Term of Award

Spring 2015

Degree Name

Doctor of Education in Curriculum Studies (Ed.D.)

Document Type and Release Option

Dissertation (open access)

Copyright Statement / License for Reuse

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 License.

Department

Department of Curriculum, Foundations, and Reading

Committee Chair

John Weaver

Committee Member 1

Ming Fang He

Committee Member 2

Daniel Chapman

Committee Member 3

William Schubert

Committee Member 3 Email

schubert@uic.edu

Abstract

This project opens space for looking at the world in a musical way where “jamming” with music through playing and listening to it helps one resist a more standardized and dualistic way of seeing the world. Instead of having a traditional dissertation, this project is organized like a record album where each chapter is a Track that contains an original song that parallels and plays off the subject matter being discussed to make a more encompassing, multidimensional, holistic, improvisational, and critical statement as the songs and riffs move along together to tell why an arts-based musical way of being can be a choice and alternative in our lives. A riff, though a musical phrase played by a musician, is considered an idea from whoever is being cited to add to the flow of the conversation unfolding in each Track. Track 1 sets the stage for jamming as a curriculum of resistance through my personal experiences being part of “isness” and “shared intuitive headspaces” as each concept is explained. This sentiment is furthered in Track 2, which sheds light on the current state of education not making room for an arts-based musical way of seeing the world. Track 3 includes my own narrative of learning how to play guitar to show my experiences on how I came to understand isness and shared intuitive headspaces through jamming with music. Track 4 lets the professional musicians talk about their creative processes and how they are part of isness and shared intuitive headspaces when jamming through creating and playing music. Track 5 includes curriculum theorists and philosophers talking about how they see the world in musical ways. Track 6 includes researchers’ thoughts on improvisation as part of seeing the world in a musical way. Track 7 includes how amateur musicians are able to incorporate a musical way into their own lives as they bring isness and shared intuitive headspaces back home. The album ends with a Coda, which includes my thoughts on how to maintain a musical way of being in a world where dualistic thinking, certainty, and standardization are the norm.

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