This dissertation critically examines the entrenched Western classical music paradigm in K-12 and higher education music programs and its impact on Black, Indigenous, and People of Color (BIPOC) students. Utilizing Critical Race Theory (CRT) (Delgado & Stefanic, 2017) and Culturally Relevant Pedagogy (CRP) (Ladson-Billings, 2022), the study explores how this dominance leads to epistemological and ontological imprisonment, marginalizing non-Western musical traditions and perpetuating cultural hegemony and systemic racism. Through qualitative peer research interviews with BIPOC university music education students, faculty members including the curriculum director, the research uncovers significant themes, including normalizing and cultural hegemony of Western classical music, the pressure to conform, resistance to pedagogical shifts, and structural barriers to implementing culturally sustaining pedagogies. Additionally, it highlights the duality and dialectical tension educators and students face navigating the dominant Western paradigm while striving to integrate diverse musical epistemologies. The dissertation passionately advocates for new possibilities in practice through transformative approaches to music education that honor students’ cultural backgrounds and challenge dominant narratives. The text suggests the need for changes in the curriculum, policies, and inclusive educational practices to better represent the diverse cultural backgrounds of all students. It offers practical recommendations for educators and institutions to create a fairer and
| Identifer | oai:union.ndltd.org:lmu.edu/oai:digitalcommons.lmu.edu:etd-2313 |
| Date | 01 August 2024 |
| Creators | Ko, Jan-Mitchell |
| Publisher | Digital Commons at Loyola Marymount University and Loyola Law School |
| Source Sets | Loyola Marymount University |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | LMU/LLS Theses and Dissertations |
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