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On decolonising music diversity in/and higher education.

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Title: On decolonising music diversity in/and higher education.
Authors: wamwa Mwanga, Kaghondi1 (AUTHOR) emadebo@yahoo.com
Source: Music Education Research. Mar2025, Vol. 27 Issue 1, p13-24. 12p.
Subject Terms: *Higher education, Developing countries, Practicing (Music performance), Coinage, Modernity
Abstract: The practice of music diversity is colonialized. Its model is impotent to disrupt the Western canon. On the contrary, the practice has opened the door to sonic materialization and trafficking that has become indicative of the encounter between classical music and other music traditions in higher education. The Global South has become the mining area, while Western institutions "explore" indigenous music to repair the status quo. The thesis of this article is that the current Western curricular approach to music diversity is a reincarnation of the Western hegemony. I adapted a decolonial lens to examine the premises of diversity practice, questioning its model and unmasking its logic. I will interrogate the unbalanced relationship or what Quijano and Mignolo call the "matrix of power." In doing so, I introduced a conceptual tool - canonity, which is defined and examined alongside the concept of diversity. I argue that diversity represents the other side of canonity, just as coloniality and modernity/rationality are two sides of the same coin. This coinage suggests that musical canonity/diversity is indicative and constitutive of coloniality/modernity. Thus, the article calls for the decanonisation of the epistemic center, delinking from the trajectory of modernity/rationality and shifting the geography of knowledge. [ABSTRACT FROM AUTHOR]
Copyright of Music Education Research is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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  Data: On decolonising music diversity in/and higher education.
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  Data: <searchLink fieldCode="AR" term="%22wamwa+Mwanga%2C+Kaghondi%22">wamwa Mwanga, Kaghondi</searchLink><relatesTo>1</relatesTo> (AUTHOR)<i> emadebo@yahoo.com</i>
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  Data: <searchLink fieldCode="JN" term="%22Music+Education+Research%22">Music Education Research</searchLink>. Mar2025, Vol. 27 Issue 1, p13-24. 12p.
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  Data: *<searchLink fieldCode="DE" term="%22Higher+education%22">Higher education</searchLink><br /><searchLink fieldCode="DE" term="%22Developing+countries%22">Developing countries</searchLink><br /><searchLink fieldCode="DE" term="%22Practicing+%28Music+performance%29%22">Practicing (Music performance)</searchLink><br /><searchLink fieldCode="DE" term="%22Coinage%22">Coinage</searchLink><br /><searchLink fieldCode="DE" term="%22Modernity%22">Modernity</searchLink>
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  Data: The practice of music diversity is colonialized. Its model is impotent to disrupt the Western canon. On the contrary, the practice has opened the door to sonic materialization and trafficking that has become indicative of the encounter between classical music and other music traditions in higher education. The Global South has become the mining area, while Western institutions "explore" indigenous music to repair the status quo. The thesis of this article is that the current Western curricular approach to music diversity is a reincarnation of the Western hegemony. I adapted a decolonial lens to examine the premises of diversity practice, questioning its model and unmasking its logic. I will interrogate the unbalanced relationship or what Quijano and Mignolo call the "matrix of power." In doing so, I introduced a conceptual tool - canonity, which is defined and examined alongside the concept of diversity. I argue that diversity represents the other side of canonity, just as coloniality and modernity/rationality are two sides of the same coin. This coinage suggests that musical canonity/diversity is indicative and constitutive of coloniality/modernity. Thus, the article calls for the decanonisation of the epistemic center, delinking from the trajectory of modernity/rationality and shifting the geography of knowledge. [ABSTRACT FROM AUTHOR]
– Name: AbstractSuppliedCopyright
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  Data: <i>Copyright of Music Education Research is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract.</i> (Copyright applies to all Abstracts.)
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        Value: 10.1080/14613808.2024.2425850
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        Text: English
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      – SubjectFull: Practicing (Music performance)
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              Text: Mar2025
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