Many music educators speak about student-centered or learner-centered music programs, but what do these terms mean? What is a student-centered ensemble or a learner-centered music class? These resources will support you in fostering and facilitating learner-centered music programs! (Some of the resources below are affiliate links – see the affiliate policy language here if you […]
Intersections in Music Education: Implications of Universal Design for Learning, Culturally Responsive Education, and Trauma-Informed Education for P–12 Praxis
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.
Creativity through Recomposition in the Music Ensemble
Musical creativity is an essential component of a robust music education. There are many ways to invite and develop the creative capacities of K–12 music students. In this article, we propose the idea that recomposing within and around repertoire can be a creative starting point for student composition in an ensemble music classroom. We share examples of potential recomposition projects, questions to prompt student reflection, and other pedagogical considerations as a springboard for compositional projects with students. We hope that the open-ended nature of this mindset will encourage more creative musical spaces.
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...
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...
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 […]
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
Music has Meaning
The social platform for discovering music, collecting tracks, and supporting artists directly. Only verified artists post.
“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.
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.
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
REIMAGINING INCLUSIVE MUSIC EDUCATION: REFLECTIONS FROM A BLACK MUSIC EDUCATOR - ProQuest
Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.
Malleable Music Ensembles
A framework using generalized algebraic theories and categorical lenses to enable interoperable, local-first networked music ensembles.
The Community Artists' Collective | Non Profit | Houston, TX
The Community Artists' Collective is the catalyst which provides the inspirational and educational sources for artists and citizens so that they can use their talents and creative abilities to solve economic, cultural and social challenges in the natural and built environments in which we live, work
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.
The power of community learning
It's easy to imagine that some things have to be the way they've always been. That music has to be delivered on a round platter. That an overnight stay needs to be in a hotel. And that le…
