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Complete breakdown of my 90-day Spanish challenge: constraints, tools, timeline, and final 30-minute conversation result.

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Online Spanish Classes San Diego | Culture & Language Center

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By Devine Lu Linvega

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...

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Saiba quanto custa o valor total dos seus streamings favoritos de filmes, esportes e música

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.

Susie Ibarra: Hybrid Culture - New Music USA

Susie Ibarra's collaborative approach has informed her work with jazz, classical, indie rock, and traditional Philippine musicians.

Mino Music — ATProto Composer

“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.

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

devine lu linvega

By Devine Lu Linvega

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