Culturally Responsive Teaching in Music Education

Lind, Vicki R.; McKoy, Constance L.

doi:10.4324/9781315747279

Cited by 115 publications

(198 citation statements)

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“…Influenced by the Tanglewood declaration (1967) and in concert with this movement, some music education scholars have called for more culturally responsive and diverse music education programs (Abril, 2013;Green, 2001;Jellison, 2015;Joseph & van Niekerk, 2007;Karlsen, 2010;Schippers, 2010;Westerlund, 2006). They state that the musics that are taught should reflect the diverse student population (Cain, 2015;Campbell, 2004;Elliott & Silverman, 2015;Goble, 2010;Hess, 2015;Lind & McKoy, 2016;Lum & Marsh, 2012;Lundquist & Szego, 1998;Volk, 1998). Schippers and Campbell (2012) recognize that there is the need to "devise systems of learning and teaching music that aim to reflect, feed off, and nurture the rich complexities of contemporary musical environments for children, adolescents, and adult learners" (p. 87).…”

Section: Culturally Responsive Music Educationmentioning

confidence: 99%

“…Music is a fundamental part of many peoples' lives, including my own, and music education can be used to support the diverse identities of all students. Identity is a characteristic belonging any person and/or group of people (Lind & McKoy, 2016). People have many identities, and our sense of identity is under constant revision and development (Hargreaves, With the availability of technology and easy access to diverse musics through YouTube or music streaming services, people have more access to music by which they determine their identity and musical culture (MacDonald, Hargreaves, & Miell, 2002).…”

Section: Identity and Music Educationmentioning

confidence: 99%

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Embracing identity: An examination of non-Western music education practices in British Columbia

Tuinstra

2019

International Journal of Music Education

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British Columbia (BC) is becoming increasingly diverse, so I began this research in an effort to understand the practices of other teachers across BC regarding the inclusion of musics that reflect the cultural diversity of their students. With the introduction of a new curriculum in BC beginning in 2015, music educators across the province can now meaningfully include musics that embrace the cultural diversity of their students. Additionally, Indigenous musics, worldviews, and teachings have their own elevated position as part of the new curriculum and are no longer grouped together with other musics as part of musics from a variety of cultural and social contexts.Thus, I surveyed BC music teachers to understand their current practices, experiences, and attitudes using a mixed-methods questionnaire using both open-and closed-ended questions.Decolonization and historical, philosophical, and theoretical supports for non-Western music education are the frameworks for this research. I distributed my questionnaire via the BC Music Educators' Association listserve and conference, and I received eighty valid responses (N = 80). I discovered that 68% of participants currently utilize non-Western musics (nWM) in their own practices and of the 32% of participants who do not include nWM, 42% have used nWM in the past. Educators reported many benefits that they experienced through the inclusion of nWM, but they also reported some difficulties or barriers. Therefore, I will share the results of this exploration of the current practices, experiences, and attitudes of music educators in BC.

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Section: Culturally Responsive Music Educationmentioning

confidence: 99%

Section: Identity and Music Educationmentioning

confidence: 99%

Embracing identity: An examination of non-Western music education practices in British Columbia

Tuinstra

2019

International Journal of Music Education

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“…The discussion around cultural diversity has taken different perspectives in previous music education research, such as embracing the value of diverse musical practices (Campbell 2004;Campbell et al 2005;Schippers 2010;Volk 1998), emphasizing the music teacher's role as a social change agent in culturally responsive teaching in music education (Abril 2013;Lind and McKoy 2016;Robinson, 2006), and understanding social justice in music education (Benedict et al 2015). In their recent publication, Roberts and Campbell (2015) examine the connections between multiculturalism and social justice in music education by exploring how the five levels of multicultural curriculum reform formulated by J.…”

Section: Introductionmentioning

confidence: 99%

Narrating Change, Voicing Values, and Co-constructing Visions for Intercultural Music Teacher Education

Miettinen

Westerlund

Gluschankof

2019

Visions for Intercultural Music Teacher Education

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Researchers have suggested that higher education institutions need to be re-thought as 'imagining universities' that continually engage in re-imagining themselves, in order to be able to justify their own existence in a fast-changing world. It can be expected that music teacher education programs, as part of higher education, would benefit from envisioning their shared future from the same starting point. This chapter presents the second-stage inquiry of "Co-creating visions for intercultural music teacher education in Finland and Israel," an ongoing collaborative research project between the Sibelius Academy of the University of the Arts Helsinki and the Levinsky College of Education in Israel. The study is based on the constructionist pre-understanding that music teacher education programs ought to be developed by conversations and collective reflections, and that it is through these reflections that we narrate change. As an overall methodological framework, the study draws from Appreciative Inquiry (AI), emphasizing the positive as the basis from which to envision together what the future of intercultural music teacher education would look like. The data was collected through four workshop discussions, two at each site, totaling 24 participating teacher educators. The forward-looking themes of these second-stage discussions were developed from the groundwork of the first-stage focus group interview inquiry that mapped the present situation. This study suggests that there is an increasing need to create spaces where music teacher candidates and music teacher educators creatively face uncertainty rather than security, and where risk-taking can be encouraged and practiced safely. There is also a need to increase flexibility and openness, and to continue working more collaboratively within the institutions.

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“…Then more powerfully, we must continue to ask who is not present in our classes, our programs, our curriculum, our pedagogy. Asking these questions over the last twenty years led to some significant changes in music education, including hip-hop pedagogy (Kruse 2016), popular music initiatives like Musical Futures, 11 the honoring of informal music learning (Green 2001(Green , 2008, and the push toward culturally responsive music teaching (Lind and McKoy 2016). As a discipline, asking these questions prompted shifts in curricula.…”

Section: Breaking the Silencementioning

confidence: 99%

“…Together we can think about programs that might address systemic disparities. We can draw on students' strengths in the community, in the models of culturally relevant pedagogy (Ladson-Billings 1995) and culturally responsive teaching (Gay 2010, Lind andMcKoy 2016), to foreground what Yosso (2005) refers to as "community cultural wealth" and to implement specific strategies to address oppressions. In collaborating to identify the systems that target youth in schools, teachers can work to develop programs, policies, and strategies that relate directly to the challenges faced by the unique populations in their schools.…”

Section: Being Explicit With Teacher Discourse Outside the Classroommentioning

confidence: 99%

Equity and Music Education: Euphemisms, Terminal Naivety, and Whiteness

Hess¹

2017

ACT

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In this paper, I advocate for the use of explicit language for discussions of race and call for music education to move out of terminal naivety (Vaugeois 2013) toward a heightened consciousness of political issues and racial oppressions. Employing critical race theory (CRT) as a theoretical framework, this paper examines race-related silences and the importance of using direct language to identify structural and systemic racism. I offer practical suggestions for initiating "race talk" in school music

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Culturally Responsive Teaching in Music Education

Cited by 115 publications

References 0 publications

Embracing identity: An examination of non-Western music education practices in British Columbia

Embracing identity: An examination of non-Western music education practices in British Columbia

Narrating Change, Voicing Values, and Co-constructing Visions for Intercultural Music Teacher Education

Equity and Music Education: Euphemisms, Terminal Naivety, and Whiteness

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