The Possibility of Eco-­Literate Music Pedagogy

TOPICS for Music Education Praxis 2015:01 http://topics.maydaygroup.org ISSN: 2469-4681 Article URL: http://topics.maydaygroup.org/2015/Shevock15.pdf © 2015, Daniel Shevock The  Possibility  of  Eco-­‐Literate  Music  Pedagogy   Daniel  J.  Shevock   Penn  State  Altoona   ABSTRACT   Facing  the  prospect  of  global  ecological  crises,  how  can  music  education  matter?     With  the  advent  of  ecomusicology,  the  connection  between  music  and  environment   raises  many  new  challenges.    Ecological  literacy  has  become  an  important  topic  in   educational  philosophy,  but  it  is  largely  missing  from  music  education  literature.     The  question  guiding  this  inquiry  is:  What  might  music  education  for  ecological   literacy  be  like?    To  answer  this  question,  I  consider  some  possible  ecological   theories—including  ecological  literacy,  ecomusicology,  indigenous  knowledge,  and   spirituality—that  can  provide  a  stable  starting  point  and  framework  of  music   education  for  ecological  literacy.     Keywords:  music  education  philosophy,  ecological  literacy,  environment,   ecomusicology,  deep  ecology,  spirituality   Introduction   A  Vignette:1  On  a  warm  April  morning,  I  walk  through  Tudek  Park  in   Pennsylvania  (USA)  with  my  eight-­‐month-­‐old  son.    We  begin  our  walk,  and   the  primary  sounds  we  hear  are  those  of  children  singing  their  joyous,   rhythmic  songs;  songs  of  excited  sliding  and  swinging  on  playground   equipment,  and  sounds  of  playing  soccer;  children  running  and  kicking  the   black  and  white  ball  into  a  small  net.    The  pieces  of  play  equipment  have  their   own  sounds—squeaking  and  swishing.    There  are  also  the  sounds  of  adults   talking;  a  family  has  a  reunion  under  a  pavilion’s  wall-­‐less  rooftop.    Adult   conversation  and  childish  shouts  intermingle.    The  rumble  of  cars  and  the   singing  of  birds  underlie  these  sounds,  but  are  present  nonetheless.    My  aim   lies  deeper  in  the  park,  since  my  child  is  too  young  to  use  the  playground.    As   we  walk  down  the  hill,  the  sounds  of  birds  and  squirrels  become  more   prominent,  while  human  sounds  fade.    Dogs  are  barking  further  into  the  park,   and  we  sit,  shoeless,  in  the  grass  under  a  newly  budding  tulip  tree,  somewhat   (but  not  completely)  away  from  human  sounds.     TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 2 Photo  by  Daniel  J.  Shevock   Here  we  listen  to  the  music  of  the  park,  and  I  try  to  sing  some  of  the  sounds  I   hear,  and  my  son  also  sings  in  a  low  monotone.    We  touch  the  dirt,  grass,  the   tree’s  trunk,  branches  and  the  buds  emerging  from  this  tree  as  we  crawl  on   the  ground  and  sing.    It’s  possible  that  many  people  walking  by  would  not  call   our  songs  music,  though  everybody  (mostly  dog  walkers)  stops  to  say  “hi”  to   my  son,  and  he  sings  back  his  low  droning  song  (“da,  ah,  ah,  da”),  often   crescendoing  at  the  end  for  emphasis.    The  experience  of  nature’s  music  is  a   learning  experience—for  me  and  my  son—where  my  aim  is  to  cultivate   ecological  consciousness—feeling  a  sense  of  place,  of  the  environment,  of   non-­‐human  life  (the  ecology  of  where  we  live).       Nature  regularly  exhibits  an  abundance  of  musicing,  from  the  songs  of  birds,  to  the   rustling  leaves,  to  the  cicadas’  recurring  summer  song.    Educationally,  children   benefit  when  this  sonic  soundscape  becomes  a  prominent  part  of  their  learning.   Teachers  and  students  benefit  by  being  connected  to  the  places  they  live.    As  Seneca   famously  said,  all  art  is  but  imitation  of  nature.    The  music  of  nature  is  an   immeasurable  source  of  inspiration  for  musicing  of  all  kinds.    The  alternative  to  a   music  education  that  considers  nature’s  musicing,  where  people  (teachers  and   students)  do  not  consider  the  sonic  environments  of  the  places  where  they  stand,   seems  to  be  missing  something  essential.   A  Curiosity:    At  the  start  of  this  paper,  a  curiosity  arose:  facing  global  ecological   crises,2  can  music  education3  matter?    This  is  an  ethical  question:  one  that  is   motivated  by  music  education  philosopher,  David  Elliott’s  (Elliott  &  Silverman   2015)  challenging  title  Music  Matters.    One  reason  Elliott’s  book  was  influential  for   me  as  a  music  teacher  was  that  he  contested  our  field’s  aesthetic  assumptions  about   TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 3 the  goodness  of  music.    “But  what  could  these  goods  or  values  be?    Good  for  what   and  whom?    And  when  and  how?”  (4).    For  music  education  to  matter,  I  believe  it   must  be  good  for  human  and  non-­‐human  life  on  the  planet.       As  music  education  philosopher,  Wayne  Bowman  (2007)  suggests,  music  is   inherently  an  ethical  activity,4  and  that  theorizing  must  begin  with  “music  as  a  social   act  and  social  fact”  (109).    Recent  concerns  with  global  ecological  crises  are   inherently  social  issues  that  I  argue  can  and  should  be  addressed  in  music   classrooms.    Does  music  education  matter5  if  it  cannot  be  harnessed  to  tackle  one  of   the  greatest  issue  humans  face?    Does  music  education  matter  if  teachers  of  all   subjects  stand  by  while  our  environment  is  destroyed  and,  as  a  result,  our  own  lives   and  those  of  children  we  teach?    Why  music  education?6     Music7  adds  uniquely  to  the  ecological  experience  I  described  in  my  initial   vignette.    The  experience  represents  what  I  call  learning,  but  not  necessarily  music   education.    I  argue  for  the  possibility  that  music  education  has  a  unique  opportunity   to  cultivate  ecological  consciousness,8  and  music  education  for  ecological  literacy9  is   an  underdeveloped  theme  or  concern,  but  an  essential  end  for  our  pedagogy  and   curriculum.10    I  also  urge  that  music  education  for  ecological  ends  are  not  only   possible,  but  can  be  essential  and  meaningful.    Moreover,  I  suspect  that  many  music   teachers  have  perhaps  unwittingly  developed  ecological  music  lessons.11     Ecological  Literacy:    Ecological  literacy  (Orr  1992)  has  become  an  important   concern  in  educational  philosophy,  but  is  largely  missing  from  music  education   literature.    Why  is  ecological  literacy  missing  in  music  education  discourse?    Two   possibilities  come  to  mind:  1)  that  music  provides  no  meaningful  insight  into   ecological  crises;  or  2)  that  music  education  is  capable  of  being  for  ecological   literacy  in  some  way,  but  that  scholarly  music  education  literature  has  been  limited   by  what  Mantie  and  Talbot  (2015)  call,  “the  habits  of  the  status  quo,”  which  “serve  …   to  blind  us  from  alternatives”  (131).    In  part  of  this  paper12  I  will  demonstrate  that   the  first  possibility  is  unlikely,  and  the  second  possibility  is  pregnant  with   possibilities.       TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 4 Our  planet  is  said  by  many  to  be  at  a  crossroads  and  faces  ecological  crises.     Eco-­‐criticism  has  also  found  a  place  in  musicological  circles  through  the  advent  of   ecomusicology  (e.g.,  Allen,  2011;  Watkins,  2011);  more  detail  into  ecomusicology   follows  later  in  this  paper.    Religious  historian  and  ecotheologian,  Thomas  Berry   (1999)  writes,  “The  deepest  cause  of  the  present  devastation  is  found  in  a  mode  of   consciousness  that  has  established  a  radical  discontinuity  between  the  human  and   other  modes  of  being  and  the  bestowal  of  all  rights  on  humans”  (4).    It  may  be  to  the   wellness  of  human  life  that  eco-­‐literate  music  pedagogy  draws  from  ecomusicology   and  spiritual  conceptions  of  connectedness.     What  Berry  called  radical  discontinuity  I  have  previously  labeled   disconnection  from  nature.    My  recent  research  into  a  neglected  historical  music   education  figure,  Satis  Coleman,  is  pertinent  to  the  current  question  (Shevock  2015).     Her  teaching  reveals  a  spiritual  philosophy  empowering  students  to  experience   silence  in  nature.13    In  that  paper,  I  write  against  schooling  that  disconnects  students   from  nature  and  propose  that  classroom  music  “can  connect  students  to  the  world   around  them  through  musical  experiences  and  for  broader  goals  such  as  developing   ecological  consciousness,  stewardship  of  the  environment,  learning  about  their  local   community,  empathizing  with  the  other,  or  understanding  their  family  histories”   (59).    Because  “cultivating  ecological  consciousness  is  a  process  of  learning  to   appreciate  silence  and  solitude  and  rediscovering  how  to  listen”  (Devall  &  Sessions,   1985,    8),  music  education  might  sometimes  leave  the  physical  space  of  the   classroom  and  rediscover  how  to  listen  to  the  music  of  nature  that,  in  fact,  fills  that   silence  and  solitude.    An  eco-­‐literate  music  pedagogy  might,  in  this  way,  be   connecting.     Purpose   Morton  (2012)  suggests  that  music  education  philosophy  “includes  and   embraces  social  and  ecological  justice”  (487).    The  current  paper  embodies  this   need  and  the  MayDay  group’s  Action  Ideal  II:   TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 5 Since  social,  cultural  and  political  contexts  of  musical  actions  are  integrally   tied  to  the  nature  and  values  of  all  human  activity,  a  secure  theoretical   foundation  that  unites  the  actions  of  music  with  the  various  contexts  and   meaning  of  those  actions  is  essential  to  music  education  in  both  research  and   practice.    (http://www.maydaygroup.org/about-­‐us/action-­‐for-­‐change-­‐in-­‐ music-­‐education)   One  way  human  activity  can  be  embodied  as  social,  cultural,  and  political  praxis  is  in   relation  to  ecological  crises.    These  can  be  expressed  as  variously  as  the  pastoral   sounds  of  many  classical  pieces,  or  the  direct  ecological  activism  of  many  songs  in   the  Joe  Hill  tradition  (see  Pedelty  2012).    The  current  argument  is  guided  by  the   question:  What  might  music  education  for  ecological  literacy  be  like?14    Ecological   philosophies  emerge  from  the  fields  of  ecological  literacy,  ecomusicology,   spirituality,  indigenous  knowledge,  and  deep  ecology.    In  Philosophy  on  Soil,  Ivan   Illich  (1990)  declared:     As  philosophers,  we  search  below  our  feet  because  our  generation  has  lost  its   grounding  in  both  soil  and  virtue.    By  virtue,  we  mean  that  shape,  order  and   direction  of  action  informed  by  tradition,  bounded  by  place,  and  qualified  by   choices  made  within  the  habitual  reach  of  the  actor;  we  mean  practice   mutually  recognized  as  being  good  within  a  shared  local  culture  that   enhances  the  memories  of  a  place;  …  we  issue  a  call  for  a  philosophy  of  soil:  a   clear,  disciplined  analysis  of  that  experience  and  memory  of  soil  without   which  neither  virtue  nor  some  new  kind  of  substance  can  be.  (1)     At  the  intersection  of  soil,  virtue,  action,  and  culture  the  need  for  eco-­‐literate  music   pedagogy  could  be  made.    Since  Illich  connects  philosophy  of  soil  to  grounding,  local   culture,  and  memories  of  a  place,  it  seems  logical  that  such  a  music  education   philosophy  would  seem  to  need  to  be  placed,  in  both  aims  and  means.    That  is,   rather  than  aiming  to  create  mobile  world-­‐citizens  who  perform  interchangeable   musics  (genres,  ensembles,  and  repertoire),  the  aim  might  be  to  create  virtuous,   local  citizens,  grounded  in  their  local  cultures  and  enact  local  musics  in  school  and   community.       There  are  difficulties  inherent  in  trying  to  implement  Illich’s  declaration.    As   an  example  of  the  difficulties  between  the  way  we  music  educate  and  such  a  placed   conception  of  virtue,  music  educator  Vincent  Bates  (2011)  suggests,  “Students  who   TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 6 are  poor  and  rural,  then,  must  not  only  suppress  and  replace  cultural  identities,  but   also  are  usually  required  to  leave  cherished  people  and  places”  (112).    Elsewhere,   Bates  (2013)  argues  rural  ideals,  including  community  and  ecological  sustainability,   can  counter  industrialization  by  promoting  Theobald’s  (1997)  concept,   intradependence,15  which  “adds  the  element  of  place  in  the  sense  that  quality  of  life   is  inextricably  linked  to  preserving,  sustaining,  and  beautifying  local  environments”   (Bates  2013,  35-­‐36).    However,  if  the  places  where  people  live  are  largely   undervalued  (as  Bates’s  statement  on  the  rural  poor  needing  to  leave  cherished   people  and  places  suggests)  therein  resonates  a  challenge  to  constructing  an   effective  (enacted)  eco-­‐literate  music  pedagogy:  we  in  industrial  societies  do  not   value  place  or  soil.       However,  eco-­‐literate  music  pedagogy  would  not  benefit  only  students  living   in  rural  areas.    While  I  was  unable  to  find  music  education  scholarship  explicitly   connecting  living  in  cities  to  ecological  sustainability,  it  seems,  in  relation  to   cultivating  Illich’s  philosophy  of  soil  and  Bates’s  rural  ideals,  city  people  also   experience  devalued  places  that  might  be  cherished  by  music  education.     Gaztambide-­‐Fernández  (2011)  described  cities  as  places  of  “proximity  in  which   bodies  are  brought  into  close  contact  with  each  other  through  agglomeration”  (18),   spaces  that  are  “unequally  distributed”  (19).    Whether  that  proximity  is  noted  as  a   place  of  culture  and  privilege,  or  “a  place  of  decay,  poverty,  and  danger”  (19),  eco-­‐ literate  music  teachers  might  cultivate  a  philosophy  of  soil.    Squirrels  and  house   sparrows  sing  their  songs,  winds  blow,  and  seasons  change  even  in  the  densest   population  centers.     The  purpose  of  this  paper  is  to  provide  a  starting  point  for  dialogue  and   praxis  for  music  education  for  ecological  literacy.    My  goals  are  to  provide  theory   that  is  approachable,16  so  that,  through  the  work  of  scholars  and  teacher-­‐ intellectuals  (who  enact  pedagogy),  eco-­‐literate  music  pedagogy  might  be   envisioned,  modified,  revised,  and  embedded  in  the  aims  of  music  education  to   mend  a  world  facing  ecological  crises.    This  paper  is  organized  to,  first,  introduce  the   TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 7 concept  of  ecological  literacy,  and  then  to  begin  with  what  is  available  in  music   education  scholarship,  then  more  broadly  in  musicology.    Next,  music  education  for   ecological  literacy  will  be  deepened  culturally  (e.g.,  including  indigenous   knowledge)  and  spiritually,17  both  of  which  might  provide  context  for  an  eco-­‐literate   music  pedagogy.    The  decision  in  the  present  paper  is  to  choose  breadth  over  depth.         Ecological  Literacy     Ecological  literacy  theorist,  David  Orr  (1992)  suggests  humanity  faces  three   crises  that  need  to  be  addressed  through  education.    These  crises  are  the  food  crisis,   the  fuel  crisis,  and  climate  change.    The  food  crisis  derives  from  soil  loss,  and  is   connected  to  our  farming  practices  and  rapidly  rising  world  population.    The  era  of   cheap  energy  has  driven  us  toward  fossil  fuel  exhaustion.    The  crisis  of  climate   change  “has  to  do  with  ecological  thresholds  and  the  limits  of  natural  systems”  (3).     Orr  continues  that  ecological  literacy  has  become  difficult  today,  “because  there  is   less  opportunity  for  the  direct  experience  of  [nature]”  (89).    The  three  crises  require   interdisciplinary  approaches  to  ecological  literacy,  and  all  subjects,  even  music   education,  must  address  the  ecological  crises  and  provide  insight  into,  and  direct   experience  of  nature.    “To  become  a  significant  force  for  a  sustainable  and  human   world,  [ecological  literacy]  must  be  woven  throughout  the  entire  curriculum  and   through  all  of  the  operations  of  the  institutions,  and  not  confined  to  a  few  scattered   courses”  (152).    Music  education  can,  in  the  spirit  of  ecological  literacy,  teach   students  about  the  three  crises,  and  lead  students  to  directly  experience  nature.     Such  an  integrative  approach  to  music  education  might  follow  any  art   integration  style.    Though  a  full  clarification  of  eco-­‐literate  music  pedagogy  through   arts  integration  theory  is  beyond  the  scope  of  the  current  paper,  in  Bresler’s  (1995)   theory,  these  are  the  subservient,  co-­‐equal,  affective,  and  social  integration  styles.    In   the  subservient  style,  music  is  used  to  teach  another  subject  (like  biology,  ecology,   climate  science,  or  chemistry).    In  the  co-­‐equal  style,  the  music  teacher  and  science   teacher  might  work  together  to  construct  and  implement  lessons.    In  the  affective   TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 8 style,  teachers  use  music’s  emotional  attributes.    In  the  social-­‐integration  style,   school-­‐wide  events  such  as  assemblies  might  be  used  to  explore  environmental   issues.    Each  of  these  styles  (and  possibly  others)  would  come  into  play  in  eco-­‐ literate  music  pedagogy.     “All  My  Relations”     In  music  education  philosophy,  Charlene  Morton  (2012)  began  the  work  of   constructing  a  rationale  for  an  ecological  music  education—important  when  music   education  is  dominated  by  “a  subject  specific  view”  (473)  of  our  field.    Music   education  needs  to  be  for  the  future,  that  is,  we  want  a  future  living  on  a  healthy   planet  that  sustains  human  and  non-­‐human  life.    Using  John  Dewey  and  other   philosophers,  Morton  connected  environmental  education  to  “Aboriginal18   educators’  commitments  to  nurturing  a  sense  of  wonder  and  appreciation  for  the   social,  economic,  and  environmental  interdependence  of  ‘all  my  relations’”  (478).       And  then19  she  asks,  “What  is  music  education  for?”  (483),  and  concludes  that  our   field  needs  to  be  oriented  to  social  and  ecological  justice.       With  Morton’s  paper  in  mind  (along  with  David  Orr’s  ecological  literacy,  and   Ivan  Illich’s  call  for  a  philosophy  of  soil)  to  fulfill  the  call  for  ecological  justice,  music   education  must  cultivate  ecological  literacy,  which  is  rooted  in  soil,  and  is  attained   through  increasing  ecological  consciousness.    How  can  music  be  used  for  the   increase  of  ecological  consciousness?    In  the  next  section,  I  discuss  the  field  of   ecomusicology,  and  how  its  findings  can  be  pertinent  to  music  education.     Ecomusicology     Taijo’s  Vignette:  Taijo  teaches  secondary  choir  (c.  13-­‐18)  in  the  U.S.  and  is   preparing  a  patriotic  show  for  a  Memorial  Day  performance  in  the  town   center.    He  chooses  to  use  arrangements  of  America  the  Beautiful  (arr.  La   Rocca),  written  by  Katharine  Lee  Bates,  Irving  Berlin’s  God  Bless  America   (arr.  Crocker  &  Lavender),  and  Woody  Guthrie’s  This  Land  is  Your  Land  (arr.   DeCormier).    These  songs  provide  the  choir  with  opportunities  to  discuss  the   intersection  of  many  social  issues,  such  as  Bates’s  sexual  orientation,  Berlin’s   robust-­‐patriotism,  leaning  toward  jingoism  during  WWII,  and  Guthrie’s   response  to  Berlin’s  song,  including  Guthrie’s  socialist  political  affiliations.     TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 9 Each  song  also  provides  Taijo’s  students  with  an  opportunity  to  consider   three  different  visions  of  the  way  people  relate  to  the  environment.    In   America  the  Beautiful,  blessed  by  heaven,  Americans  fit  amicably  into  the   pastoral  landscape.    God  Bless  America  is  rather  like  a  prayer,  and  portrays   the  environment  as  belonging,  anthropocentrically,  to  Americans.    As  such,   the  song  serves  to  reify  Manifest  Destiny.    In  This  Land  is  Your  Land,  rather   than  a  collective,  patriotic  “we,”  it  is  “you  and  I”  to  whom  the  land  “belongs.”     Taijo  introduces  students  to  the  protest  verses  and  allows  students  to   deliberate  on  what  Guthrie’s  vision  for  the  land,  his  stance  against  private   ownership,  might  mean  for  the  environment.    The  choir’s  conversations  are   further  complicated  when  Taijo  introduces  that  This  Land  is  Your  Land  was   written  as  a  socialist  anthem  and,  more  recently,  a  uniting  anthem  for  the   protesters  of  the  2010  BP  oil  spill  in  the  Gulf  of  Mexico.    Part  of  each   rehearsal  is  dedicated  to  conversation,  and  the  students  decide  to  present  the   Memorial  Day  concert  as  an  informance,  informing  their  community  about   the  eco-­‐musical  and  political  aspects  of  each  song.     Taijo’s  vignette  was  inspired  by  the  writings  of  Ecomusicologist,  Mark   Pedelty  (2012,  49—54,  58).  The  field  of  ecomusicology  emerged  from  musicology   and  ethnomusicology,  and  presumes  that  understanding  the  environment  helps  us   understand  music,  and  understanding  music  helps  us  understand  the  environment.     Pedelty  (2012)  suggests,  “ecological  synthesis  is  not  just  important  for  achieving   more  sustainable  musics  but  also  for  understanding  music  more  holistically  and,   therefore,  better  understanding  what  music  is”  (12).    He  continues,  “music  contains   a  reaffirming  energy  and  the  capacity  to  reconnect  us  to  the  living  world”  (12).       Ecomusicology  may  be  gaining  acceptance  as  a  scholarly  pursuit;  and  the   summer  issue  2011  of  the  Journal  of  the  American  Musicological  Society  was  a   special  issue  dedicated  to  ecomusicology.    In  that  issue,  Allen  (2011)  described   ecomusicology  as  considering,  “the  relationships  of  music,  culture,  and  nature;  i.e.,  it   is  the  study  of  musical  and  sonic  issues,  both  textual  and  performative,  as  they  relate   to  ecology  and  the  environment”  (392).    Music  educators  informed  by  this   description  might  challenge  students  to  explore  how  music,  culture,  and  nature   relate  to  place  and  to  global  environmental  crises.    Ecomusicology  has  also  informed   our  understanding  of  place,  expanding  it  to  include  virtual  spaces  created  by  the   sonic  environments  of  music.    As  Watkins  (2011)  stated,  “Treating  music  as  a  virtual   TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 10 environment  has  the  potential  to  inform  ecomusicological  studies  of  how  music   negotiates  the  conceptual  and  material  nexus  where  nature  and  culture  meet”  (407).     Watkins  is  interested  in  how  virtual  environments  relate  to  actual  environments,   such  as  “Bedrich  Smetana’s  Ma  Vlast  (My  Country)  [and]  John  Denver’s  ‘Take  me   Home,  Country  Roads,”’  in  which  musicians  create  “narratives  of  locality”  (an  idea   she  borrows  from  Andy  Bennett)  “using  manifold  poetic  and  musical  means”  (405).         Ecomusicology  suggests  that  an  ecological  approach  to  understanding  music   has  the  ability  to  deepen  our  understanding  of  music  and  the  environment,  it  helps   us  understand  how  music,  culture  and  nature  relate,  and  can  help  us  understand   place  (virtual,  such  as  described  above,  and  their  corresponding  physical  places).     Most  people  today  are  surrounded  by  the  sounds  and  ecologies  of  popular  music  via   technology  (a  virtual  environment).    Pedelty  (2012)  writes,  “As  distant  places   become  more  familiar,  local  spaces  can  become  less  so”  (9).    I  believe  this  can   become  problematic,  and  music  educators  are  able  to  familiarize  students  with  their   local  places.    As  deep  ecology  philosophers  Bill  Devall  and  George  Sessions  (1985)   suggested,  “Our  bioregion  is  the  best  place  to  begin  cultivating  ecological   consciousness”  (21).    In  the  next  section  I  will  share  a  pedagogy  rooted  in  the  local   sounds  for  ecological  literacy.   Natural  Sounds  Inspiring  Pedagogy     Sheena’s  Vignette:    An  elementary  school  music  teacher,  “Sheena,”  takes  her   music  class  (c.  6-­‐11)  on  an  afternoon  field  trip  to  a  local  park.    Sheena  gives   students  the  task  of  listening  to  nature,  meditating,  labeling  all  of  the  sounds   they  hear  (as  nouns  and/or  adjectives),  representing  what  they  hear  through   creative  music  notation,  and  considering  how  they  might  compose  music  that   captures  natures’  expressive  potential.    Upon  returning  to  the  classroom,   Sheena  guides  her  students  to  consider  the  sounds  they  heard—natural   sounds,  human  and  industrial  sounds  affecting  the  ecology  of  their  local  park.     From  this  activity  arises  a  conversation  about  non-­‐human  life,  about  nature,   and  humankind’s  impact  on  the  ecological  health  of  this  park  and  the  global   environment.    Incorporating  sounds  of  nature,  humans,  and  industrial  things   (the  clanking  of  factories,  the  buzzing  of  power  lines,  the  honking  of  cars),  the   students  compose  music  that  expresses,  musically,  their  impression  of  the   ecology  of  their  local  park.    Finally,  considering  the  ecological  crises  faced  by   humankind,  the  students  give  their  compositions  titles,  which  are  codified   TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 11 into  themes  for  classroom  dialogue  about  ecological  issues  throughout  the   semester.       In  this  vignette,  Sheena  is  providing  an  opportunity  for  her  students  to  compose   music  by  drawing  from  the  abundance  of  musics  nature  unveils.    In  particular,  the   students  are  learning  both  how  music  is  constructed  and  why.    As  Regelski  (2004)   wrote,  “When  students  compose,  they  not  only  learn  how  music  is  put  together  but   also  why  it  is  created  in  the  first  place—that  is,  what  music  is  ‘good  for’”  (109,   emphasis  in  original).    He  points  that  “sound  becomes  ‘music’  when  it  is  organized   for  particular  human  uses,  such  as  listening,  dancing,  celebrating,  worshipping”   (112,  emphasis  in  original).    It  may  also  be  beneficial  for  music  teachers  to  take  an   ecocentric  (ecology  centered)  view  of  music:  that  these  sounds  are  organized  for   human  uses  and  for  non-­‐human  uses,  such  as  the  mating  rituals  of  birds,  and   pollination  for  plant-­‐life.    The  role,  then,  of  the  teacher  and  students  in  this  vignette   is  the  role  of  humans  as  nature’s  reflective  beings  (Berry  1999).    Such  an   understanding  does  not  lessen  the  importance  of  humans  in  nature’s  meaning-­‐ construction  process  (of  music),  but  provides  an  additional,  non-­‐anthropocentric   (non-­‐human  centered),  way  of  reflection.     Another  important  aspect  of  the  previous  vignette  is  the  rootedness  of  place   (a  local  park)  to  Sheena’s  music  pedagogy.    Her  pedagogy  begins  in,  and  is  rooted  in   place,  and  from  that  experience  with  place  her  students  create  music  that  is  inspired   by  (the  sound  ecology  in  their  community)  and  for  an  understanding  of  local  and   global  issues  through  dialogue.    As  Devall  and  Sessions  (1985)  wrote,  “Many  people   [in  environmental  groups]  cultivate  a  sense  of  place”  (31,  emphasis  in  original),  and   that  this  leads  to  ecological  consciousness.    Such  ecological  consciousness  might   lead  to  change  through  the  creation  of  coalitions,  protests,  green  politics,  spiritual   expressions,  and  questioning  technology.    Such  an  ecological  sense  of  place  can  be   cultivated,  “even  in  large  cities”  (26).    What  may  be  most  important  about  place  and   ecological  consciousness  are  the  “virtues  and  ideals  of  staying  home,  connected  to   commons;  of  caring  for  the  places  we  belong  to  and  those  that  belong  to  us”   (Prakash  &  Stuchul  2004,  62).    Returning,  then,  to  the  question,  what  might  music   TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 12 education  for  ecological  literacy  be  like?:  Place,  virtue  (such  as  Illich’s  order  and   direction  of  action  informed  by  tradition,  bounded  by  place,  and  qualified  by  choices   made  within  the  habitual  reach  of  the  actor,  and  Prakash  &  Stuchul’s  virtues  and   ideals  of  staying  home),  and  connectedness  (to  place)  should  be  essential  concerns  of   music  education  for  ecological  literacy.    But  what  type  of  knowledge  cultivates   human  sense  of  place  in  an  age  of  knowledge  as  science,  which  produces  neutral  and   therefore  placeless  and  generalizable  knowledge?         Indigenous  Knowledge     Learning  from  indigenous  knowledge  can  be  the  key  to  cultivating  a  sense  of   place  through  music  education.    Semali  and  Kincheloe  (1999)  describe  indigenous   knowledge  as,  “native  ways  of  knowing  …  [I]ndigenous  knowledge  reflects  the   dynamic  way  in  which  the  residents  of  an  area  have  come  to  understand  themselves   in  relationship  to  their  natural  environment  and  how  they  organize  that  folk   knowledge  of  the  flora  and  fauna,  cultural  beliefs,  and  history  to  enhance  their  lives”   (3).    Of  particular  importance  to  music  teachers  is  the  dynamism  (of  place,  beliefs,   and  histories)  of  indigenous  knowledge  as  a  way  of  thinking.       Educational  philosopher,  Madhu  Suri  Prakash  (1999)  contrasts  science  with   indigenous  knowledge  systems:  while  science  claims  to  be  neutral,  “neutered  from   culture  or  gender,  among  other  non-­‐universalizables”  (157),  indigenous  knowledge   systems  are  rooted  in  culture  and  gender.    “Ethnicity,  place,  soil  and  other  elements   localize,  confine  and  define  [indigenous  knowledge  systems]”  (158).    Postmodern   critiques  problematize  scientific  thinking  as  being  connected  to  power,  and  “is   revealed  in  the  rampant  destruction  of  indigenous  knowledge  systems  through  the   post-­‐WWII  project  of  global  development”  (161).    For  Prakash  ecological  literacy   beings  by,  “recognizing  the  importance  of  the  epistemologies  of  non-­‐modern  or   indigenous  peoples”  (166),  and  it  roots  knowing  to  place.    Music  education  learning   (knowing),  rooted  in  place,  then,  can  help  students  find  connections  to  culture   because  indigenous  knowledge  systems  contain  localized  understandings  that  are   TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 13 often  rooted  in  musics  of  people.    Indigenous  knowledge  systems  also  include   localized  musics  (whether  folk  songs  or  commercial  music  appropriated  for  local   uses)  that  are  rooted  in  place.     Clemente  Abrokwaa  (1999)  shared  examples  of  indigenous  music  education   in  Africa,  the  aim  of  which  is  “to  impart  socio-­‐cultural  knowledge  and  skills  to  the   young  of  the  community”  (198).    The  author  continues:  “Environmental  factors  …   greatly  influence  the  development  and  use  of  musical  instruments,  dance  forms,  and   song  texts”  (192),  and  he  continues  that  wars,  famine,  interactions  of  different   cultures,  and  colonialism  have  changed  indigenous  societies  in  Africa.    He  shared   three  environmental  songs  that  honor  the  earth  as  “Mother  Earth,”  (202)  and  seek   to  protect  the  environment  from  abuse.    With  Abrokwaa’s  writing  in  mind,  ethno-­‐ music  educators  have  an  opportunity  to  find  indigenous  songs  used  around  the   world  in  order  to  provide  music  education  students  with  an  opportunity  to  make   connections  with  the  other  (people  of  different  cultures,  races,  religions,  etc.,  who   may  have  different  ways  of  living  than  the  students)  and  begin  to  realize  global   ecological  consciousness  through  a  more  indigenous  way  of  thinking.     Describing  another  music  tradition,  Matsunobu’s  (2009)  dissertation  about   Japanese  shakuhachi,  as  a  holistic  and  organic  (which  he  connected  to  instrument   construction)  music  praxis,  can  provide  music  teachers  with  insight;  shakuhachi   practitioners  spend  time  in  nature  and  then  craft  their  instrument  from  a  piece  of   bamboo.    According  to  the  author,  shakuhachi  musical  practices  cultivate  ecological   and  spiritual  experiences  for  practitioners.    Interestingly,  historical  music  educator,   Satis  Coleman,  seems  also  to  have  made  the  connection  between  instrument  making   and  nature  (Shevock  2015).    I  believe  that  through  making  an  instrument  from   natural  materials  children  may  connect  meaningfully  to  nature.    Students  might  also   create  instruments  from  unnatural  materials,  which  might  provide  fodder  for   discussions  about  the  place  of  people  in  nature  in  ecologically  sustaining  or   potentially  corrupting  ways.    Connecting  to  nature  through  the  act  of  instrument   making  can  be  one  answer  to  the  question,  how  can  music  education  matter.    But   TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 14 does  this  mean  music  education  might  become  more  spiritual  to  develop  an  eco-­‐ literate  pedagogy?     A  Spiritual  Praxis20  for  Ecological  Literacy       To  me,  it  seems  that  a  teacher  enacting  eco-­‐literate  music  pedagogy  must  be   self-­‐reflective,  conscious  of  herself  and  her  environment  and  striving  for  greater   integration,  transcendence,  and  consciousness;  and,  in  short,  a  spiritual  person.     Educator,  author,  and  activist,  Parker  Palmer  (2003)  defines  spirituality  in  teaching   as,  “the  eternal  human  yearning  to  be  connected  with  something  larger  than  our   own  egos”  (377).21    Nature  is  larger  than  our  own  egos.    A  spiritual  praxis  for  music   education,  within  context  of  this  definition,  is  about  much  more  than  a  student’s   individual  and  artistic  feeling  about  music,  or  her  experiences  isolated  in  the   practice  room.    A  spiritual  music  education  is,  rather,  an  experience  for  teachers  and   students  with  the  self,  with  mystery,22  and  with  nature  (Shevock  2015).    Thomas   Berry  (1999)  suggests,  “We  have  silenced  too  many  of  those  wonderful  voices  of  the   universe  that  spoke  to  us  of  the  grand  mysteries  of  existence”  (17);  and  humans,  as   an  integral  part  of  the  living  environment,  can  be  understood  as  a  way  for  nature   (Mother  Earth23)  to  reflect  upon  herself.       Deep  ecology  provides  a  spiritual  philosophy  for  developing  bioregional   spirit  and  ecological  consciousness.    Devall  and  Sessions  (1985)  described  deep   ecology  as:   Emerging  as  a  way  of  developing  a  new  balance  and  harmony  between   individuals,  communities  and  all  of  Nature.    It  can  potentially  satisfy  our   deepest  yearnings:  faith  and  trust  in  our  most  basic  intuitions;  courage  to   take  direct  action;  joyous  confidence  to  dance  with  the  sensuous  harmonies   discovered  through  spontaneous,  playful  intercourse  with  the  rhythms  of  our   bodies,  the  rhythms  of  flowing  water,  changes  in  the  weather  and  seasons,   and  the  overall  processes  of  life  on  Earth.  (7)   This  description  of  deep  ecology  seems  to  demand  expression  in  music  education   pedagogy.    Sheena’s  vignette  can  be  modified  to  be  for  this  spiritual  experience,  as   TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 15 teachers  and  students  focus  on  creative  responses  and  dialogue  about  the  rhythms   of  human  and  non-­‐human  life.     Devall  and  Sessions  (1985)  recommend,  relevant  to  music  teachers,  that  we   enact  “earth  bonding  rituals,  celebrating  specific  places”  (27).    These  rituals,   according  to  the  authors,  purify  the  location  by  providing  an  outlet  for  our  emotions,   fears,  joys,  and  focusing  our  actions.    Inspired  by  deep  ecology,  after  Sheena  uses  the   students’  compositions  to  facilitate  dialogue  about  global  ecological  issues,  her  class   might  choose  to  enact  an  earth  bonding  ritual  at  their  local  park  through  musical   performance  for  the  local  community.    Such  a  ritual  has  the  opportunity  to  help   people  “recover  an  integral  relation  with  the  universe,  the  planet  Earth,  and  the   North  American  continent”  (Berry  1999,  16).    Musical  ritual,  embedded  within  a   spiritual  praxis  for  music  education,  can  enable  people  to  reconnect  to  the   ecosystem,  its  seasons,  its  non-­‐human  life,  and  soil.     Upton’s  Vignette:    Upton  teaches  middle  school  (c.  12-­‐14)  wind  band,  which   is  rehearsing  Michael  Oare’s  Jefferson  Forest  Sketches.    Upton  has  the  students   study  the  composition  description  on  the  J.  W.  Pepper  website   (http://www.jwpepper.com/10460930.item#.VaMejUt6McI),  “This   programmatic  work  depicts  the  beauty  and  grandeur  of  the  Jefferson   National  Forest.”    The  students  are  directed  to  discuss  on  how  or  if  the  music   evokes  the  “seemingly  endless  expanse  of  wilderness.”    Employing  deep   ecological  questioning  (see  Clark  2014,  160),  Upton  asks  the  students:    What   is  wilderness?    What  is  a  wild  animal?    Are  you  a  wild  animal?    What  does  it   mean  to  be  wild  vs.  domesticated?    The  students  then  are  assigned  homework,   to  explore  the  USDA  Forest  Service  webpage  to  identify  how  much  of  the   forest  is  “wilderness”  and  how  “wilderness”  is  defined  in  this  context   (http://www.fs.usda.gov/main/gwj/about-­‐forest).    This  leads  to   conversations  about  the  impact  of  even  small  groups  of  people,  even  without   “motorized  equipment  and  mechanical  transport,”  as  well  to  the  health  of  the   eco  system  without  its  traditional  large  predators.    Jefferson  Forest  Sketches   provides  a  springboard  for  deeper  understanding  of  the  bioregion  leading   toward  ecological  literacy.     Conclusion   I  begin  this  conclusion  with  hope.    It  is  my  hope  that,  in  ten  years,  the  vision   shared  in  this  paper  will  seem  somewhat  antiquated.    I  hope  it  inspires  music   educators  to  share  the  eco-­‐literate  music  work  they  already  do,  and  further  imagine   TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 16 a  future  focus  on  eco-­‐literate  music  pedagogy.    In  other  words,  I  hope  putting  this   theory  of  ecological  literacy  into  practice  in  music  education  results  in  new  practice   contributing  to  theory.    As  such  this  discussion  has  provided  music  teachers  with   plausible  and  comprehensible  theory  in  ecological  literacy,  and  deep  ecology,  and   opened  possibilities  for  considering  and  practicing  eco-­‐literate  music  pedagogy.     Music  education  has  the  potential  to  provide  meaningful  insight  into  ecological   crises  facing  the  world,  especially  through  sonic  experience  and  ritualization  (such   as  Devall  &  Sessions’s  earth  bonding  rituals)  of  ecological  experiences.       According  to  Bowman  and  Frega  (2012):  “Philosophical  inquiry  does  not  so   much  solve  problems  as  transform  them  into  other  problems,  problems  that  are   more  compelling,  more  relevant  to  practice,  richer  in  implication  for  action”  (34-­‐35).     Each  section  of  this  current  paper  offered  new  questions  that  were  rich  in   implication  for  action.    Further  this  paper  presents  a  challenge  for  music  education.     Ecological  literacy  requires  the  development  of  ecological  consciousness;  and  as,   through  music  and  other  means,  students  connect  to  local  spaces  and  become  aware   of  global  issues,  the  ecological  crises  can  be  addressed  (Orr  1992).    Nature  has  an   inherently  musical  aspect  that  can  be  explored  in  music  classrooms,  and,  if  music   education  will  matter  to  future  generations  of  humans  on  our  planet,  music  will   need  to  help  us  understand  the  nature  of  the  environmental  crises  and  lead  us   toward  sustainable  living:     We  need  to  see  the  Earth  in  its  sequence  of  transformations  as  so  many   movements  in  a  musical  composition.    The  sequence  of  events  that  emerge  in   time  needs  to  be  understood  simultaneously,  as  in  music:  the  earlier  notes   are  gone  when  the  later  notes  are  played,  but  the  musical  phrase,  indeed  the   entire  symphony,  needs  to  be  heard  simultaneously  …  Each  new  theme  alters   the  meaning  of  the  earlier  themes  and  the  entire  composition.    The  opening   theme  resonates  throughout  all  the  later  parts  of  the  piece.  (Berry  1999,  27)   In  response  to  this  paper’s  title,  as  an  important  possibility,  music  education  can   play  an  essential  role  in  helping  humanity  develop  ecological  consciousness.       A  Connecting  Venture:    This  paper  was  guided  by  the  question:  What  might  music   education  for  ecological  literacy  be  like?    Music  education  for  ecological  literacy   TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 17 should  be  a  connecting  venture  that  has  the  opportunity  to  deepen  students’   understanding  of  the  environment  and  of  music.    It  requires  music  teachers  and   students  enacting  an  eco-­‐literate  praxis  by:     (1)  Connecting  to  local  places.   (2)  Experiencing  music  and  nature  in  connected,  meaningful,  and  ethical   ways.   (3)  Developing  ecological  consciousness  by  ritualizing  and  creating  music   rooted  in  soil.   (4)  Connecting  to  the  planet  more  broadly  by  connecting  local   understandings  to  global  ecological  crises.   This  is  the  essence  of  music  education  cultivating  ecological  literacy.       At  the  beginning  of  the  paper  a  curiosity  arose:  facing  global  ecological  crises,   can  music  education  matter?    Illich  (1990)  tells  us,  “We  are  torn  from  the  bonds  of   soil  …  the  economy  into  which  we  have  been  absorbed  …  transforms  people  into   interchangeable  morsels  of  population,  ruled  by  the  laws  of  scarcity.”    For  music   education  to  matter,  that  is,  for  our  field  to  be  truly  viable  and  transformative  in  an   age  of  ecological  crises,  it  needs  to  reconnect  (sonically,  textually,  and  spiritually)   people  with  the  soil.         This  current  paper  has  limitations.    Because  of  the  broad  approach  taken  to   explicating  eco-­‐literate  music  pedagogy,  many  of  the  ideas  explored  need  to  be  more   deeply  theorized.    A  deeper  exploration  of  R.  Murray  Schafer’s  Soundscape  and  its   implications  for  eco-­‐literate  music  pedagogy—specifically  in  relation  to  the   cultivation  of  ecological  consciousness—is  particularly  needed.    To  accomplish  this,   the  valuing  system  of  The  Soundscape  needs  to  be  understood:  Is  The  Soundscape  for   the  benefit  of  humans  only?    Or  does  the  musicing  of  birds  (such  as  expressed  in   Messiaen’s  birdsong  transcriptions),  whales  (e.g.  Hovhaness’s  And  God  Created  Great   Whales),  and  canyons  (e.g.  Grofé’s  Grand  Canyon  Suite)  have  both  human  and   intrinsic  (to  birds,  whales,  and  canyons)  value:  do  they  music  for  their  own   purposes?       TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 18 Deep  ecologist,  Arne  Naess  (1996)  asks  us  to  challenge  our  anthropocentric   (human  centered)  value  judgments  and  to  realize  the  intrinsic  values  of  non-­‐human   life.    He  continues,  “human  economic  enterprise  in  the  next  centuries  may   significantly  reduce  the  richness  and  diversity  of  life  on  the  planet  and  thereby  also   reduce  evolutionary  potential  …  social  and  political  activism  are  necessary”  (1558).       Through  the  work  music  thinkers  such  as  Morton  (2012)  and  Abrokwaa   (1999),  and  my  exploration  of  the  theories  of  ecological  literacy,  ecomusicology,   indigenous  knowledge,  spirituality,  and  deep  ecology,  I  believe  the  answer  to   whether  music  education  can  matter  is  yes!—with    a  caveat.    Our  profession  as   teachers  must  take  the  ecological  crises  seriously,  and,  consequently  should  further   explore  ecological  literacy  as  an  ends  of  meaningful  and  ecologically  relevant  music   education.    Ecomusicological  literature  suggests  that  musicians  are  making  music   for  ecological  ends,  and  David  Orr  suggests  that  for  ecological  literacy  to  become  an   effective  educational  movement  it  must  be  integrated  throughout  all  fields  in  our   educational  institutions.       Future  music  education  scholarship  might  also  further  explore  what  eco-­‐ literate  music  pedagogy  would  look  like  through  theorists  not  discussed  in  this   paper:  such  as  Wendell  Berry,  Gregory  Bateson,  or  through  Bates’s  (2011)  rural   ideals.    The  ecofeminism  of  Vendana  Shiva  has  also  been  influential  in  educational   philosophy,  but  was  not  explored  here.    Wherever  music  educators  are  not  generally   dictated  to  by  the  tyranny  of  standardized  tests,  music  education  has  the  space  to  be   a  meaningful  place  for  ecological  literacy  to  take  hold  in  schooling  institutions,   cultivating  in  our  students  ecological  consciousness,  and  enacting  change  in  and  for   the  sake  of  nature  and  our  future.             TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 19 References   Abrokwaa,  Clemente  K.  1999.  Indigenous  music  education  in  Africa.  In  What  is   indigenous  knowledge:  Voices  from  the  academy,  ed.  Semali  &  Kincheloe.   191-­‐207.  New  York:  Falmer  Press.   Allen,  Aaron  S.  2011.  Ecomusicology:  Ecocriticism  and  musicology.  Journal  of  the   American  Musicological  Society,  64(2):  391-­‐394.     Bates,  Vincent.  2011.  Sustainable  school  music  for  poor,  white,  rural  students.   Action,  Criticism  &  Theory  for  Music  Education,  10(2):  100-­‐127.     ___.  2013.  Drawing  from  rural  ideals  for  sustainable  school  music.  Action,  Criticism,   and  Theory  for  Music  Education,  12(1):  24-­‐46.     Berry,  Thomas,  1995.  The  viable  human.  In  Deep  ecology  for  the  21st  century:   Readings  on  the  philosophy  and  practice  of  the  new  environmentalism,  ed.   Sessions.  8-­‐18.  Boston:  Shambhala  Publications.     ___.  1999.  The  great  work:  Our  way  into  the  future.  New  York:  Bell  Tower.     Bowman,  Wayne.  2007.  Who  is  the  we?  Rethinking  professionalism  in  music   education.  Action,  Criticism,  and  Theory  for  Music  Education,  6(4),  109-­‐131.     Bowman,  Wayne  &  Frega,  Lucía.  2012.  What  should  the  music  education  profession   expect  of  philosophy?  The  Oxford  Handbook  of  Philosophy  in  Music   Education,  ed.  Bowman  &  Frega.  17-­‐36.  Oxford:  Oxford  University  Press.   Bresler,  Liora.  1995.  The  subservient,  co-­‐equal,  affective,  and  social  integration   styles  and  their  implications  for  the  arts.  Arts  Education  Policy  Review,   96(5),  31-­‐37.     Clark,  John  P.  2014.  What  is  living  in  deep  ecology?  The  Trumpeter,  30(2):  157-­‐183.     Devall,  Bill,  &  Sessions,  George.  1985.  Deep  ecology:  Living  as  if  nature  mattered.   Layton:  Gibbs  M.  Smith,  Inc.     Elliott,  David  J.  &  Silverman,  Marissa.  2015.  Music  matters:  A  new  philosophy  for   music  education,  Second  Edition,  New  York:  Oxford  University  Press.     Gaztambide-­‐Fernández,  Rubén  A.  2011.  Musicking  in  the  city:  Reconceptionalizing   urban  music  education  as  cultural  practice.  Action,  Criticism,  and  Theory  for   Music  Education,  10(1):  15-­‐46.   http://act.maydaygroup.org/articles/Gaztambide-­‐Fernandez10_1.pdf.     Goble,  J.  Scott.  2010.  What’s  so  important  about  music  education?.  New  York:   Routledge.     Illich,  Ivan.  1990.  Declaration  on  soil.  A  joint  statement,  drafted  in  Hebenshausen,   Germany,  December  6,  1990,  in  collaboration  with  Sigmar  Groeneveld,  Lee   Hoinacki  and  other  friends.  Online:     http://www.davidtinapple.com/illich/1990_declaraion_soil.PDF.     Jorgensen,  Estelle  R.  2010.  Editorial.  Philosophy  of  Music  Education  Review.  18(2):   107-­‐109.  http://www.jstor.org/stable/10.2979/pme.2010.18.2.107.     TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 20 Mantie,  Roger,  &  Talbot,  Brent  C.  2015.  How  can  we  change  our  habits  if  we  don’t   talk  about  them?  Action,  Criticism,  and  Theory  for  Music  Education.  14(1):   128-­‐153.     Matsunobu,  Koji.  2009.  Artful  encounters  with  nature:  Ecological  and  spiritual   dimensions  of  music  learning.  Ph.D.  diss.,  University  of  Illinois  at  Urbana-­‐ Champaign.     Morton,  Charlene  A.  2012.  Music  education  for  “all  my  relations”.  The  Oxford   Handbook  of  Philosophy  in  Music  Education,  ed.  Bowman  &  Frega.  472-­‐491.   Oxford:  Oxford  University  Press.   Naess,  Arne.  1986/2005.  The  basics  of  deep  ecology.  The  Trumpeter,  21(1):  61-­‐71.     ___.  1996.  Living  a  life  that  reflects  evolutionary  insight.  Conservation  Biology.  10(6):   1557-­‐1559.  http://www.jstor.org/stable/2387027.     Orr,  David.  1992.  Ecological  literacy:  Education  and  the  transition  to  a  postmodern   world.  Albany:  State  University  of  New  York  Press.     Palmer,  Parker  J.  2003.  Teaching  with  heart  and  soul:  Reflections  on  spirituality  in   teacher  education.  Journal  of  Teacher  Education,  54(5):  376-­‐385.     Pedelty,  Mark.  2012.  Ecomusicology:  Rock,  folk,  and  the  environment.  Philadelphia:   Temple  University  Press.     Prakash,  Madhu  Suri.  1999.  Indigenous  knowledge  systems—Ecological  literacy   through  initiation  into  people’s  science.  In  What  is  indigenous  knowledge:   Voices  from  the  academy,  ed.  Semali  &  Kincheloe.  158-­‐178.  New  York:   Falmer  Press.   Prakash,  Madhu  Suri,  &  Stuchul,  Dana.  2004.  McEducation  marginalized:  Multiverse   of  learning-­‐living  in  grassroots  commons.  Educational  Studies:  A  Journal  of   the  American  Educational  Studies  Association,  36(1):  58-­‐73.     Regelski,  Thomas  A.  2004.  Teaching  general  music  in  grades  4-­‐8:  A  musicianship   approach.  New  York:  Oxford  University  Press.     Schafer,  Murray  R.  1977/94.  The  soundscape:  Our  sonic  environment  and  the   turning  of  the  world.  Rochester:  Destiny  Books.     Semali,  Ladislaus  M.  &  Kincheloe,  Joe  L.  1999.  Introduction:  What  is  indigenous   knowledge  and  why  should  we  study  it?  In  What  is  indigenous  knowledge:   Voices  from  the  academy,  ed.  Semali  &  Kincheloe.  3-­‐57.  New  York:  Falmer   Press.   Shevock,  Daniel  J.  2015.  Satis  Coleman—A  spiritual  philosophy  for  music  education.   Music  Educators  Journal,  102(1):  56-­‐61.  DOI:  10.1177/0027432115590182.     Theobald,  Paul.  1997.  Teaching  the  commons:  Place,  pride,  and  the  renewal  of   community.  Boulder:  Westview  Press.     Watkins,  Holly  2011.  Musical  ecologies  of  place  and  placelessness.  Journal  of  the   American  Musicological  Society,  64(2):  404-­‐408.     TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 21 1  I  begin  this  paper  with  a  vignette  of  an  informal  ecological  music  learning   experience.    I  have  repeated  this  experience,  with  slight  variations,  many  times  as,  I   assume,  many  parents  of  8-­‐month-­‐olds  do.    Learning  is,  I  believe,  an  act  of   experiencing.     2  David  Orr  (1992)  labels  three  crises,  which  are  discussed  later  in  this  paper.     3  The  phrase  “music  education”  is  being  used  in  this  paper  to  describe  the   educational  field,  which  predominately  (but  not  always)  is  located  in  schools,  and   the  field  of  research  and  scholarship  institutionalized  in  journals  concerning  that   field.    It  might  also  be  called  formal  music  schooling,  when,  actually,  music  learning   may  occur  anywhere  and  does  not  always  involve  schools  or  teachers.       4  A  position  with  which  I  wholly  agree   5  I  contend  that  one  way  to  understand  if  music  “matters”  is  within  the  context  of   human  and  ecological  “viability.”    As  Berry  (1995)  wrote,  “we  need  to  provide   specific  programs  leading  toward  a  viable  human  situation  on  a  viable  planet”  (12),   and;  “Education  at  the  human  level  would  be  the  conscious  sensitizing  of  the  human   to  those  profound  communications  made  by  the  universe  about  us,  by  the  sun  and   moon  and  stars,  the  clouds  and  rain,  the  contours  of  the  earth  in  all  its  living  forms”   (15).     6  Or  as  J.  Scott  Goble  (2010)  states  the  question,  “What  is  the  societal  role  or  social   importance  of  public  school  music  education  in  the  United  States  as  a  postmodern   society?”  (249).    Similar  to  Goble’s  conception,  my  conception  of  eco-­‐literate  music   pedagogy  attempts  to  serve  communities,  “as  important  means  of   psychophysiological  and  psychosocial  equilibration  in  those  communities”  (279).     While  eco-­‐literate  music  pedagogy  has  a  societal  role  and  importance,  eco-­‐literate   music  pedagogy  has  the  opportunity  to  also  be  ecocentric,  an  idea  best  explicated  by   Naess’s  (1986/2005)  statement,  “The  flourishing  of  human  and  non-­‐human  life  on   Earth  has  inherent  value.    The  value  of  non-­‐human  life-­‐forms  is  independent  of  the   usefulness  of  the  non-­‐human  world  for  human  purposes”  (68).    The  understandings   we  (teachers  and  students)  gain  about  our  relationships  with  each  other  (about   communities  of  people)  can  also  help  us  understand  how  we  relate  to  our   environments.     7  Understood  expansively  as  the  natural  synchronization  of  the  sounds  of  non-­‐ human  life,  or  as  sonorous  patterns  humans  contribute  to  the  natural  musical   environment   8  “Ecological  consciousness”  in  this  paper  is  treated  in  the  same  way  Marx  uses  the   term  “class  consciousness,”  except  in  that  it  also  aims  to  recognize  the  inherent   solidarity  among  human,  non-­‐human  animals,  and  plant  life  on  the  earth.           9  Literacy  implies  a  broader  understanding  of  ecological  concerns  than  just   consciousness,  and  includes  a  critical  reading  of  ecological  issues  at  the  local,   regional,  and  global  levels.     10  In  this  paper,  pedagogy  is  understood  as  the  work  of  a  schoolteacher:  teaching   praxis.     TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 22 11  For  example,  when  I  taught  elementary  general  music  in  Pittsburgh,  each  Earth   Day  I  designed  a  lesson  around  gardening,  challenging  the  environmental  cost  of   shipping  food  from  distant  places;  this  lesson  began  by  singing  Dave  Mallett’s   Garden  Song.    The  music  became  the  basis  for  meaningful  conversation,  and   students  shared  their  experiences  with  backyard,  window,  and  potted  gardens.   12  This  part  includes  the  vignettes  (metaphorical  cases  showing  the  possibility  of  an   eco-­‐literate  music  pedagogy),  the  descriptions  of  music  (as  interconnected  with   environment)  in  ecomusicology,  and  Music  Education  as  indigenous  knowledge.    A   simple  search  (in  SAGE  and  JSTOR)  of  the  contents  of  our  primary  journals  shows   this  issue  has  not  been  thoroughly  considered  in  published  music  education   scholarship.       13  Coleman’s  concept,  silence  in  nature,  is  echoed  and  innovated  in  the  work  of  R.   Murray  Schafer  (1977/94),  whose  Soundscape  concepts  are  still  relevant  to  many   music  educators  today.    Just  as  Coleman  was  concerned  with  the  noise  of  the  city,   and  recommended  finding  silence  in  nature,  Schafer’s  work  is  concerned  with  noise,   “the  sounds  we  have  learned  to  ignore”  (4),  which  led  to  an  interdisciplinary   approach  to  music  education  that  involved  such  activities  as  measuring  and   recording  the  sounds  of  the  environment,  and  studying  anti-­‐noise  legislation.    The   current  pedagogy  of  eco-­‐literate  music  education  can  be  understood  as  an  extension   of  Coleman’s  and  Schafer’s  work  in  “clairaudience”  (11)  beyond  its  sonic  and   individual  spiritual  implications,  to  holistically  understand  the  impact  of  people  on   the  environment  with  the  end  being  to  enact  societal  change.       14  To  answer  this  question  I  will  provide  some  philosophical  foundation  for  eco-­‐ literate  music  pedagogy.     15  Bates  describes  this  as  human  relationships  interconnected  to  place.    In  contrast,   Morton  (2012)  uses  the  phrase  environmental  interdependence  to  describe  a  similar   concept.       16  As  per  its  mission  statement,  TOPICS  is  intended  to  be  relevant  to  “music   education  students,  school  music,  community  and  private  music  teachers,  and   professors  largely  engaged  with  preparing  undergraduate  and  master’s  level  music   education  students.”    I,  therefore,  view  approachability  as  an  important  stylistic   choice.     17  Jorgensen  (2010)  wrote  that  in  music  education  philosophy,  spirituality  could  be   viewed  “as  a  subset  of  aesthetic  experience,  a  discrete  and  separate  set  of  virtues   from  aesthetic  or  moral  virtues,  a  language  expressed  musically,  or  an  integrated   and  heightened  state  of  transcendence  and  level  of  consciousness”  (107).    In  this   paper,  spirituality  is  understood  as  separate  from  aesthetic  theory  and  reflects  best   an  integrated  and  heightened  state  of  transcendence  and  level  of  consciousness.       18  In  this  way,  Morton’s  writings  also  connect  to  this  current  paper’s  section  on   indigenous  knowledge.     19  She  echoes  Music  Education  philosopher  Wayne  Bowman.     20  Here  “praxis”  is  understood  as  teaching  “practice”  involving  reflection  and  action.     TOPICS for Music Education Praxis 2015:01 • Daniel Shevock 23 21  This  definition  seems  to  provide  an  appropriate  wall  to  separate  non-­‐spiritual  and   spiritual  activities.    Because  it  deals  with  yearning,  it  deals  with  a  person’s  intention.     Any  activity  traditionally  not  conceived  (by  humans)  as  a  spiritual  act,  such  as   walking,  musicing,  or  sexual  intercourse,  might  be  understood,  by  the  yearning   person,  as  spiritual  if  the  aim  is  to  be  connected  with  something  larger  than  one’s  ego.     Examples  might  include  the  Buddhist  practice  of  walking  meditation,  Zen  chanting,   or  Tantric  intercourse,  but  wouldn’t  necessarily  be  limited  to  those  traditions   labeled  as  spiritual  or  religious.     22  Thomas  Berry  describes  “mystery”  in  connection  to  the  complexity  of  life  on   earth.    “The  more  a  person  thinks  of  the  infinite  number  of  interrelated  activities   that  take  place  here,  the  more  mysterious  it  all  becomes”  (13).     23  Mother  Earth  is  also  used  in  Abrokwaa’s  (1999)  paper.       About  the  Author     Daniel  J.  Shevock  is  a  lecturer  in  music  at  Penn  State  Altoona.    He  taught  in  public   schools  for  twelve  years,  in  Pennsylvania  and  Maryland.    His  experience  as  an  urban   music  teacher  awakened  a  concern  for  issues  of  creativity  and  social  justice.    Dan   musics  on  the  vibraphone  and  drums,  and  is  an  ardent  reader.    His  scholarly   interests  include  confident  music  improvising  and  social  philosophy:  especially   critical  pedagogy  and  deep  ecology.    Dan  has  degrees  from  Clarion  University  of   Pennsylvania  (B.S.Ed.),  Towson  University  (M.S.),  and  the  Pennsylvania  State   University  (Ph.D.).