader, Shireen.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	190 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-05, Section: A.
Contained By:	Dissertations Abstracts International81-05A.
Subject:	Music education. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27539601
ISBN:	9781392610602

Musical Bridges: Crossing the Divide of Where Fear Meets Music: How Autoethnography Contributes to an Evolving Cultural Identity through Multiple Musical Worlds.
Abu-Khader, Shireen.

Musical Bridges: Crossing the Divide of Where Fear Meets Music: How Autoethnography Contributes to an Evolving Cultural Identity through Multiple Musical Worlds. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 190 p.

Source: Dissertations Abstracts International, Volume: 81-05, Section: A.

Thesis (Ph.D.)--University of Toronto (Canada), 2019.

This item must not be sold to any third party vendors.

This research explores the presence of rich, multi-layered political, socio-economic Levantine identities within three musical narratives which challenge and inform views about the relationship between politics and music. The dissertation draws on auto-ethnography and narrative research as a pedagogy for cultivating empathy, courage, and social justice in music education settings. The purpose of the study is to explore the function of music in diverse socio-political global contexts as a means of understanding ourselves in local contexts. Additionally, the stories demonstrate how music has played a role in reconciling multiple identities and connecting people of disparate backgrounds and experiences, and how music has played a role in disconnecting people (including myself) through the socio-political forces that at times may have been too strong. Through narrative analysis, personal reflection, and musical inquiry of three stories, I investigate the standard narratives of the positive role of music, the political acts of forming solidarity and moments of resistance in musical contexts, and the political interactions in a Canadian context that question music's capacity for inclusivity within a pluralist society. This study joins a vibrant conversation in music education about the inextricable link between politics and music, as well as discussions about the need to develop empathy and courage in presenting, performing, and educating in, through and about music from diverse cultural contexts. I argue that music is political and can be difficult to negotiate in the rehearsal room, but that difficult elements such as empathy and courage can bring people together and change the narrative. Empathizing by acknowledging the humanity of others raised to think differently, as well as courage to overcome fear, can stir to action, embracing true inclusivity in a Canadian context.

ISBN: 9781392610602Subjects--Topical Terms:

3168367
Music education.
Subjects--Index Terms:

Musical bridges

Musical Bridges: Crossing the Divide of Where Fear Meets Music: How Autoethnography Contributes to an Evolving Cultural Identity through Multiple Musical Worlds.
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520 $a This research explores the presence of rich, multi-layered political, socio-economic Levantine identities within three musical narratives which challenge and inform views about the relationship between politics and music. The dissertation draws on auto-ethnography and narrative research as a pedagogy for cultivating empathy, courage, and social justice in music education settings. The purpose of the study is to explore the function of music in diverse socio-political global contexts as a means of understanding ourselves in local contexts. Additionally, the stories demonstrate how music has played a role in reconciling multiple identities and connecting people of disparate backgrounds and experiences, and how music has played a role in disconnecting people (including myself) through the socio-political forces that at times may have been too strong. Through narrative analysis, personal reflection, and musical inquiry of three stories, I investigate the standard narratives of the positive role of music, the political acts of forming solidarity and moments of resistance in musical contexts, and the political interactions in a Canadian context that question music's capacity for inclusivity within a pluralist society. This study joins a vibrant conversation in music education about the inextricable link between politics and music, as well as discussions about the need to develop empathy and courage in presenting, performing, and educating in, through and about music from diverse cultural contexts. I argue that music is political and can be difficult to negotiate in the rehearsal room, but that difficult elements such as empathy and courage can bring people together and change the narrative. Empathizing by acknowledging the humanity of others raised to think differently, as well as courage to overcome fear, can stir to action, embracing true inclusivity in a Canadian context.
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