Listening Across Borders: Musicology in the Global Classroom provides readers with the tools and techniques for integrating a global approach to music historyâ€”within the framework of the roots, challenges, and benefits of internationalizationâ€”into the modern music curriculum. Contributors from around the world offer strategies for empowering students to critique the economic, ideological, and political structures that propagate global challenges. Applicable in a variety of classroom settings, the internationalized teaching methods collected here suggest fruitful ways forward in a global age, in three parts:
- Creating Global Citizens
- Teaching with Case Studies of Intercultural Encounters
- Challenges and Opportunities
In reevaluating the role of higher education in a cosmopolitan world, modern educators have come to question the limits of geographically defined canons, traditional curricular content, and other longstanding teaching approaches. Listening Across Borders places the music history classroom at the center of the conversation about internationalization in higher education, embracing pedagogies that develop the skillsets to become global citizens in a world where international cooperation is increasingly essential.
Table of Contents
Introduction: Why Internationalization? (CHRISTOPHER LYNCH) / PART I: Creating Global Citizens / 1. Western Music History as a Teaching Topic in Taiwan: Pedagogy as Transculturation (JEN-YEN CHEN) / 2. Listening Didactics as a Tool for Inclusion (GIUSEPPINA LA FACE BIANCONI) / 3. Using North Indian Vocal Exercises for Aural Training in the Globalized Classroom (ANDREW ALTER) / PART II: Teaching with Case Studies of Intercultural Encounters / 4. Teaching Global Music History: Comparative Approaches in Chinese Historiography (ANNIE YEN-LING LIU AND BLAKE STEVENS) / 5. Listening to Intercultural Encounters in Canadian Music (MARY I. INGRAHAM) / 6. Learning from BartĂłk: The Promises and Perils of a Globalized Music History (W. ANTHONY SHEPPARD) / PART III: Challenges and Opportunities / 7. Global Music History in the Transnational Classroom: A View from South India (PHILIP TAYLOR) / 8. Teaching and Learning Music History in Brazil: History, Challenges, and Proposals (PABLO SOTUYO BLANCO) / 9. Teaching Western Music in Jordan: An Anglicized-Russian Female Music Educator Perspective (ANNA E. GALAKHOVA) / 10. Misalignment of University-Based Music Education with Modern-Day South African Musical Praxis (MADIMABE GEOFF MAPAYA)
James A. Davis is SUNY Distinguished Professor of Musicology and Chair of the Music History Area in the School of Music at SUNY Fredonia.
Christopher Lynch is Project Coordinator at the University of Pittsburghâ€™s Center for American Music and Artist Lecturer at Carnegie Mellon University.