Subjectivity and identity are newly configured within cyberspace and technologically mediated environments. The global musical subject is thus defined and framed within global empires and techno‐culture in ways not unrelated to political interests. ‘Being musical’ becomes a critical issue. The New Zealand music curriculum resonates with reflections of global ‘progress’, and music educators, as cultural workers, therefore require an awareness of political and strategic conceptions of musical knowledge as well as a familiarity with the discourses through which the work of (...) music education is enframed. Where technology enters hegemonic discourses of musical knowledge, the relationship between global communication and technology requires interrogation, and unquestioned past and present curriculum ‘certainties’ come under scrutiny. (shrink)