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Why “ideology” is still relevant to music education theory

Abstract

We must guard against throwing out the baby with the bath-water. In the wake of postmodernist disdain for 'monolithic' theory-building, and rising awareness of the complexity, fluidity and multifariousness of social groups and the relations cutting across them, the concept of ideology became unfashionable at the end of the twentieth century. It was somewhat dismissed as a crude and inflexible way of explaining only a one-dimensional powerrelation between social classes, incapable of accounting for the variety of relationships, perspectives and social groupings that mark the contemporary world. In this article I examine the concept of ideology with specific reference to music, and attempt to show some ways in which the concept continues to be relevant to our understanding of the construction of musical value. I suggest how ideologies of musical value are perpetuated through the education system, and how this perpetuation is also tied up with the reproduction of social groups, not merely despite but partly as a result of the recent incorporation of a variety of musical styles into the curriculum. 1