| Research has addressed teacher education analyzing it through structural viewpoints (Hargreaves,1994; Ginsberg,1988; Argyris & Schon,1974), focusing on areas of identity (Connelly & Clanding,1999; Conckling, 2003; Dolloff,1999, Roberts, 1991a, 2000), as well as teachers' processes (Frierson-Campbell, 2004; Cochran-Smith and Lytle, 1999). Not nearly enough studies, however, have looked at the philosophical and systemic ways in which discourses in music education programs are constructed and legitimized; looking carefully at how their influence is manifested in curricula, as well as in determining value and relevance in preparing students to engage in the teaching profession.;This study analyzed the discourses, both perceived and enacted, by students and faculty in a music teacher preparation program and five music teachers teaching in urban schools. It proposes that pedagogy be considered through the interactions and functionings of programs not merely as determined structures presented in and upon traditionally-based notions of timing, sequence, and content, but beyond and rather, understood as interactions inside various other interactions i.e. interactions with language, with constructions of power, with engagements of voicing, with engendering of socio/cultural/economic aspects of musical concepts.;The study considers various, and often paradoxical, discourses: A "discourse of enactments," which validates discourses as rethorical and often disconnected, impervious, and leading to pedagogies of reproduction and repetition. An "enactment in discourses" that engages in the constant reflexivity of pedagogical moments. A "discourses of the real", where experience is connected to legitimized and normative parameters. As well as a "discourse of conflation" that attempts to legitimize pedagogical discourses.;The study presents the problematics of dissociate engagements that separate discourses from their enactments, presenting teaching in the absence of modeling that is referential but not enacted "in-the-moment". It proposes that the abnegation of explicit engagements with the discursive in music teacher preparation implicates a distancing from the practical, while conforming to technicist visions and making critical and divergent teaching less common. Lastly, it considers discourse and identity in teacher education framing the latter away from the notion of roles and toward teaching as an act. |
