Journal of Artistic and Creative Education ISSN 1832 0465 © University of Melbourne 2009 Volume 2, Number 2 2 Goble, J.S. (2008) “Local” musics in music education: Current curricular limitations and future possibilities Page 75 “Local” musics in Canadian and United States music education: Current curricular limitations and future possibilities J. Scott Goble University of British Columbia Author’s biography J. Scott Goble is Associate Professor of Music Education at the University of British Columbia in Vancouver, Canada. His research focuses on topics in history and philosophy of music education, music cognition and semiotics, and music and social issues. Also a specialist in vocal and choral music, he has conducted choirs and orchestras in professional, community, and educational contexts throughout North America. scott.goble@ubc.ca Abstract Many individuals now living in industrialized societies experience music primarily as entertainment via radio, television, and computer media. Yet for persons living in many “local” communities, engagement in community- particular forms of music is experienced as a vital means of cultural validation and change. Some indigenous peoples, those for whom musical engagement is an integral aspect of community life, have long recognized this social efficacy of music. Major policy documents on music education in North America, specifically the National Standards for Arts Education (1994) in the United States and the Music Integrated Resource Packages for Grades 11 and 12 (1997, 2002) in British Columbia, Canada, allow for study of the musical practices of local or indigenous peoples. They do not, however, address the social efficacy and importance of musical engagement in their communities. Modifying music education curricula in North American schools to introduce students first to the effects of different communities’ musical engagement in their local areas, and then expanding the scope to include varieties of musical engagement undertaken by people in other places, would enable students to recognize the efficacy of different musical traditions in their local communities and, gradually, to grasp the human significance of musical engagement worldwide.