Boundary traveling with model minoritized shackles in a common language of music: a concerto for the East-Asian American female musicians in the U.S. higher education

Abstract

Boundary Traveling with Model Minoritized Shackles in a Common Language of Music: A Concerto for the East-Asian American Female Musicians in the U.S. Higher Education is written in a style of a music score. Presented in the form of a concerto that created spaces for a dialectical dialogue between the Soloist and the Orchestra. The two parties sometimes complement each other and sometimes contradict each other. The score is composed of four movements. The first movement of the Concerto mainly focuses on the social and cultural backgrounds of this project, and related literature review such as Model Minoritized ideology, social dominant discourses, and intertextual situations that complicates topics including race, gender, and the field of classical music. The second movement emphasizes the theoretical framework and methodological thinking of this concerto. Under the framework of travel theory and boundary objects theory, I have proposed boundary-traveling rumination theory in this section. In addition, building on Sarah Lawrence-Lightfoots portraiture method, this concerto is based on Componere, a method I proposed that involves the rumination based interactions among composers and travelers. The third and the fourth movement tell stories of each featured musicians and reflect on the questions that guide the entire performance.