Abstract
… [T]he great force of history comes from the fact that we carry it within us, are unconsciously controlled by it in many ways, and history is literally present in all that we do. It could scarcely be otherwise, since it is to history that we owe our frames of reference, our identities, and our aspirations. — James Baldwin (1965)
Scholars of music education history are increasingly conscious of the many historical narratives missing from sources that shape our understanding of the past. There is a sense of urgency, indeed an ethical responsibility, to diversify the stories and the storytellers that weave the historical narratives we live by. To what end? Justice, and in this instance, justice sought through a more inclusive accounting of the past, one that presents a complicated and nuanced rendering of how music education evolved. In recent decades a move to expand the landscapes of music education history has gained ground, evident in studies on the contributions of women music educators, music in institutions for children and youth with special needs, and music education in the context of oppressed persons and groups whose stories were seldom recorded and documented.
This Special Issue of JHRME is dedicated to placing African American music education history permanently at the center of the history of American music education. Its publication coincides with the 50th anniversary of the founding of the National Black Music Caucus—a collective effort instituted in 1972 by African American music educators to claim a space for their voices in the profession. Giving voice to stories of African Americans represents a moment of uplift and dignity toward parity of esteem and as such, a time of reckoning with the past. It also highlights the power of historical research in illuminating the present, captured so well in the words of James Baldwin that open the Editorial.
The creation and production of the Special Issue was made possible by a team of dedicated scholars. I offer deepfelt thanks to Guest Editor, Marvelene Moore, for the deep insight, rich personal stories, and meticulous editing she offered generously throughout the journey. A special word of appreciation to members of the advisory and editorial committee—Rosita Sands, Paul Sanders, and Alan Spurgeon—for their careful consideration of manuscripts, expert knowledge, and ongoing support. Several members of the JHRME Editorial Committee, as well as external reviewers, provided invaluable responses to individual manuscripts. Our thanks also to doctoral students at the University of Michigan who assisted with copy editing during production. Finally, a collective thank you to the authors of the articles for their important role in advancing scholarship on African American music education history.