Promoting Gender Inclusivity in General Music: Considerations for Music Listening

Self Cite

In U.S. music education, the elementary music program is the level most likely to include all students, before music becomes an elective choice in secondary schools. As students approach adolescence, however, their interest in general music may decline, particularly if they are not engaged in activities they find meaningful. Although past research suggests activities that upper elementary students may prefer, much U.S. research was completed over two decades ago. In this research-to-practice series, we demonstrate how teachers can structure activities for upper elementary (grades 3–5) students based on students’ preferences. In this first article, we briefly review previous scholarship related to elementary students’ music class interests as well as work that supports the idea of building relationships with students. Then, we present ideas to help teachers get to know learners’ preferences using different types of survey materials. Suggestions for understanding and conducting research are also provided for teachers interested in engaging in action research in their settings.

Section: Building Relationships and Getting To Know Learnersmentioning

confidence: 99%

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

Culp

Davis

2023

Self Cite

“…Critical listening takes focused attention. It is important to build a classroom culture with established norms and expectations for behavior while listening so students “can listen attentively and deeply” (Robison & Culp, 2021, p.18). Different kinds of music in different contexts ask for different behaviors while listening and it is important to distinguish critical listening from the background listening that happens when music is turned on while students are working, or while riding in a car, or from the participatory kind of listening that might happen at a lively concert or social musicking context.…”

Section: Classroom Culturementioning

confidence: 99%

Listening: Considerations in Teaching an Invisible Skill

Hatch

2022

Music surrounds us and students have plenty of experience in passive listening. However, they need to be deliberately taught how to deeply and critically listen to music. The National Core Arts Standards do not specifically measure listening as a skill but to evaluate musical works, critical listening skills are essential. This article outlines considerations for teaching this invisible skill and provides ideas for student responses to their listening to make the invisible process of listening visible and accessible to teachers to assess and evaluate.

“…Since “music can help us examine the past and imagine the future” (Robison & Culp, 2021, p. 4), Giddens urges all of us to remember the stories of our ancestors and to let those stories educate us to do better today.…”

Section: Freedom Highwaymentioning

confidence: 99%

Freedom Highway: Lessons in Courage and Justice From Rhiannon Giddens

Davis

2022

General music class is a space for students to engage in honest dialogue and reflection about the societal, cultural, and historical contexts of music, even when the subject matter is difficult. General music teachers can support students by opening “courageous conversations” about race, culture, and complex histories as they intersect with meaningful repertoire. The purpose of this article is to provide music educators with repertoire ideas and resources to assist in the process. Selections from Rhiannon Giddens’ album Freedom Highway are explored as a point of entry for dialogue about race, culture, courage, and justice in the secondary general music classroom. Songs about the Civil War, the Civil Rights era, and the Black Lives Matter movement are linked to inquiry-based strategies and the national music standards.