With the intent of informing music teacher education this study aimed to better understand American preservice music teachers' experiences with and attitudes toward different music genres. The researcher developed and administered a 17-question survey to undergraduate music education majors (N = 124) at eight American universities in the Midwest and Northeast. These music education majors had predominantly classical music performing experiences, and listening activities, and they found Western art music (e.g., classical, jazz) to be most appropriate for use in school music programs. Implications for postsecondary music education curricula and acceptance requirements of programs are offered.

Music education scholarship in the areas of popular, vernacular, and participatory musicianship has grown in the past decades; however, music education research concerned specifically with hip-hop has been relatively scarce. Because hip-hop music can differ tremendously from the traditional western genres with which many music educators are most familiar, a great need for research in this area exists. In this article, I summarize general education scholarship related to hip-hop and offer implications toward hip-hop pedagogies for music education. I employ Hill's (2009) classifications of hip-hop pedagogy (Pedagogies with hip-hop, Pedagogies about hip-hop, andPedagogies of hip-hop) as a structure to better understand previous literature and to provide a descriptive framework for potential applications of hip-hop pedagogies to music education settings. I describe Hill's categories using the labels of Hip-hop as a bridge, Hip-hop as a lens, and Hip-hop as practice.

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Considering the potential for stereotypes to shape professional expectations, the four researchers in this study investigated photographic representation of adult men and women in implied positions of authority in 50 years (1962–2011) of issues of Music Educators Journal ( MEJ). Data included every photograph ( N = 7,288) of adults conducting, teaching or presenting, or granted the authority of having their picture labeled with their name (named persons), and were analyzed by year over the 50-year period. Results showed that females composed 28% of these photographs, with the largest representation of females being found in the teaching/presenting category (56%) and markedly smaller representations of females found in the conducting (21%) and named persons (20%) categories. Fluctuations in certain categories across the five decades suggest that while representation of males and females in MEJ has changed in 50 years, inequity persists. Implications include a call for greater attention and effort toward equitable representation in music education media for publishers, authors, and other contributors in addition to increased sensitivity to the representations of male and female stereotypes and professional expectations encountered by music educators and students.

In this article, I offer four principles relevant to hip-hop cultures (keep it real, flip the script, make some noise, and stay fresh) and explore how these principles might affect music classrooms. I argue that a music classroom that works to keep it real, flip the script, make some noise, and stay fresh might go beyond teaching hip-hop skills and songs to actually being hip-hop. Adopting these principles would ideally keep music classrooms relevant to students’ interests, focus on connections to both local and global contexts, take and transform music ideas, and create original music within an environment that honors music traditions for what they are and remains flexible and responsive to ruptures in flow. I include a snapshot of what a potential music classroom that is hip-hop might look like.