What Constitutes (Music History) Core in the (School of Music and) Conservatory Curriculum
Last November I had the privilege and honor of participating in a roundtable at the 2020 national meeting of the American Musicological Society called "What Constitutes Core in the Conservatory Curriculum?"
The panel was organized by my colleague Erica Scheinberg, and also included my colleagues Sara Haefeli (who has just published a terrific book on writing in the music curriculum) and Melanie Lowe -- with Erica, among the people in our discipline whom I most admire for their pedagogical inventiveness, effectiveness, and creativity.
We were joined by several dozen colleagues in the course of the hour-and-a-half session, who made many insightful points and posed many nuanced questions in the chat -- which was evidently saved, but which I cannot unfortunately convey here. The video of our session was recorded by the AMS, and I am grateful that I can share it with you below with the permission of our Society and of my three colleagues.
With the help of those in attendance at our session, we discussed a number of pressing issues connected to music history "core" courses within the curriculum of "conservatory-style" Schools of Music in the USA -- the kinds of institutions where each of us teaches.
I encourage those who are interested in the topic to watch the entire video, linked below, since there were many more useful observations; a transcript is available below the video. Captions can be toggled on and off by clicking on the "cc" box in the Panopto video. I'll convey below the video...
Reflections on equity and justice in pedagogy, music, disability