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Popular Music in the Classroom ISBN: 978-952-329-013-6 (Print) ISBN: 978-952-329-014-3 (Pdf) STUDIA MUSICA 65 (0788-3757) Censure and Censorship in an Inclusive

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Popular Music in the Classroom ISBN: 978-952-329-013-6 (Print) ISBN: 978-952-329-014-3 (Pdf) STUDIA MUSICA 65 (0788-3757) Censure and Censorship in an Inclusive Alexis Anja Kallio Alexis Navigating (un)popular music in the classroom ISBN: 978-952-329-013-6 (PRINT) ISBN: 978-952-329-014-3 (PDF) STUDIA MUSICA 65 (0788-3757) Censure and censorship in an inclusive, UNIGRAFIA democratic music education HELSINKI 2015 (un)popular music in the classroom Navigating ALEXIS ANJA KALLIO STUDIA MUSICA RESEARCH STUDY PROGRAMME MUTRI DOCTORAL SCHOOL 65 STUDIA MUSICA 65 THE SIBELIUS ACADEMY, UNIVERSITY OF THE ARTS HELSINKI 2015 Kallio_Alexis_B5_3.indd 1 8.10.2015 12.44 Navigating (un)popular music in the classroom: Censure and censorship in an inclusive, democratic music education Alexis Anja Kallio Studia Musica 65 The Sibelius Academy of the University of the Arts Helsinki Studia Musica 65 Sibelius Academy Faculty of Music Education, Jazz, and Folk Music (MuTri) Doctoral School Navigating (un)popular music in the classroom: Censure and censorship in an inclusive, democratic music education (Epä)populaarista musiikista neuvottelu koulussa: Sosiaalinen tuomitseminen ja sensuuri inklusiivisessa, tasa-arvoisessa musiikkikasvatuksessa © 2015 Alexis Anja Kallio Cover design: Steve Smid Artwork in dissertation: Mauro Italiano Layout: Alexis Anja Kallio and Kalle Kallio Printhouse: Unigrafia ISBN: 978-952-329-013-6 (print) ISBN: 978-952-329-014-3 (PDF) (ISSN 0788-3757) Then shall we thus lightly permit the children to hear any chance stories anyone chances to invent, and to take into their souls opinions for the most part contrary to those we think they ought to have when they grow up? Plato’s Republic, Book II, 377b Abstract Kallio, Alexis Anja (2015). Navigating (un)popular music in the classroom: Censure and censorship in an inclusive, democratic music education. Sibelius Academy of the University of the Arts Helsinki. Studia Musica 65. Popular music has often been promoted as an accessible, readily intelligible, engaging, authentic medium for young music students. Including a variety of popular musics in school lessons has also been regarded as a more relevant approach to teach young people, establishing a continuum between school activities, and their musical worlds beyond classroom walls. In this way, these musics have been seen as particularly democratic, in the sense that they offer all students equal opportunities to participate in a hands-on approach to music- making in the classroom. However, a number of researchers have noted that many popular musics exist in apparent contrast with the aims and values of formal education. This raises questions regarding how school music teachers decide which of these musics to include as part of, and which to exclude from, school repertoires. Moreover, if adolescents construct individual identities and social groupings in relation to, and through, music, excluding certain popular musics from the school classroom as offensive or inappropriate may send students the message that ‘your music is not welcome in school, and accordingly, neither are you’. This dissertation is a synthesizing text, drawing together and expanding upon research reported in four refereed, international journal articles. Assuming an interdisciplinary approach, this research combines the fields of music education and cultural criminology, as a means to understand the processes by which certain musics are excluded from school contexts. The social conflicts and negotiations of meaning by which certain popular musics are stigmatized, are understood as processes of social censure, that is, the social interactions and ideological negotiations that construct certain musics as problematic. In turn, judgements and assessments of musical value provide frames and constraints for teacher decisions and actions. These frames may be seen as censorship processes that simultaneously legitimize certain musics through the reinforcement of moral boundaries, and delegitimize others, deeming them inappropriate. Adopting a theoretical lens incorporating Deweyan pragmatism, cultural criminological theories of deviance and critical pedagogy, this research discusses the implications of the processes of social censure and censorship for the ideals of inclusion and democracy in schools. Designed as a multiple, instrumental case study, data was collected through semi-structured interviews with five Finnish secondary school music teachers, and through the writing and sharing of four factional stories, a methodological tool i developed during the research process. Data was approached through the analysis of narratives, emphasizing the close connections between the interview data, and emerging thematic classifications. The findings of this research suggest that in selecting popular repertoire for their students, teachers navigate what I term the school censorship frame: broad and specific social narratives that draw associations between particular musics or songs and socially constructed notions of deviance. Guided by these censorious narratives in making decisions regarding a music’s inclusion or exclusion from classroom repertoires, teachers also identified four aspects of popular music that were considered in understanding the social censure of certain musics: lyrics, imagery, mood and emotional affect. It was found that in navigating the narratives of the school censorship frame, and attending to the aspects of popular music that raised or highlighted concerns, teachers could not rely upon a stable ethical framework in classifying popular musics as prudent or problematic. Rather, each student, each music and each situation required a (re)definition of the good, entailing a situational moral deliberation. This dissertation argues that if schools are envisioned as fully participatory spaces, music classrooms are inherently diverse. Accordingly, the sometimes uncomfortable tensions and disagreements that accompany this diversity may be regarded as resources for inclusive, democratic practices in music education, rather than as a hindrance. Through recognizing, reflecting upon and engaging with the political processes of legitimation and exclusion in popular repertoire selection, new possibilities and promises are presented whereby teachers and students may learn beyond bias and assumption, engage in collaborative critical inquiry and interrogate who music education serves, when, why, how and to what ends. Keywords Censorship, Censure, Cultural criminology, Finland, Inclusion, Music education, Music teacher, Narrative Inquiry, Popular music, Repertoire, School ii Tiivistelmä Kallio, Alexis Anja (2015). (Epä)populaarista musiikista neuvottelu koulussa: Sosiaalinen tuomitseminen ja sensuuri inklusiivisessa, tasa-arvoisessa musiikkikasvatuksessa. Taideyliopiston Sibelius-Akatemia Helsinki. Studia Musica 65. Helppotajuista populaarimusiikkia on usein pidetty sopivana itseilmaisun muotona yläkoululaisille. Koulussa populaarimusiikki on nähty merkityksellisenä, sillä sen on myös ajateltu rakentavan jatkumoa koulutyön ja oppilaiden oman musiikillisen maailman välille. Musiikintunneilla populaarimusiikin asemaa on niin ikään korostettu, sillä sen on ajateltu olevan demokraattista eli tarjoavan oppilaille tasa- arvoiset mahdollisuudet käytännön musisointiin. Tutkimukset kuitenkin osoittavat, että eräät populaarimusiikin tyylit kyseenalaistavat kouluopetukseen sisältyviä arvoja ja tavoitteita. Voidaan kysyä, millaista populaarimusiikkia opettaja voi sisällyttää kouluopetukseen, ja tulisiko osa siitä sulkea pois. Jos nuoret rakentavat omaa identiteettiään ja sosiaalisia ryhmiään musiikin avulla, sopimattomana pidetyn musiikin poissulkeminen saattaa toimia negatiivisena viestinä oppilaalle: ”Sinun musiikkisi ei ole tervetullutta kouluun, ja näin ollen et ole sinäkään”. Tämä väitöstutkimus koostuu neljästä, kansainvälisessä vertaisarvioidussa lehdessä julkaistusta artikkelista sekä yhteenveto-osasta, joka kokoaa ja laajentaa artikkeleissa esitettyjä näkökulmia. Tutkimus on luonteeltaan monitieteinen, ja se yhdistää kaksi tieteenalaa, musiikkikasvatuksen tutkimuksen ja kulttuurisen kriminologian, tavoitteenaan joidenkin populaarimusiikin tyylien poissulkemisprosessien ymmärtäminen koulukontekstissa. Mekanismi, jolla musiikillisista merkityksistä neuvotellaan ja jolla osa populaarimusiikin tyyleistä saatetaan leimata sopimattomiksi, ymmärretään tässä tutkimuksessa sosiaaliseksi tuomitsemiseksi (social censure). Tämä tarkoittaa sitä, että nimenomaan sosiaalinen vuorovaikutus ja ryhmän sisäinen neuvottelu tekevät joistakin musiikinlajeista ongelmallisia, sillä juuri musiikin arvottaminen määrittää opettajan toimintaa ja päätöksentekoa rajaavat kehykset. Nämä kehykset voidaan ymmärtää sensuuriprosessina (censorship process), joka samanaikaisesti sekä oikeuttaa osan musiikintyyleistä moraalirajojen vahvistajina että kieltää muun musiikin tuomiten sen sopimattomaksi. Teoreettisesti tutkimus yhdistää John Deweyn edustamaa pragmatismia, kulttuurisen kriminologian poikkeavuusteorioita (cultural deviance theories) sekä kriittistä pedagogiikkaa. Tutkimuksessa tarkastellaan sosiaalisesta tuomitsemisesta ja sensuuriprosesseista aiheutuvia seurauksia koulun inkluusiolle ja demokratiaan liittyville ihanteille. Tutkimus edustaa monialaisen, instrumentaalisen tapaustutkimuksen iii perinnettä, ja tutkimuksen materiaali on kerätty haastattelemalla viittä suomalaista yläkoulun musiikinopettajaa. Puolistrukturoitujen haastattelujen analyysissä hyödynnettiin narratiivista menetelmää (narrative analysis). Haastattelujen pohjalta tutkija kirjoitti ensin neljä faktionaalista kertomusta (factional stories), joista keskusteltiin opettajien kanssa. Kertomuksia
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