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Between 2007 and 2017, El Sistema -- Venezuela's national system of youth orchestras -- enjoyed a seemingly unexplainable meteoric rise, followed by an equally spectacular sunset. Although it would be easy to dismiss this Sistema decade as being no more than a peculiar aberration of music education history, I assert that El Sistema more accurately represents a poignant return -- or ritornello -- to one of the recurring rationales for music education, namely social activism. By situating this brief but notable decade of Sistema enthusiasm amidst a wider historical context of Venetian Ospedali, British Brass Bands, and American Settlement Music Houses, I highlight and critique the use of social activism as a rationale for music education. Ultimately, I argue that the societal importance claimed by El Sistema and derivative music education initiatives is not tenable, especially in consideration of the unremarkable legacies of similar socio-musical endeavours. I also argue that a stronger socio-musical lens would be advantageous for the field of music education to adopt. Thus, in addition to establishing a centuries-long pattern of socio-musical ritornellos, the purpose of this paper is to use a rise-and-fall dialectic to further explore the complexity of music education and its capacity for directly addressing society's inequities.

The purpose of this article is to revisit the biomechanical concepts of Paul Rolland's scholarship on bowing to provide a new framework of Rolland's underlying bowing principles. First, we discuss how whole body movements help facilitate natural bowing, which can generate better tone efficiently from freedom of movement. Second, we attend to the movements of the bow arm, which can be conceptualized as the natural rotation of the arm. Third, we comment upon the concept of balance, concerning bow hold, leverage, and bow pressure while discussing the particulars of finger placement, its function in bowing, and balance and leverage in the bow arm. The concepts of whole body, movement, and balance should be considered in variable conditions considering the relationship between body parts and the whole. Also, the three biomechanical concepts are not independent or self-sufficient but correlated ideas. Not only do these ideas help with the acquisition of technical skills, but they also pave the way for a pleasing and natural tone quality as well as enhanced musical expression. [ABSTRACT FROM AUTHOR]

Drawing upon autoethnographic experience as a music educator, I make the assertion that transformative learning is particularly amplified in locations where a person encounters the unfamiliar, for those are often the precise places where an individual's habitus no longer holds efficacy. To build this argument, I propose that when inner consciousness intersects with place-shaping processes, transformative learning takes place in a connected, compassionate, and creative manner. I infuse this framework with Pierre Bourdieu's work on habitus, in which he suggests that inner consciousness shapes, and is shaped by, a person's social encounters. Thus, in this lived aesthetic inquiry, I propose that transformative learning has substantial intersectionality with socially constructed understandings of place. [ABSTRACT FROM AUTHOR]