Basil Bernstein’s Theory of the Pedagogic Device Applied to Curriculum Construction in Music Education: From the Macro- to a Microview of Instructional Practices

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Presented at the Sixth International Symposium on the Sociology of Music Education. This paper explains Basil Bernstein's theories of linguistic codes and pedagogic device, and is based on the premise that both the U.K. and the U.S. experience a cultural inversion.

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21 p.

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Wright, Ruth & Froehlich, Hildegard July 2009.

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This paper is part of the collection entitled: International Symposium on the Sociology of Music Education (ISSME) and was provided by the UNT College of Music to the UNT Digital Library, a digital repository hosted by the UNT Libraries. It has been viewed 1366 times, with 19 in the last month. More information about this paper can be viewed below.

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Presented at the Sixth International Symposium on the Sociology of Music Education. This paper explains Basil Bernstein's theories of linguistic codes and pedagogic device, and is based on the premise that both the U.K. and the U.S. experience a cultural inversion.

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21 p.

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Abstract: In continuation of 2 papers by Froehlich and Johnson (2008) and Wright (2008) on
the application of Basil Bernstein’s work to school music practices in the United
Kingdom and the United States, this paper explains Bernstein’s theories of linguistic
codes and pedagogic device. The paper is based on the premise that both the U.K. and
the U.S. experience a cultural inversion because those holding economic and cultural
capital seem no longer advocates of high or elite culture nor particularly interested in
buying into this form of cultural capital through arts education for their children.
Because the phenomenon of cultural inversion can be explained by Bourdieu’s
constructs of field and habitus, both also featured in Bernstein’s later work, a brief
review of field and habitus connects to Bernstein’s analysis of the relationships of
educational fields to the field of power in compulsory school settings. Those
relationships are described as codes of conduct (including instructional language,
repertoire choice, and other pertinent pedagogic choices) that derive from linguistic
practices and the recontextualization of knowledge for purposes of schooling. The
rules of such recontextualization (distributive, recontexutalizing, and evaluative) may
serve as useful analytic tools for music educators wishing to become agents for social
change.

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  • International Symposium on the Sociology of Music Education, July 5-9, 2009. Limerick, Ireland.

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  • Publication Title: Proceedings of the Sixth International Symposium on the Sociology of Music Education

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International Symposium on the Sociology of Music Education (ISSME)

This biennial symposium draws together music education academics from around the world to discuss issues, practices, and perspectives focusing on connecting music learning and other music experiences with the lives, values, identities, and communities of those involved. Included in the collection are papers from the symposium.

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  • July 2009

Added to The UNT Digital Library

  • Nov. 28, 2018, 5:21 p.m.

Description Last Updated

  • Feb. 13, 2019, 3:24 p.m.

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Wright, Ruth & Froehlich, Hildegard. Basil Bernstein’s Theory of the Pedagogic Device Applied to Curriculum Construction in Music Education: From the Macro- to a Microview of Instructional Practices, paper, July 2009; Dublin, Ireland. (https://digital.library.unt.edu/ark:/67531/metadc1390612/: accessed May 24, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; crediting UNT College of Music.

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