Intersections in Music Education: Implications of Universal Design for Learning, Culturally Responsive Education, and Trauma-Informed Education for P–12 Praxis

Abstract

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.

Using Students’ Interests in General Music (Part 1): Getting to Know Learners and Conducting Research

“…Teachers can get to know their learners and their preferences in ways that deepen over time. Teachers may talk with students outside of class, engage students in open class discussions, complete focus groups with students (perhaps during lunch or recess), interview students, or provide a questionnaire (Culp & Salvador, 2017; Safir, 2017; Salvador & Culp, 2022). Teachers could also get to know learners through purposeful assignments, such as having students create a “This is Me” playlist by selecting songs that would help others get to know them (Robison & Culp, 2021).…”

“…We believe doing so calls for an open and curious disposition (to learn), self-efficacy (to feel confident in one’s potential to be effective), and agency (to act). Hence, we draw on Salvador and Culp (2022), to suggest music teachers: (a) practice cultural humility; (b) build relationships with families and communities; (c) know and value individual student identities, circumstances, experiences, and goals; (d) honor student voice and choice; (e) establish firm, healthy boundaries that maintain high expectations; and (f) reshape curriculum. Although it is beyond the scope of this article to discuss each of these in-depth, we will focus on providing teachers with information to help them know and value individual student identities, circumstances, experiences, and goals.…”

“…Teachers can begin by learning about their students and then partnering with families and communities–both important support systems (Culp & Robison, 2021; Culp & Salvador, 2017; Salvador & Culp, 2022). Although time-consuming at the elementary level where teachers may see hundreds of children per week, we find that most teachers are typically willing to go the extra mile to support their students.…”

“…Teachers could also get to know learners through purposeful assignments, such as having students create a “This is Me” playlist by selecting songs that would help others get to know them (Robison & Culp, 2021). Whichever methods are chosen, teachers should be patient, allowing students to share in their own time and self-report information—teachers should avoid making assumptions about students (e.g., preferences, gender, race, living situation) (Culp & Salvador, 2017; Robison & Culp, 2021; Salvador & Culp, 2022). Getting to know learners in-depth takes time and we encourage teachers to be patient with this process.…”

Using Students’ Interests in General Music (Part 3): Suggestions for Practice

“…Music teachers who seek to understand students’ identities and musical engagements may provide students’ opportunities to see themselves represented in the curriculum (Williams, 2017). To do so, teachers should avoid making assumptions about students and instead get to know their learners and their unique preferences and needs (Robison & Culp, 2021; Salvador & Culp, 2022; Williams, 2017).…”