In this article I explore the relationships between identities and musicking in Grenada, West Indies, taking into account the understandings of community and nationhood that foreground and inform identity discourse in the Grenadian context. Through the dual lenses of music education and ethnomusicology, I analyze musicking and music education initiatives intended to “rescue” Grenadian identity and Grenadian values as articulated by an older generation of Grenadians and by governmental agencies. I argue that musicking in Grenada is intertwined with identity in complex ways, and that there is a perceived lack of transmission of folk musicking practices whose consequences extend well beyond losing musical traditions. This article illuminates conflicts of identity, the deep sense of loss of “who we are” that has occurred in Grenadian society in recent times, and controversies of music transmission.

This research explores the effects of institutional constraints on instructional practices in a preservice generalist teacher music education program in Keywords: preservice teacher education, music education, Institutional Ethnography, adjunct facultye are teaching colleagues at a mid-sized university in Ontario, Canada, where we teach in a Faculty of Education. We have both taught Bachelor of Education music methodology 1 courses for generalist (non-specialist) teachers and we have both encountered student resistance to course content. In 2016, we began a funded research project to explore factors that influence generalist teacher confidence and engagement with teaching music in the elementary classroom. Our hope was to improve course content as well as our own teaching practice in music methodology classes. The project arose from our shared belief that relevancy and engagement in our teacher education classes W

Teacher preparation for generalist (non-specialist) elementary teachers in Ontario typically comprises one compulsory music class. In entry surveys, many generalists describe themselves as highly apprehensive about and unconfident in their ability to teach music, confirming previous research. Using narrative inquiry, we explore the stories of both preservice and in-service generalist teachers. Data from focus groups with preservice teachers revealed that most participants felt markedly more comfortable with the prospect of teaching music in primary grades after taking our music courses; while fewer expressed confidence in teaching music to junior/intermediate grades. However, preservice teachers are rarely given the chance to observe or teach music while on practicum. Interviews with in-service generalist teachers revealed that a lack of confidence compelled them to take part in intentional, incremental, self-directed learning experiences to further develop their knowledge and skills for the elementary music classroom. The pandemic largely halted music activities, creating new barriers for generalist in-service teachers who teach music. The enduring gaps identified by this research are how to build more opportunities for generalist preservice teachers to practice their newly acquired skills while on practicum; and how to better support generalist in-service teachers to acquire additional skills for teaching music once in the classroom.

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In post-revolution Grenada, explorations of identity often reveal a generational divide. This generational divide is frequently expressed through music (Sirek 2013. In this qualitative case study I use an ethnographic methodological approach to examine Grenadian calypso and soca music, analyzing data collected from observations and participant observations, interviews, investigation of media/social media; as well as calypso and soca music and lyrics. Drawing from Tönnies' (1887/2017) constructs of Gemeinschaft and Gesellschaft, I explore the ways in which calypso and soca musicking (Small 1998) and music education initiatives construct and articulate the generational divide in Grenada.