Lift every voice and sing: Constructing community through culturally relevant pedagogy in the University of Illinois Black Chorus

Chadwick, Sheelagh

doi:10.1386/ijcm.4.2.147_1

Cited by 18 publications

(7 citation statements)

References 1 publication

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“…One-third of all articles (sixteen in total) described inclusion as a form of musical access. Many scholars argued that a basic tenet in community music is to welcome everyone irrespective of music skill or knowledgewhat is sometimes called an 'open-door policy' (Balsnes 2016;Chadwick 2011) with no auditions. The rationale for music inclusion was most often linked to the idea that everyone deserves music (Veblen and Olsson 2002).…”

Section: Al Referred To the 'Inclusive Philosophy Embedded In Comt [mentioning

confidence: 99%

From inclusion to inclusivity: A scoping review of community music scholarship

Yerichuk

Krar

2019

International Journal of Community Music

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This article investigates how community music scholarship has taken up inclusion. Using a modified scoping review methodology, the authors analysed 47 articles published in the International Journal of Community Music from 2008 to 2018, examining how scholars have defined and operationalized the terms 'inclusion' and 'inclusivity', which were used interchangeably in the literature. The authors found that inclusion was often normatively invoked with no definition or approaches provided. In those articles that provided more detail about inclusion, many focused on musical access, such as removing auditions and not requiring previous music skill or knowledge, and processes of musical inclusion, such as creating a friendly and non-judgmental atmosphere, providing multiple ways of engaging with music-making and cultivating musical leadership among participants. Less frequent in the literature were ideas and approaches focusing on social inclusion through music, including frameworks that aimed to address and change systems that create marginalization; approaches that addressed social barriers to participation, such as transportation and childcare; and approaches that decentralized leadership to create collective responsibility and participation. The authors conclude by examining approaches from other scholarly disciplines, arguing that community music scholarship may benefit for more sustained and deliberate use of the term inclusivity, which points to the ongoing practice and effort towards inclusion. Running head: FROM INCLUSION TO INCLUSIVITY 2 Keywords inclusion inclusivity community music literature review social inclusion inclusive education Many scholars assert that inclusion is a cornerstone of community music practice (Higgins and Willingham 2017), usually predicated on the widely circulating idea that everyone has a right to make music (Veblen and Olsson 2002), which we, the authors, also believe. However, despite a noticeable groundswell in using the terms 'inclusion' and 'inclusivity' in relation to community music over the last five years, there has been very little analysis of what these terms mean, nor how they areor should beoperationalized in community music settings. This article represents our attempt to address the gap in the literature by first focusing on how community music scholars have been defining and using inclusion in research. The two of us began this research project when we realized that each of us had concerns about normative uses of inclusion in the Community Music scholarship that we were reading. Deanna had previously raised concerns about the normative uses of the term 'community' (Yerichuk 2014), in which the community is often already assumed and seen as always and only positive without much critical reflection of the social relations that constitute the social space, or the role of the facilitator in setting terms for Running head: FROM INCLUSION TO INCLUSIVITY 3 participation in that community. Justis, through his course work, began to notice that the term 'inclusion' seemed to b...

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Section: Al Referred To the 'Inclusive Philosophy Embedded In Comt [mentioning

confidence: 99%

From inclusion to inclusivity: A scoping review of community music scholarship

Yerichuk

Krar

2019

International Journal of Community Music

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“…My use of visual references for choristers has developed through iterations of the design-based research process. Having read about the benefits of aural transmission in the literature (Backhouse, 2010;Chadwick, 2011;Kennedy, 2009;Townsend, 1996), I was eager to use the approach with my choirs and to develop my own skills in teaching aurally. With my first community choir, I resisted providing a score for the singers because I wanted them to listen to me and to each other more than I wanted them to read notes from a score.…”

Section: Chorister Visual Referencementioning

confidence: 99%

Design-based research as an informal learning model for choral conductors

Cooper¹

2017

London Review of Education

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The number of community choirs continues to grow, and literature endorsing the benefits of choral singing for physical, mental and emotional health and well-being is rapidly expanding, meaning that the professional development of community choral conductors is in the public interest. However, research on choral conductor education remains limited. Theoretical perspectives on choral conductor training presented by Varvarigou and Durrant (2011) have provided a useful framework for conceptualizing a formal training model. As opportunities to study using such a model are not widely available in Australia and other locations, it is pertinent to consider alternative methods for community choral conductors to learn the craft and develop their skills. A design-based research model has been proposed as a possible format for learning choral conducting and the case study of the author's own practice reported here reveals its effectiveness. The design-based research structure, incorporating observation and interview with ten professional choral conductors, as well as cycles of design, intervention and evaluation is proposed as a possible informal learning approach for other choral conductors.

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“…The University of Illinois Black Chorus is a collegiate example of a choral course where the components of culturally relevant pedagogy are utilized in a music education setting (Chadwick, 2011). The choir was established in 1968 as a student organization that provided students with an opportunity to sing their music and have their heritage recognized.…”

Section: Example Of Culturally Relevant Pedagogy In Music Educationmentioning

confidence: 99%

“…Dr. Davis wanted "the chorus to be a celebration of African American music and culture, where students' cultural capital is recognized, honoured and encouraged" (Chadwick, 2011, p. 148). Chadwick (2011) expected to see more explicit examples of critical consciousness through discussions, however through the valuation of rote learning, the celebration of Black culture and Dr.…”

Section: Example Of Culturally Relevant Pedagogy In Music Educationmentioning

confidence: 99%

“…While other choirs in the school of music were required to read scores, the Black chorus valued rote learning and demonstrates the musical traditions of African Americans. Traditional school of music choruses devalued rote learning because of its associations with what was once deemed music of lesser value (e.g., jazz, folk, pop) (Chadwick, 2011).…”

Section: Example Of Culturally Relevant Pedagogy In Music Educationmentioning

confidence: 99%

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Critical analysis of culturally relevant pedagogy and its application to a sixth grade general music classroom

Gardner¹

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Lift every voice and sing: Constructing community through culturally relevant pedagogy in the University of Illinois Black Chorus

Cited by 18 publications

References 1 publication

From inclusion to inclusivity: A scoping review of community music scholarship

From inclusion to inclusivity: A scoping review of community music scholarship

Design-based research as an informal learning model for choral conductors

Critical analysis of culturally relevant pedagogy and its application to a sixth grade general music classroom

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