To increase equity in music education, teachers can strive to know each student as a whole child, proactively remove barriers to learning, and seek to honor students’ multifaceted and intersectional identities. In this article, we first define intersectionality and examine demographics in music education. Then, we summarize three asset-based pedagogical approaches (Universal Design for Learning, Culturally Responsive Education, and Trauma-Informed Education) and synthesize their similarities. Finally, we present implications in the form of generative ideas for music educator praxis, or values-guided action. We hope our suggestions help music educators create music experiences where students (and families) feel seen, safe, welcomed, and valued as musicians and people. We also hope our suggestions can contribute to music teacher collegiality and collaboration by providing educators with tools to develop positive relationships with colleagues who are different from themselves.
Toward an Anti-Racist Music Education: A Critical Pedagogy of Popular Music Teacher Education
In this article, we propose a framework for a critical pedagogy of popular music for teacher education to better prepare music teachers to enact anti-racist praxis within their classrooms. Although a growing body of literature in music education addresses issues of racism within the field, fewer scholars have studied this within teacher education. Drawing from critical pedagogy, our framework centers popular music as a means for music teacher educators to interrogate issues of identity and power and (re)contextualize pedagogy, considering the socio-political contexts and communities from which music practices originate. These processes facilitate reflection on how racisms shape taken-for-granted practices within music education by centering the socio-political contexts of popular music. Through our framework, music teacher educators could prompt pre-service music educators to consider the multiple racialized epistemologies of musical value students and teachers bring to the classroom, working toward the possibility of enacting a multicentric approach to music education.
“I Made Myself Fit In”: Johny’s Story
The purpose of this narrative inquiry was to re-story the experiences of a first-year music teacher with regard to race and class. Johny was a first-year high school guitar teacher in the southwestern United States who identified as Hispanic and was raised in a family with a lower income. He was also a first-generation college student whose path to university study was atypical because of his major instrument, musical background, little high school music class participation, and entrance to postsecondary music study at a community college. Johny’s story is a work of critical storytelling and is interpreted through an intersectional framework. His story compels us to thoughtfully attend to curriculum, musical knowledge, equity, and how music educators can serve an increasingly diverse student population in schools of music. Issues for consideration include (a) increased support of nontraditional students, including those from marginalized populations, such as students with lower incomes, first-generation students, and community college transfer students, and (b) promoting meaningful and collaborative change across multiple areas in schools of music.
The Concept of Cultural Humility as It Relates to Instructional Practices in the General Music Classroom
A framework of cultural humility includes three main tenets: (a) commitment to lifelong, critical self-reflection; (b) recognition and mitigation of power imbalances; and (c) accountability to individuals and institutions. In this article, I aim at applying the concept of cultural humility to frame my analysis of musical diversity in music education. Through a cultural humility lens, music teachers may acknowledge their own beliefs, values, biases, and prejudices in relation to diverse musics. A commitment to lifelong introspection through self-reflection and critique may help teachers continue to investigate new ways to redress power imbalances inherent in music education, as well as build their relationships with students and communities bidirectionally.
REIMAGINING INCLUSIVE MUSIC EDUCATION: REFLECTIONS FROM A BLACK MUSIC EDUCATOR - ProQuest
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Music educators’ perceptions of divisive concepts laws
Since the inception of widespread public schooling in the United States, state legislatures have mandated curricular content and instructional practices to advance various social projects and visio...
Music educators’ perceptions of divisive concepts laws
Since the inception of widespread public schooling in the United States, state legislatures have mandated curricular content and instructional practices to advance various social projects and visio...
Rethinking the Large Ensemble Paradigm: Moving Toward Epistemic Justice
In this paper, I center the epistemic dimensions of musics and musicking to consider the ways in which the band/orchestra/choir paradigm of music education prevalent in the U.S. and Canada may be implicated in epistemic injustice. Drawing in particular on the work of Fricker (Epistemic injustice: power and the ethics of knowing, Oxford University Press, New York, 2007), Dotson (Hypatia 26(2):236–257, 2011), and The Routledge Handbook of Epistemic Injustice (Kidd et al., The Routledge handbook of epistemic injustice, Routledge, New York, 2017), I explore facets of epistemic injustice and apply these ideas to music education school contexts in Canada and the U.S. I further explore aspects of school music that may amount to “testimonial smothering” (Dotson 2011) and “cognitive imperialism” (Battiste in Can J Native Educ 22:16–27, 1998). Ultimately, building on existing literature on epistemic justice (Kidd et al. 2017; Fricker 2007), I theorize an epistemically just music education for school music in alignment with culturally responsive, anti-racist, and anti-colonial teaching.
Global mindset and music education: a comparison of curriculum documents in the United States and Spain
Over the past several decades, educational policymakers around the world have made changes based on three competencies they believe students will need to be successful in an increasingly globalized...
Where is <i>Mi Gente</i> ? Codeswitching (Afro)Latinidad in the music classroom
Musical codeswitching (CS) entails mixing musical ideas and genres. The term CS originated in linguistics, based on language alternations attested in bilinguals. Switches in sociocultural behaviors also now receive scholarly attention as CS. The current multiple case study explores CS domains (music, language, and behavior) in the context of music education programs, where CS remains under-researched. This study also fills a gap by examining historically underrepresented individuals’ (HURIs) participation in music education. Here, a CS-based account provides a deeper understanding of the complex sociocultural capital, linguistic resources and lived experiences that HURIs navigate. As part of an interpretive qualitative study design, semi-structured interviews were carried out with a HURI subpopulation (bilingual, [Afro]Latina/o/x faculty, and students) in music education. Findings show participants perceive CS to be mandatory for accessing dominant U.S. music school culture. Additional findings reveal HURIs must master CS in musical, linguistic, and behavioral domains to avoid negative outcomes, yet sustained multi-CS scenarios may have psychological and even physical costs. Insights from CS are thus critical for pinpointing institutional barriers to greater HURI involvement in music education.
Black Music, White Halls: Toward a Black American Music Curriculum – ACT
Published in Action, Criticism, and Theory for Music Education 25 (1): 52–76 [pdf]. https://doi.org/10.22176/act25.1.52
Divining an Afrofuturist Music Education – ACT
Published in Action, Criticism, and Theory for Music Education 22 (4): 131–58. [pdf] https://doi.org/10.22176/act22.4.131
“Denying America”: Vivian's Counterstory of Undocumented Status
Abstract. This article provides a counterstory of a formerly undocumented Latina student's experiences navigating school and music education in the United States. Using tenets of undocumented critical theory (UndocuCrit) and counter-storytelling, I share Vivian's journey through secondary and postsecondary education as she encountered systemic barriers in pursuit of a career in music education. Vivian's narrative revealed institutional hindrances that disrupted access to music education at both secondary and postsecondary levels. Notably, shifting policies, misinformation, limited access to funding, and issues with immigration documents interfered with Vivian's aspirations of becoming a certified, full-time music educator. Unwavering familial support and legal assistance from a skilled attorney aided her pursuit of higher education. Eventually, Vivian fashioned a new path in a different field of study and now uses her experiential knowledge to assist others who are undocumented. Possibilities for working with undocumented immigrant students and families are discussed in light of fluid immigration policies and the ongoing sociopolitical climate.
“Walking on eggshells”: music educator perceptions of agency in times of surveillance and divisive concept laws
Legislation in the United States has increasingly led to limitations on what and how educators are able to teach in the classroom. These measures, often deemed divisive concept laws, can lead to a ...
Artificial Intelligence in Music Classrooms: PK-12 Educators’ Practices, Concerns, and Confidence
Abstract In this descriptive survey study, we explore PK-12 music educators’ perceptions of AI, their current practices, confidence, concerns, and the types of support they need to utilize AI within their music programs. Fifty-four music educators from elementary, middle, and high school settings in Indiana completed an online survey. Quantitative survey responses such as demographic […]
Toward a Theory of Culturally Relevant Pedagogy
In the midst of discussions about improving education, teacher education, equity, and diversity, little has been done to make pedagogy a central area of investigation. This article attempts to challenge notions about the intersection of culture and teaching that rely solely on microanalytic or macroanalytic perspectives. Rather, the article attempts to build on the work done in both of these areas and proposes a culturally relevant theory of education. By raising questions about the location of the researcher in pedagogical research, the article attempts to explicate the theoretical framework of the author in the nexus of collaborative and reflexive research. The pedagogical practices of eight exemplary teachers of African-American students serve as the investigative “site.” Their practices and reflections on those practices provide a way to define and recognize culturally relevant pedagogy.
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