CAROL FRIERSON-CAMPBELL & LUBNA TAHA
Carol Frierson-Campbell teaches undergraduate and graduate courses in instrumental music education and research and coordinates the music education
program at William Paterson University. Her scholarly interests include music education in marginalized communities, instrumental music education, and research pedagogy. Previous projects include the co-authored textbook Inquiry in Music Education: Concepts and Methods for the Beginning Researcher (with Hildegard Froehlich), the edited 2-volume Teaching Music in the Urban Classroom, and articles in Music Education Research and Arts Education Policy Review. During the 2015-2016 school year she served as Scholar in Residence at the Edward Said National Conservatory of Music in the occupied Palestinian Territories. Dr. F-C (as her students know her) also directs the Music After School project, providing music enrichment for children in Paterson, New Jersey. |
Lubna Taha was born and raised in Hebron, Palestine. She graduated from Birzeit University with a degree in English Language and Literature and a minor in sociology. In addition to literature, she studied classical music and cello playing in Edward Said National Conservatory of Music. After graduation, she worked as a translator for several cultural and international organizations. Now she is working to finish her master’s degree in Cultural Studies at Queens
University. |
Curriculum Counterpoints: Diverse Voices on Conservatory Music Education in Occupied Palestine
Action Ideal VII commits the MayDay Group to “engaging in a discussion which reframes all
musical learning…as a lived and diverse set of practices that encourages practitioners to be
critically reflexive towards concepts of music pedagogy and curriculum as well as those
practices represented in local, national, and global paradigms in education” (2012). This paper
presents one such discussion: interpretations of curriculum via the Palestine Music Academy.
Borrowing from Said (1994) and Hess (2016), we use a contrapuntal methodology to “take into
account all sorts of spatial or geographical and rhetorical practices” (Said, 1994, p. 318)
regarding various curricular roles.
musical learning…as a lived and diverse set of practices that encourages practitioners to be
critically reflexive towards concepts of music pedagogy and curriculum as well as those
practices represented in local, national, and global paradigms in education” (2012). This paper
presents one such discussion: interpretations of curriculum via the Palestine Music Academy.
Borrowing from Said (1994) and Hess (2016), we use a contrapuntal methodology to “take into
account all sorts of spatial or geographical and rhetorical practices” (Said, 1994, p. 318)
regarding various curricular roles.