Media Review: Patriotism and Nationalism in Music Education

Abstract

Hebert, David G., and Alexandra Kertz-Welzel, eds. and in Music Education. Farnham, UK: Ashgate, 2012. xviii + 183 pp. Hardcover, index. ISBN 978-1-4094-3080-3, 54 [pounds sterling]. Throughout history, patriotism and nationalism have influenced music curriculum. Patriotic music has been used as a tool to educate students on history, culture, and values of a nation. Editors Hebert and Kertz-Welzel state that purpose of this volume is to examine impact of patriotism and nationalism on music curriculum internationally (1). The book includes a foreword by Simon Keller, an introduction, and chapters by eleven authors--David G. Hebert, Alexandra Kertz-Welzel, Jane Southcott, Wai-Chung Ho, Carlos R. Abril, Ambigay Raidoo Yudkoff, Eugene Dairianathan, Chee-Hoo Lum, Amy C. Beegle, Kari K. Veblen, and Marja Heimonen--with each examining a different aspect of patriotism and nationalism in music education. In first chapter, Patriotism and Music Education: An International Overview, Hebert outlines contemporary practices and positions regarding use of patriotic content in music education (7). The author begins by questioning purpose of patriotism in music education. Examples of its use from United States and Japan imply that its presence in classroom is not to teach musical skills but rather to instill governmental pride and loyalty. Hebert then compares national anthems of several countries-- including United States, Japan, Russia, and New Zealand--and discusses each one's role in music education. Hebert concludes, While few, if any, would question legitimacy of teaching national anthems and other ceremonial repertoire, there appears to be very little philosophical support from within profession for an increased emphasis on patriotism in school music programs (18). In chapter 2, Lesson Learned? In Search of and in German Music Education Curriculum, Kertz-Welzel provides a brief history of development of Germany's national identity, Third Reich's role in growth of formal music education, and a discussion regarding Germany's national anthem, Deutschlandlied. She contends that in Germany patriotism and nationalism do not play an important role in music most likely owing to importance Hitler placed on music and nationalism. After World War II, Germans were filled with shame and regret rather than nationalistic pride because they had not resisted Socialist ideology. Today purpose of teaching students German national is not to instill a sense of patriotism but rather to inform students about history, musical form of original work ... and lyrics of anthem (35). Kertz-Welzel successfully outlines role of patriotism in German music and reveals potential negative effects that can occur when patriotic music is taught solely for political gain. Southcott begins chapter 3, Nationalism and School Music in Australia, with following statement: Nationalism is a pervasive and often unstated force in shaping educational systems. Schools exist within societies and it is part of function of a school to prepare future citizens (43). From selection of song repertoire--both British and Australian music--to celebration of ANZAC (Australian and New Zealand Army Corps) Day, Australians have deliberately promoted nationalism in their school systems. Throughout chapter, Southcott traces selection of Australia's national and discusses ways in which nationalism is promoted within school setting. In chapter 4, National Identity in Taiwanese System of Music Education, Ho examines the current debate between discourses of nationalism and associated social change that determine cultural diversity of Taiwanese music today (59). …