CFP: Post-democracy and the field of Arts and Music Education
Post-democracy and the field of Arts and Music Education
(Panel of the 1st INTERNATIONAL CONFERENCE OF «SCUOLA DEMOCRATICA»)
Convenors: Clementina Casula (University of Cagliari, firstname.lastname@example.org)
Marco Santoro (University of Bologna, email@example.com)
Izabela Wagner (University of Warsaw, firstname.lastname@example.org)
Keywords: Postdemocracy; education; arts and music worlds; globalization.
Within art and music worlds, the issue of (social class, gender, racial) inequalities is often masked
by the strong legitimisation, within the field, of concepts such as ‘genius’, ‘talent’, ‘vocation’, reporting
variations in professional careers or leisure practices to a ‘natural order’ based on ex-ante
determined individual or group endowments. Research shows how education and training play a
crucial role in legitimising and reproducing such order, mirrored and reiterated within professional
and other social spheres. It also shows, however, that those processes are not socially determined
and that actors may refuse, reframe or even reverse enforced orders, contributing in so doing to
gradually redefine the formal and informal rules regulating the field where they interact.
Adopting this bidirectional view on the relation between structure and agency, the panel aims to
contribute to the discussion launched by the SD Conference, questioning if and in what ways the
field of arts and music education is torn between the antinomies defined by postdemocratics trends,
as identified by the SD Conference.
The panel welcomes paper proposals exploring with various methodological tools the ways in
which actors – at the macro-regulative, meso-organizational, or micro-level – interact with the new
threats and opportunities offered by postmodern and postdemocratic globalised societies. Food for
thought could be offered, for instance, by exploring issues such as:
• the tension created – within a field typically defined by a practical and often embodied knowledge
– from isomorphic pressures towards educational models oriented by a credentialist logic
privileging formal and standardised educational qualifications;
• the role of technological innovations and economic changes – revolutionising traditional models of
art or music-making – in the process defining creativity and the identity of professional artists and
• the mismatch between the content and modes of curricula of legitimated institutions for arts and
music education in front of the evolution of labour conditions and models of cultural production
• the persistence or change of (national, gendered, highbrow, Western, white) canons dividing and
differentiating various artistic and musical practices vis à vis the diffusion of globalised, omnivore,
degendered and hybrid approaches, looking at arts and music making as practices of negotiation and ethnic divisions, to define multiple and crossbreed identities.
B. Cathy, P. Schmidt, G. Spruce, P. Woodford (eds.)(2015),The Oxford Handbook Of Social Justice In Music Education,
Oxford: Oxford University Press.
Becker H.S. (1982), Art Worlds, LA Berkeley, London: University of California Press.
Becker H.S., Buscatto M. (eds.) (2007) Ethnographies of Artistic Work, «Qualitative Sociology Review», III (3).
Bourdieu P. (1979), La distinction. Critique sociale du jugement, Paris : Les Editions de Minuit.
Burnard P., Y. Hofvander Trulsson, J. Söderman (eds.)(2015), Bourdieu and the sociology of music education, Abindon, Ashgate.
Casula C. (2018), Diventare musicista. Indagine sociologica sui Conservatori di musica in Italia, Mantova: Universitas Studiorum.
Crouch C. (2004), Post-Democracy, Cambridge: Polity Press.
DiMaggio P. (2009), Organizzare la cultura. Imprenditoria, istituzioni e beni culturali, Bologna: Il Mulino. Dromey C., J. Haferkorn (eds.) (2018), The Classical Music Industry, New York: Routledge.
Gasperoni G., Marconi L., Santoro M. (2004) La musica e gli adolescenti: pratiche, gusti, educazione, Torino : EDT.
Green, L. (1997), Music, Gender, Education. Cambridge: Cambridge University Press.
Hennion A., F. Martinat, J.-P. Vignolle (1983), Les Conservatoires et leurs élèves, Paris : La Documentation française.
Katz S. (2008), Jouer sur les mots. Langage et apprentissage théâtral en France et en Allemagne, «Ethnologie française», 1/38, pp. 39-48.
Laillier J. (2017), Entrer dans la danse. L’Envers du Ballet de l’Opéra de Paris, Paris :CNRS Éditions.
Octobre S, F. Patureau (eds.)(2018), Sexe et genre des mondes culturels. Publics, artistes, intermédiaires, Lyon: ENS
Santoro M. (2002), What is a “cantautore”? Distinction and authorship in Italian (popular) music, «Poetics», 30, n. 1-2, pp. 111-132.
Santoro M. (2006), Musical identity and social change, «Journal of Modern Italian Studies», 3, pp. 275 -281.
Shepherd J., K. Devin (eds.)(2015), The Routledge Reader on the Sociology of Music, London: Routledge.
Wagner I. (2015), Producing Excellence. The Making of Virtuosos, New Brunswick: Rutgers University Press.
Weber W. (1992), The Rise of Musical Classics: A Study in Canon, Ritual and Ideology, Oxford: Oxford University Press.
Woodford, P. (2005), Democracy and music education: Liberalism, ethics, and the politics of practice, Bloomington:
Indiana University Press.
HOW TO SUBMIT
Abstracts should be submitted by February 28, 2019 (check Dates and Deadlines).
Abstracts should to be edited in the template form (click to download) and then submitted via the submission
Please do not submit your abstract by e-mailing it to the Convenor(s) of the track session you chose. Convenor(s) will
receive submitted abstracts automatically from the submission platform and they are going to reject all the abstracts
sent to their e-mail addresses.
Abstracts should include:
1. Title (limited to 20 words in UPPER CASE);
2. author’s name and surname, institution and email address;
3. five keywords;
4. abstract’s text (limited to 500 words).
The presenting author can submit only 1 abstract at the Conference.
You may be co-author of a second, third …n th … submitted abstract only in case you are not the submitter of this latter.
Submitters that are accepted for oral presentation will be permitted to give only 1 oral presentation.
The submitting and presenting author must be listed as the first author in the template form.
Please note the submitting author will receive all correspondence about the abstract so we advise that the submitting
author details that are entered are the same details as those of the presenting author.
• Abstracts may not be edited/updated after final submission. You are welcome to bring an updated abstract onsite with
you at the Conference.
Before you begin, please prepare the following information:
• Abstracts must be allocated to a specific track session and therefore you have to select and report track session’s code
and title in the template form. For a complete listing of track session please click here.
• Abstract layout in the template form has the following sections: Methods, outcomes, references. However, suggestions
are not obligatory. Word count is affected by inclusion of references.
• Convenors and the Scientific Committee will review all submitted abstracts. Notification regarding abstract acceptance
and scheduling will be sent to the submitting author
Conference website: http://www.scuolademocratica-conference.net
Conference e-mail: email@example.com• Please note, if your abstract is accepted for oral presentation, the presenting author will be permitted a maximum of 20
minutes oral presentation in the program.
Conference website: http://www.scuolademocratica-conference.net
Conference e-mail: firstname.lastname@example.orgCONFERENCE