In the words of Eric Lewis, “approaching Afrological musics from the theoretical perspective of a Western aesthetic…yields not only a lack of understanding…but can have pernicious political and social results.” In this paper, I demonstrate the relevance of this statement to the British Music classroom. In Part One, I outline the current state of the UK’s Model Music Curriculum and seek to identify its underlying ideology. Part Two offers a survey of how the universal understanding of music as a series of autonomous products generates a prescribed set of criteria for musical evaluation. By ascribing idiosyncratically European notions to our evaluation of music on a universal scale, we are left with an incomplete understanding and appreciation of music not conceived according to this ideology. Looking to the future, Part Three suggests how we might approach music in a fair and germane way via a transfer of emphasis from the musical product to the people involved in the musical process. I name this an outside-in approach to music, and consider it a universally applicable and fruitful mode of musical analysis—people are, after all, the common denominator for music-making. By beginning with the social and cultural conditions in which musicians create, students are equipped with a multiplicity of lenses through which they can better appreciate the value and beauty of musical cultures both near and far.

中文翻译：

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共同点：人类中心主义音乐教育的案例


用埃里克·刘易斯 （Eric Lewis） 的话来说，“从西方美学的理论角度来探讨非洲音乐......不仅产生缺乏理解......但可能会产生有害的政治和社会结果。在本文中，我展示了这句话与英国音乐课堂的相关性。在第一部分中，我概述了英国模范音乐课程的现状，并试图确定其潜在的意识形态。第二部分调查了对音乐作为一系列自主产品的普遍理解如何产生一套规定的音乐评估标准。通过将独特的欧洲概念归因于我们在普遍范围内对音乐的评价，我们对音乐的理解和欣赏并不完整，而这些音乐不是根据这种意识形态构思的。展望未来，第三部分提出了我们如何通过将重点从音乐产品转移到参与音乐过程的人，以公平和密切的方式对待音乐。我将其命名为由外而内的音乐方法，并认为这是一种普遍适用且富有成效的音乐分析模式——毕竟，人是音乐创作的共同点。从音乐家创作的社会和文化条件入手，学生们掌握了多种视角，通过这些视角，他们可以更好地欣赏远近音乐文化的价值和美感。