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YearVolumeIssueArticleAPA CitationAuthor BackgroundTarget AudienceCategoryAbstractKeywords/Associated TopicsFrameworkTheoriesTheory CitationTheory Field of OriginOverall ReactionSources Cited
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20171033Learning to Be Creatively Expressive PerformersStrand, K., & Brenner, B. (2017). Learning to Be Creatively Expressive Performers. Music Educators Journal, 103(3), 21–26. https://doi.org/10.1177/0027432116685858Katherine Strand - Associate Professor of Music/Chair of the Music Education Department of the Jacobs School of Music, Indiana UniversityAllPedagogyResearch conducted on the development of expressive performance capabilities suggests that children can learn to demonstrate expressiveness in their music-making. Expressivity includes musical interpretation, performance technique, and musical and personal creativity. This article examines creativity as an important component of musical expressivity in relation to (1) musical structures, (2) the emotions and sensations evoked by music, and (3) communication with ensemble members and the audience. Included are practical examples and ideas for teachers to help their students learn about performance expressivity on instruments and with voice, along with exercises to help them become creatively expressive performers.communication, creativity, emotion, ensemble, expressive performance, expressivity, interpretationCreativity & Expressive PerformanceMusical ExpressionAlf Gabrielsson and Patrik N. Juslin, “Emotional Expression in Music,” in Handbook of Affective Sciences. Series in Affective Science, ed. Richard Davidson, Klaus Scherer, and H. Hill Goldsmith (New York: Oxford University Press, 2003), 503–34.Affective SciencesThis article does a good job of paring specific examples of implementing creativity into the curriculum with a rationale for its usefulness in an ensemble or classroom setting. I also like how the authors explore creativity from several different perspectives (musical structure, emotion, communication). Sources Document 1
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20171033Developing Musical Creativity through Improvisation in the Large Performance ClassroomNorgaard, M. (2017). Developing Musical Creativity through Improvisation in the Large Performance Classroom. Music Educators Journal, 103(3), 34–39. https://doi.org/10.1177/0027432116687025Martin Norgaard - Assistant Professor of Music Education at Georgia State UniversitySecondary
Instrumental
Choral
PedagogyImprovisation is an ideal way to develop musical creativity in ensemble settings. This article describes two prominent theoretical frameworks related to improvisation. Next, based on research with developing and expert improvisers, it discusses how to sequence improvisatory activities so that students feel accomplished at every step. Finally, the author recommends specific performance repertoire in various styles that allows for improvised solos during performance and outline various recordings and technologies for creating accompaniments.band, choir, creativity, exercises, improvisation, orchestra, performanceCreativity & ImprovisationImprovisation: Stored Patterns

Improvisation: Learned Rules		Jeff Pressing, “Improvisation: Methods and Model,” in Generative Processes in Music, ed. John A. Sloboda (Oxford, UK: Oxford University Press, 1988): 129–78.

Phil N. Johnson-Laird, “How Jazz Musicians Improvise,” Music Perception 19 (2002): 415–42.		Music EducationThis article very clearly outlines two theoretical approaches to teaching and learning improvisation; however, it falls short of specifically addressing techniques for improvisation within a large ensemble setting. For the most part, the strategies presented in the article are generic and do not appear to have been developed with a large, heterogeneous ensemble in mind. Sources Document 1
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20171033Developing Musical Creativity through Reflective and Collaborative PracticesGruenhagen, L. M. (2017). Developing Musical Creativity through Reflective and Collaborative Practices. Music Educators Journal, 103(3), 40–45. https://doi.org/10.1177/0027432116685158Lisa M. Gruenhagen - Associate Professor of Music Education at Bowling Green State UniversityElementary
General		PedagogyThis article focuses on developing musical creativity through reflective and collaborative practices in elementary music. Studies on reflective practices reveal that students of any age are able to reflect knowingly. Researchers who have examined thinking, creativity, and musical understanding have discussed the importance of teaching practices that encourage collaboration and developing shared understandings through performance and reflective practices. This article examines student work in elementary music and describes strategies that support the development of independent, creative, musical thinkers. Suggestions for engaging students in reflective and collaborative practices that support the development of musical creativity in the elementary music classroom are included.collaboration, creativity, independence, musical thinking, performance, reflection, understandingCreativity & CollaborationMetacognition (specific term not used in article, but used in citation)

Collaborative Learning		Joseph Walters, Steve Seidel, and Howard Gardner, “Children as Reflective Practitioners: Bringing Metacognition to the Classroom,” in Creating Powerful Thinking in Teachers and Students: Diverse Perspectives, ed. John N. Mangieri and Cathy Collins Block (Orlando, FL: Holt, Rinehart, and Winston, Inc., 1994), 291

Barbara Rogoff, Apprenticeship in Thinking (New York: Oxford University Press, 1990), 169.		PsychologyThe overall implication of this article is that providing a framework for students to step back and be critical thinkers alongside their peers will help foster an atmosphere of reflection and creativity. I like this article because it shifts the focus from being teacher-centric to being student-centric. Maybe this is something that can help students become more oriented toward the process of learning rather than the product.Sources Document 1
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20171033The Neuroscience of ImprovisationLandau, A. T., & Limb, C. J. (2017). The Neuroscience of Improvisation. Music Educators Journal, 103(3), 27–33. https://doi.org/10.1177/0027432116687373Andrew T. Landau - PhD candidate in the Program in Speech and Hearing Bioscience and Technology at Harvard University

Dr. J. Charles Limb - Francis A. Sooy Professor at the UCSF Medical Center’s Department of Otolaryngology—Head and Neck Surgery		AllPhilosophyCurrent research in the neuroscience of musical creativity reveals promising implications for the value of learning to improvise. This article outlines the neuroscientific literature on musical improvisation and relates these findings to the benefits of musical creativity. We begin by describing the neural substrates of flow with respect to the mechanisms of improvisation. We then discuss how neuroscientific literature supports the argument that musical improvisation is a powerful means to express oneself and communicate with others, facilitating self-actualization and deeper connections with peers. Music educators can use these discoveries to bolster their advocacy for the use of creativity in music education and support their use of improvisation in the classroom.brain research, creativity, discoveries, flow, improvisation, improvise, neuroscienceCreativity & ImprovisationFlow Theory

An Integrative Theory of Prefrontal Cortex Function		Mihály Csíkszentmihályi, Flow: The Psychology of Optimal Performance (New York: Cambridge University Press, 1990).

Earl K. Miller and Jonathan D. Cohen, “An Integrative Theory of Prefrontal Cortex Function,” Annual Review of Neuroscience 24, no. 1 (2001)		Psychology

Neuroscience		The authors of this article present a fascinating take on the importance of integrating improvisation into part of our musical experience; however, it was somewhat tedious because of the heavy neuroscience terminology. They utilize a very scientific approach to justifying the benefits of musical creativitiy which could provide some much needed support for music programs. Additional quantitative studies such as this one could help significantly by building a body of literature for music educators to call upon as justification and support for the profession.Sources Document 1
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20171033Music Listening Is CreativeKratus, J. (2017). Music Listening Is Creative. Music Educators Journal, 103(3), 46–51. https://doi.org/10.1177/0027432116686843John Kratus - Professor Emeritus of Music Education from Michigan State UniversityAllPhilosophyActive music listening is a creative activity in that the listener constructs a uniquely personal musical experience. Most approaches to teaching music listening emphasize a conceptual approach in which students learn to identify various characteristics of musical sound. Unfortunately, this type of listening is rarely done outside of schools. This article establishes a framework for teaching music listening as creative by maximizing students’ individual and diverse ways of listening.concepts, creativity, experience, listener, listening, musicCreativity & Music ListeningCreative Music ListeningPeter R. Webster, “Creativity as Creative Thinking,” Music Educators Journal 76, no. 9 (1990): 22–28.

Eila M. Peterson, “Creativity in Music Listening,” Arts Education Policy Review, 107, no. 3 (2006): 15–21.

Robert E. Dunn, “Creative Thinking and Music Listening,” Research Studies in Music Education 8 (1997): 42–45.		Music EducationI think this article addresses an important point, not just in emphasizing music listening as a part of a balanced curriculum, but in the encouragement of students to be original and creative thinkers. A substantial part of our students' experience is attempting to single out the correct answer to a problem. The type of music listening presented in this article allows students the space to explore their own thoughts and feelings, which they often do not have the luxury of doing elsewhere, especially in their adolescent lives. Sources Document 1
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20171034Still Making Music: How Students with Traumatic Brain Injury Can Continue with Musical ActivitiesBennington, P. M. (2019). Still Making Music: How Students With Traumatic Brain Injury Can Continue with Musical Activities. Music Educators Journal, 103 (4), 20-24. Patrick M. Bennington is the band director at Western Alamance Middle School in Elon, North Carolina.K-12 Music Educators, Secondary Music Educators (Ensembles)PedagogyTraumatic brain injury (TBI) is common in the United States. All age groups are at risk for TBI, but there is a larger occurrence among school-age children and young adults. No matter the severity of a student’s injury, he or she can benefit from music education, whether listening to music, singing, or performing on an instrument. Students can engage in music listening assignments that include selected pieces of music or music that an ensemble is cur- rently rehearsing. For students with mild TBI who are able, performing music has also been shown to be beneficial.adaptation, brain injury, fine motor skill, gross motor skill, listening, modified instrument, OSHA, TBI, volumeInclusion; Collaborative LearningMusic Therapy Group ImprovisationMichael H. Thaut, James C. Gardiner, Dawn Holmberg, Javan Horwitz, Luanne Kent, Garrett Andrews, Beth Donelan, and Gerald R. McIntosh, “Neurologic Music Therapy Improves Executive Function and Emotional Adjustment in Traumatic Brain Injury Rehabilitation,” Annals of the New York Academy of Sciences 1169, no. 1 (2009): 406–16.Music TherapyPatrick Bennington uses previous research to describe symptoms of traumatic brain injuries. Bennington then bases strategies to help students, with traumatic brain injuries on previous research in music therapy, specifically in group improvisation (collaborative learning). Sources Document 2
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20171034Mixing Formal and Informal Pedagogies in a Middle School Guitar ClassroomRescsasznsky, M. J. (2017). Mixing Formal and Informal Pedagogies in a Middle School Guitar Classroom. Music Educators Journal, 103 (4), 25-33. Matthew J. Rescsanszky is a master’s student in music education at the University of Connecticut, Storrs;middle school music educators (gutiar specific)PedagogyMany music educators feel unprepared or are unsure of how to use popu- lar music in their classrooms. This article details the author’s experience designing, implementing, and revising a student-centered guitar curriculum in an urban middle school. Reflecting on this experience, the author defends the place of popular music and informal pedagogy in the classroom, highlighting the opportunities they pro- vide for authentic and meaningful musical learning for all students while retaining more traditional approaches that music educators continue to find effective modes of instruction.curriculum design, guitar, informal pedagogy, National Core Arts Stan- dards, popular music, student-centered learningAlternative (informal PedagogiesPeer Interaction; Self Directed Learning Lucy Green, “Group Cooperation, Inclusion and Disaffected Pupils: Some Responses to Informal Learning in the Music Classroom.” Music Education Research 10, no. 2 (2008): 177–92.; Lucy Green, Music, Informal Learning and the School: A New Classroom Pedagogy (Hampshire, UK: Ashgate, 2008).Music EducationMatthew J. Rescsanszky states that traditional and informal pedagogies can inform our teaching. Rescsanszky defines the Rock Lite- Rock 2.0 approaches which are methods to create various degrees of motivation. He states that through these mehtods all students will be able to learn music in meaningful ways. Sources Document 2
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20171034Concept-Based Arts Integration: Lessons Learned from an Application in Music and BiologyWolkowics, T. (2017). Concept-Based Arts Integration: Lessons Learned from an Application in Music and Biology. Music Educators Journal, 103 (4), 40-47.Terry Wolkowicz is the education director of the New Bedford Symphony Orchestra in New Bedford, Massachusetts.K-12 Music EducatorsPedagogyArts integration has been a mixed blessing, with both the potential for developing deeper understandings amid concerns that it diminishes the integrity and authenticity of learning in the arts. This article describes concept-based arts integration as a model of arts integration where curriculum is designed around shared concepts that connect across the arts and other academic subjects. The benefits of using concept-based arts integration cur- riculum are explored within the scope of an educational outreach program led by a profes- sional symphony orchestra that partnered in a multiphase arts integrated program with forty surrounding elementary schools. Several strategies and criteria are included to help music educators identify shared concepts and design concept-based arts integrated projects in their schools.arts integration, connection, curriculum, interdisciplinary, model, multiphase, partnershipArts Integrationarts integration; concept based arts integration; cross-curriculumA. Martin and M. Dowson, “Interpersonal Relationships, Motivation, Engagement, and Achievement: Yields for Theory, Current Issues, and Practice.” Review of Educational Research 79, no. 1 (2009): 327–65.; Larry Scripp and David Reider, “New Ventures in Integrated Teaching and Learning: Working towards a Model of General Symbolic Literacy Based on the Growing Understanding of Fundamental Literacy Skills Shared between Music and Language in Grades K–2,” Journal for Music in Education 1, (2007): 339–40; and Russell-Bowie, “Syntegration,” 6.; Sue Snyder, “Connection, Correlation, and Integration,” Music Educators Journal 87, no. 5 (2001): 32–39; and Janet R. Barrett, “Interdisciplinary Work and Musical Integrity,” Music Educators Journal 87, no. 5 (2001): 27–31.Education; Music EducationTerry Wolkowicz states that concept-based arts integration can deepen students learning. Wolkowicz beleives that when students connect arts and music with other subjects students are able to understand concepts more easily. She explains how this can be employed in music classrooms and provides examples of action based-research. Sources Document 2
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20171034Gifted 101: Unlocking the Mystery of Academically Gifted EducationCouncil, K. H., Fiedler, L. (2017). Gifted 101: Unlocking the Mystery of Academically Gifted Education. Music Educators Journal, 103 (4), 48-62. Kimberly H. Councill is an associate professor of music at Bucknell University in Lewisburg, Pennsylvania; Lynn Fiedler is a gifted education instructor and former adjunct instructor at Susquehanna University in Selinsgrove, Pennsylvania; she also teaches a parenting class called “Every Baby Needs a Lap Top (Your Lap!)” for the Greater Susquehanna Valley United Way, where she serves as Chair of the Early Childhood Education Council. K-12 Music EducatorsPedagogyAcademically gifted learners can both thrive and struggle in our music classrooms. This article offers a detailed approach to defining, recognizing, and meaningfully teaching gifted learners in the music classroom while providing differentiation ideas that can benefit all learners. In-depth discussion and examples of contracts, tiered instruction, and menu differentiation strategies are provided.academically gifted learners, contract, gifted education, menu differentiation, talented, tiered instructionDifferentiationDifferentiation; Tiered InstructionStephanie L. Standerfer, “Differentiation in the Music Classroom,” Music Educators Journal 97, no. 4 (2011): 43.; Carol Ann Tomlinson, The Differentiated Classroom: Responding to the Needs of All Learners (Alexandria, VA: Association for Supervision and Curriculum Development, 1999), 87.; Sousa, How the Gifted Brain Learns, 59.; For additional information on tiered instruction, see http://www.bertiekingore .com/tieredinstruct.htm.Music Education; EducationCouncil and Feilder use previous research to explain defferences between standard and gifted learners. They use differentiated instruction and tiered instruction to provide ideas for music educators to provide innovative ways for gifted students to engage with the material and concepts. Sources Document 2
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20171034Improving Music Teaching through Interpersonal RelationshipsRoyston, N. S. (2017). Improving Music Teaching through Interpersonal Relationships. Music Educators Journal 103 (4), 34-39.Natalie Steele Royston is an assistant professor of music education at Iowa State University in AmesK-12 Music EducatorsPhilosophyInterpersonal relationships are fundamental to learning and human development. To develop a positive and safe classroom environment with student motivation and learning, music educators need to learn to relate and connect effectively with others. This article looks at the importance of the interpersonal relationships in the classroom environment and provides tips for active teachers to improve these relationships and for preservice teachers to observe and reflect on during preparation. As music teachers, the manner in which we connect and relate to our students will teach them much about the art of music but also the art of being a compassionate and caring human being.classroom, compassionate, development, empathy, interpersonal, relationshipsAction ResearchInterpersonal Relationships; Democracy in EducationKathryn Wentzel, “Teacher-Student Relationships and Adolescent Competence at School,” in Interpersonal Relationships in Education: Advances in Learning Environments Research, Volume 3, ed. Barry J. Fraser and Jeffrey P. Dorman (Rotterdam: Sense Publishers, 2012), 20.; John Dewey, Democracy in Education (New York: Macmillan, 1916).; A. Martin and M. Dowson, “Interpersonal Relationships, Motivation, Engagement, and Achievement: Yields for Theory, Current Issues, and Practice.” Review of Educational Research 79, no. 1 (2009): 327–65.EducationIn this article, Natalie Royston uses previous research to describe interpersonal relationships between teachers and students in the classroom. She beleives that knowing differences between communication, and understanding students and building trust can improve behavior in the classroom and the overall rehearsal process. Sources Document 2
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20171034Humanizing the Deities of JazzJeppesen, S. (2017). Humanizing the Deities of Jazz. Music Educators Journal, 103 (4), 57-63. Scott Jeppesen recently completed his doctor of musical arts degree at the University of Southern California in Los Angeles and is teaching part-time while job hunting. Jeppesen is also cofounder with his wife Roxanne Jeppesen of Cultivating Creative Minds, a nonpro t corporation in Santa Clarita, California.Secondary music educators (jazz specific)PhilosophyAs musicians, we have been taught to idolize certain figures in music history. These individuals are considered untouchable, unassailable, and unquestionably brilliant. This practice is increasingly evident in jazz. Figures like Duke Ellington, Louis Armstrong, Charlie Parker, and Miles Davis have all undergone a virtual apotheosis. While there is no question of their importance, the idolization of these people makes attaining what they have done difficult to grasp. We have dug a chasm between aspiring musicians and the music itself. This gap is wide in that we regard these figures and their music so glowingly that relating to them becomes difficult. Students must understand that these figures were ordinary people. Through technology and creative storytelling, students can explore the world in which these musicians lived. Providing context can help students gain a better understanding of how jazz music has evolved and why. Students can then use this knowledge to develop confidence in their creative process and in how it relates to their unique life context.context, ethnomusicology, history, jazz, legend, musicology, pedagogy, recordingConnections with community; ContextualCultural Context; Constructavist approachJeffrey E. Bush. “Bringing Music History to Life,” Music Educators Journal, 86 (2000): 52; John Barron, “Lessons from the Bandstand: Using Jazz as a Model for a Constructivist Approach to Music Education,” Music Educators Journal 94 (2007): 21.Music EducationAuthor Scott Jeppesen beleives that by humanizing Jazz deities, music becomes more accessible and relatable for students. He believes students should understand the history and context of jazz and that students should be made aware of gender, and race in the context of jazz and in the context of the world today. Jeppesen suggests utilizing materials such as books, biographies, and recordings. Jeppesen states that helping students understand jazz history will make them more curious and engaged. Sources Document 2
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20171041Empowering the Music Educator through Action ResearchLaprise, R. (2017). Empowering the Music Educator through Action Research. Music Educators Journal, 104(1), 28–33. https://doi.org/10.1177/0027432117708012Richard Laprise - Band/General Music Teacher at Old Rochester Regional Junior High School in Mattapoisett, MassachusettsAllInspirationAction research is an empowering experience for educators, yet many believe that they do not have the time, resources, or knowledge to make it a worthwhile experience. What do you need to know to feel confident in making action research a method of bettering your teaching and your students’ learning? This article reveals how to make this process approachable while piquing your curiosity about how it can be used to better your own classroom. Developing meaningful research specific to our own teaching moves beyond reflective practice and gives us evidence to support and inform our actions.action research, classroom, evidence, music education, reflective practiceAction ResearchN/AN/AN/AThe argument for action research presented here is that educators view research as an important part of the profession while also claiming that research published in scholarly journals is not relatable or helpful. Collaborative action research can empower teachers to identify and potentially provide solutions for problems specific to their teaching environment. Sources Document 1
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20171041Student Teaching Seminars: Ideas for a Collaborative and Meaningful Culminating ExperienceCouncill, K. H., & Baumgartner, C. M. (2017). Student Teaching Seminars: Ideas for a Collaborative and Meaningful Culminating Experience. Music Educators Journal, 104(1), 62–70. https://doi.org/10.1177/0027432117710314Kimberly H. Councill - Associate Professor of Music at Bucknell University

Christopher M. Baumgartner - Assistant Professor of Instrumental Music Education at the University of Oklahoma		CollegeInspirationThe student teaching seminar is a crucial component in the final course work of the music education curriculum, though research that examines the structure and content of this important course is minimal. In this article, we provide in-depth descriptions of sample seminar activities, assessments, resources, and suggestions for creating a meaningful experience through collaboration with cooperating teachers.assessment, collaboration, cooperating teacher, partnership, resources, seminar, student teachingStudent Teaching SeminarsThe concept that all the needs of student teachers can be addressed in one semester is impossible to grasp. For many students, this is the first time that they are putting into practice what they have been learning for the entirety of their undergraduate career. I think the focus on collaborative and reflective practice is the key to this article, with the understanding that student teachers will not be fully formed master teachers upon graduation, but should have the tools to ask questions and continue learning throughout their career as an educator. Sources Document 1
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20171041Multicultural Choral Music Pedagogy Based on the Facets ModelYoo, H. (2017). Multicultural Choral Music Pedagogy Based on the Facets Model. Music Educators Journal, 104(1), 34–39. https://doi.org/10.1177/0027432117708602Hyesoo Yoo - Assistant Professor of Music Education at Virginia Polytechnic Institute and State University.Secondary
Choral
PedagogyMulticultural choral music has distinct characteristics in that indigenous folk elements are frequently incorporated into a Western European tonal system. Because of this, multicultural choral music is often taught using Western styles (e.g., bel canto) rather than through traditional singing techniques from their cultures of origin. One of the most important purposes of teaching multicultural music is to increase understanding of and acceptance toward different cultures and enrich musical experiences. This article details eight instructional strategies to help students learn multicultural choral music from alternative perspectives that enrich their musical skills, cultural understandings, and performances of multicultural music.choir, choral, culture, Facets Model, multicultural music, strategies, traditional, vocal musicMulticultural PedagogyMulticultural Pedagogy

Facets Model		David James Elliott, Music Matters: A New Philosophy of Music Education (New York: Oxford University Press, 1995), 44–45

Janet R. Barrett, Claire W. McCoy, and Kari K. Veblen, Sound Ways of Knowing: Music in the Interdisciplinary Curriculum (Boston: Cengage Learning, 1997), 70–80		Music EducationThe most important aspect of this article is that it includes common ways that multicultural pedagogy can be insensitive or inadvertently cause harm by creating and highlighting stereotypes. I think this dialogue is incredible important as social justice, diversity, and inclusion continue to be hot topics in education. The authors of this article provide specific ways for choral music teachers to approach teaching multicultural music, including inviting ambassadors of different cultures into the classroom to teach the music firsthand. Sources Document 1
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20171041Teaching Improvisation through Melody and Blues-Based Harmony: A Comprehensive and Sequential ApproachHeil, L. (2017). Teaching Improvisation through Melody and Blues-Based Harmony: A Comprehensive and Sequential Approach. Music Educators Journal, 104(1), 40–46. https://doi.org/10.1177/0027432117711484Leila Heil - Assistant Professor of Music Education at the University of Colorado BoulderSecondary
Instrumental
Choral
PedagogyThis article describes a sequential approach to improvisation teaching that can be used with students at various age and ability levels by any educator, regardless of improvisation experience. The 2014 National Core Music Standards include improvisation as a central component in musical learning and promote instructional approaches that are contextual, integrate musical concepts, and facilitate group interaction. The described approach focuses on the how and the why of improvisation instruction, offering a pedagogical guide through the teaching process using concepts of melody, harmony, rhythm, texture, and formal structure. Rather than a collection of isolated activities, the sequence builds on skills and concepts that are applied in authentic and meaningful group interactions. Examples are based on the blues and teaching techniques commonly used by jazz educators that can be adapted to any musical genre.blues, group interaction, harmony, jazz, improvisation, melodyImprovisationTheory of Multiple Intelligences

Scaffolding (no citation)		Howard Gardner, Frames of Mind: The Theory of Multiple Intelligences (New York: Basic Books, Inc., 1983), 99–127PsychologyThe provided structure for teaching improvisation is a helpful guideline; however, the author (perhaps unkowingly) assumes that a set of skills are already in place in order for this process to take shape. I think what is given in the article can be applicable to a variety of skills sets in different environments as long as the educator is able to adapt this information for their own situation.Sources Document 1
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20171041Teaching Materials and Strategies for the AP Music Theory ExamLively, M. T. (2017). Teaching Materials and Strategies for the AP Music Theory Exam. Music Educators Journal, 104(1), 47–54. https://doi.org/10.1177/0027432117709504Michael T. Lively - Lecturer in Music Theory at Southern Methodist UniversitySecondary
Instrumental
Choral		PedagogyEach year, many students take the Advanced Placement (AP) Music Theory Exam, and the majority of these students enroll in specialized AP music theory classes as part of the preparation process. For the teachers of these AP music theory classes, a number of challenges are presented by the difficulty and complexity of the exam subject material as well as by issues related to the mixed abilities and backgrounds of the students in any particular AP classroom. This article presents a variety of teaching strategies for both new and experienced AP music theory teachers and offers a brief overview of textbooks and other instructional materials that can be used when teaching the AP music theory course.Advanced Placement Exam, AP, music theory, teaching strategies, textbooksTeaching AP TheoryComprehensive MusicianshipMatthew Spieker, “AP Music Theory Applied,” General Music Today 30 (October 2016): 16–19.

Michael R. Rogers, Teaching Approaches in Music Theory.		Music TheoryThe author provides a description of the AP Music Theory exam and some strategies for teaching each section of the exam. There doesn't appear to be a strong underlying theory that guides this article - it is a fairly simple and straightforward resource to teachers of AP Music Theory courses. Sources Document 1
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20171041Music Education, Inc.Overland, C. T. (2017). Music Education, Inc. Music Educators Journal, 104(1), 55–61. https://doi.org/10.1177/0027432117719462Corin T. Overland - Assistant Professor of Professional Practice in Music Education at the University of MiamiAllPhilosophyToday’s students live in the center of a rich, interconnected system of public, philanthropic, and for-profit entities that support the act of music teaching and learning. Students are not limited to the kinds of musical instruction available to them in their schools. Provided they have the means and the access, the musically curious can supplement or supplant their in-school musical lives with extracurricular and cocurricular activities, private studio lessons, community ensembles, or religious services. The for-profit music education industry in particular has grown in popularity and commercial success since the global recession, encouraged in part by what appears to be an increasing demand for instruction in popular genres that is not being met in the public schools. Corporate entities that sell music instruction have reached unprecedented levels of cultural saturation and student interest. With their successes have come a number of new teaching models, philosophies, and innovative ways for students to engage with music. However, these experiences may come at a cost, particularly to equal access by disadvantaged populations who might not be able to pay for said services. This article examines the popular music education (PME) franchise and its budding relationship with public school music education.access, corporate music, extracurricular, for-profit, music education, Gymboree, music lessons, popular music, public education, School of RockPopular Music EducationSocial CapitalismFlavio Romano, “Clinton and Blair: The Economics of the Third Way,” Journal of Economic and Social Policy 10, no. 2 (2006): 1–17.EconomicsI like the questions that this article poses about the intersection of the Popular Music Education (PME) movement and the traditional public school model. I find it interesting that some of the PME models are advertising by actively portraying public school education as stodgy and out of touch with the needs of their students. The PME model is not necessarily all-inclusive, because it costs families money and resources that they may not have to give. I think it is valuable to have a range of musical opportunities available to students; however, I think it is dangerous to start arguing the dichotomy of one versus another. Sources Document 1
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20171041Equity in Music Education: Why Equity and Social Justice in Music Education?Hess, J. (2017). Equity in Music Education: Why Equity and Social Justice in Music Education? Music Educators Journal, 104(1), 71–73. https://doi.org/10.1177/0027432117714737Juliet Hess - Assistant Professor of Music Education at Michigan State UniversityAllPhilosophyYou are reading the first iteration of a new occasional feature in Music Educators Journal called “Equity in Music Education.” This section in MEJ represents a commitment in music education to issues of equity and social justice. In highlighting and prioritizing equity in our field, we as music educators demonstrate a firm commitment to serve the diverse student populations of the United States and other parts of the world. Through this series, we ask some important questions: “Why prioritize equity and social justice in this moment?” “How do these ideals connect to music teaching and learning?” and “What does social justice look like practically in the classroom?”social justice, equity, repertoire, culture, pedagogyEquity in Music EducationSocial Justice

Culturally Responsive Teaching		Lise Vaugeois, “Music as a Practice of Social Justice,” in Exploring Social Justice: How Music Education Might Matter, ed. Elizabeth Gould, June Countryman, Charlene Morton and Leslie Stewart Rose (Toronto, ON: Canadian Music Educators’ Association, 2009), 3.

Vicki L. Lind and Constance L. McKoy, Culturally Responsive Teaching in Music Education: From Understanding to Application (New York: Routledge, 2016), 72.		Music EducationSocial justice seems to be one of the most prominent themes currently at play in music education. I appreciate that this article provides a working definition for social justice; however, the term has become so prevalant that it is at risk of becoming generalized and widely misunderstood. Perhaps teachers at large would be well served through case studies, or a specific exploration of the most common abuses of social justice within our profession. Sources Document 1
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20171042Legal Aspects of Teaching Music Students with DisabilitiesCrocket, J. (2017). Legal Aspects of Teaching Music Students with Disabilities. Music Educators Journal 104 (2), 45-50. Jean B. Crockett is a professor of special education at the University of Florida, Gainesville.K-12 Music EducatorsInspirationThe public education of students with disabilities in the United States is governed by federal policies that promote school improvement, protect students from discrimination, and provide those who need it with special education and related services to meet their individual needs. This article explains the legal aspects of teaching students with disabilities in the context of music education. Topics address promoting student achievement through the Every Student Succeeds Act, protecting individual access to the music curriculum under Section 504 and the Americans with Disabilities Act, and providing music instruction to special education students under the Individuals with Disabilities Education Act. Guidelines are provided for making music instruction for students with disabilities both legally correct and educationally meaningful.access, achievement, curriculum, disability, ESSA, IDEA, justice, music, public edu- cation, Section 504InclusionInclusiveness in Music Education; AdvocationJoseph Abramo, “Disability in the Classroom: Current Trends and Impacts on Music Education,” Music Educators Journal 99, no. 1 (2012): 39–45.; Christina A. Samuels, “Special Education Community Gears Up for Advocacy,” Education Week 35, no. 15 (2016): 21.; Alice Hammel and Ryan Hourigan, Teaching Music to Students with Special Needs: A Label-Free Approach (New York: Oxford University Press, 2011).Music Education; Special Education; Music EducationUsing 504, ADA, IDEA, and FAPE, Jean Crockett describes the legalities of having students with disabilities in the classroom. Crocket uses an example of a case study to explain child-find, least restrictive environment, and individualized education programs. Crocket suggests that music educators stay in communication with students, parents, and special education teachers to support students with IEPs. Crockett also states that it is important to advocate for students with disabilities and communicate with special education teachers to arrange schedules so that students can participate and collaborate making music with peers. However, she doe not provide strategies for any specific IEP. Sources Document 2
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20171042Equity in Music Education: Being “Schooled” on DisabilityDobbs, T. (2019). Equity in Music Education: Being "Schooled" on Disability. Music Educators Journal 104 (3), 51-53. Teryl Dobbs is an associate professor and chair of music education at the University of Wisconsin–Madison. K-12 Music EducatorsInspirationNADisability, Choir, Equity, Music Education, AcceptanceEquity; InclusionDisability Theory; Theory of Radical AcceptanceTobin Siebers, Disability Theory (Ann Arbor: University of Michigan Press, 2008).; My theory of radical acceptance is rooted in the works of Martin Buber, Emmanuel Levinas, and Arthur Green (see sidebar on “Resources for Further Exploration”). To radically accept each other requires us to “see the face of the Other” fully and acknowledge our responsibility for that individual (Levinas), to be in rela- tionship with each other as subjects rather than objects (Buber), and to absorb, then enact, the understanding that each human is one of a kind and cannot be replaced (Green).Philosophy; Special EducationChoral educator Theryl Dobbs uses a personal story to provide strategies to work with students with disabilities. Dobbs believes that students with disabilities and students without disabilties can work together through what she states as Radical Acceptance," where people naturally accept each other's differences. Sources Document 2
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20171042Learning Together: The Instinct to Do Good and Peer-Assisted Strategies That WorkBrown, L. S., Draper, E. A., Jellison, J. A. (2017). Learning together: The Instinct to do good and peer assisted strategies that work. Music Educators Journal, 104 (2), 15-20.Laura S. Brown is an assistant professor of Music Therapy at Ohio State University.

Ellary A. Draper is an assistant professor of Music Therapy University Alabama/

Judith Jellison is the Mary D. Bold Regen Professor of Music and Human Learning at the University of Texas in Austin. Jellison holds a PHD in music education from Florida State University in Tallahassee.
AllPedagogyChildren have a natural proclivity to teach, help, cooperate, and empathize with others, and these interactions can have positive benefits for children’s emotional, social, and cog- nitive development. This article is about ways music teachers can design peer-assisted music learning activities that will benefit everyone in the class and ultimately contribute to creating a classroom culture of inclusion.Social Emotional Development, Collaborative Classrooms, Peer Assisted Learning Strategies, Diverse Populations, Inclusion, Students with Disabilities, Music Therapy, General Music, Ensembles
Collaborative Learning; InclusionPeer Assisted Learning For research and resources on socioemo- tional learning and learning objectives, see http://www.casel.org/, a collaborative for academic, social, and emotional learning.Education; Music EducationBrown, Draper, and Jellison focus on previous research to describe peer assisted learning. The authors provide statistics about the effect on students, and other ways peer assisted learning helps students. They use previous research to explain strategies specific for music education. Sources Document 2
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20171042Understanding the Mind of a Student with Autism in Music ClassHourigan R. M., Hammel, A. M. (2017). Understanding the Mind of a Student with Autisim in Music Class. Music Educators Journal 104 (2), 21-26. Ryan M. Hourigan is a professor of music education and the director of the School of Music at Ball State University, Muncie, Indiana; Alice M. Hammel is an instructor in music education at James Madison University Harrisonburg, Virginia.K-12 Music EducatorsPedagogyThis article offers a unique look into the cognitive processes of students with autism spectrum disorder in music classrooms. Concepts include theory of mind, weak central coherence, executive function, joint attention, and social attention. Behavior implications are also examined. Specific examples of support tools for the music classroom are provided.ASD, autism, cognitive processing, executive function, joint attention, music, social attention, theory of mind (ToM), weak central coherenceInclusionTheory of MindBrook Ingersoll and Allison Wainer,
“The Broader Autism Phenotype,” in
The Handbook of Autism and Pervasive Developmental Disorders, 4th ed., ed. Fred R. Volkar, Sally J. Rogers, Rhea Paul, and Kevin A. Pelphrey (Hoboken, NJ: John Wiley and Sons, Inc., 2014), 28–56.		Autism & Developmental DisordersHourigan and Hammel provide details about autism. They base teaching methods for music on the Theory of the Mind which is divided into four parts including: executive functioning; central coherence; engagement; and cognitive process. Sources Document 2
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20171042Steps to Designing Authentic Assessments for Students with Disabilities in Music ClassesVanWeelden, K., Heath-Reynolds, J. (2017). Steps to Designing Authentic Assessments for Students with Disabilities in Music Classes. Music Educators Journal 104 (2), 27-31.Kimberly VanWeelden is a professor of music education at Florida State University, Tallahassee; Julia Heath-Reynolds is an assistant professor of music education at Indiana State UniversityK-12 Music EducatorsPedagogyClassroom assessments are an opportunity to monitor student learning and in turn inform instructional decisions. Assessments also provide opportunities for students to participate in authentic music-making experiences. Using classroom music-making experiences as assessments may be particularly suitable for students with disabilities. Due to the nature of their disabilities, these students may not be able to participate in more formal types of assessments. This article includes information on authentic classroom assessments, typical accommodations used in administering tests for students with disabilities, and examples of alternative grade books that can be used in the music classroom.accommodation, alternative grade books, assessment, authentic assessment, class- room assessment, disability, music-making, Universal Design for Learning (UDL)Inclusion; AssessmentCollaborative Learning; adaption (music education specific“Supplementary Aids and Services,” http://www.parentcenterhub.org/repository/ iep-supplementary/.; Kimberly McCord and Emily H. Watts, “Collaboration and Access for Our Children: Music Educators and Special Educators Together,” Music Educators Journal 92, no. 4 (2006): 26–33.Special Education; Music EducationKimberly VanWeelden and Julia Heath-Reynolds list strategies to assist music educators with IEPs. In the article they place adaptions into 9 categories including: Environment, Staff Support; Pacing of Instruction; Presentation of subject matter; materials; assignment modifications; self-management; testing adaptions; social interactions. The two researchers suggest using the Universal Design for Learners. Furthermore, they suggest creating a detailed gradebook to keep track of learning difficulties specific to music and student progress. Sources Document 2
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20171042Recent and Continuing Initiatives and Practices in Special EducationDarrow, A. A., Adamek, M. S. (2017). Recent and Continuing Initiatives and Practices in Special Education. Music Educators Journal 104 (2), 32-37. Alice-Ann Darrow is the Irvin Cooper Professor of Music Therapy and Music Education at Florida State University, Tallahassee; Mary S. Adamek is the music therapy program director at the University of Iowa, Iowa City.K-12 Music EducatorsPhilosophyA number of initiatives in special education have occurred in the United States over the years, some mandated by amendments to the Individuals with Disabilities Education Act. Having a working knowledge of these initiatives allows music educators to have informed discussions with colleagues and parents and participate more fully in Individualized Education Program (IEP) meetings. Adopting special education practices that are appropriate to music education can also promote consistent and coordinated efforts on behalf of students with disabilities. This article includes summaries of current practices and initiatives in special education. For music educators who would like a basic understanding of their colleagues’ discipline, these summaries offer useful information that can facilitate the inclusion of students with disabilities.communication, disability, IDEA, IEP, inclusion, interdisciplinary education, music, special educationInclusionInclusion Extracurriculars; Inclusion Music Education; Universal Design for Learning (music education specific); Interdisciplinary Communication; Erin Vinoski, Emily Graybill, and Andrew Roach, “Building Self-Determination through Inclusive Extracurricular Programs,” Teaching Exceptional Children 48, no. 5 (2016): 258–65.; Mary Adamek and Alice-Ann Darrow, “Music Participation as a Means
to Facilitate Self-Determination
and Transition to Community Life
for Students with Disabilities,” in Intersection of Arts Education and Special Education, ed. Sharon Malley (Washington, DC: John F. Kennedy Center for the Performing Arts,
2012), 101–12, http://education .kennedy-center.org/education/vsa/resources/ FinalprofessionalpapersbookArticle6.pdf.
; Mary Adamek and Alice-Ann Darrow, Music in Special Education, 2nd ed. (Silver Spring, MD: American Music Therapy Association, 2010).; Adamek et al., “Successful Interdisciplinary Communication.”		Arts & Special Education; Music Education/Music Therapy; Music Education/Music TherapyIn this article, Darrow and Adamek use previous research in special education, neuroscience, and music education, to provide information for music educators about working with students that have disabilities. They explain the importance of first person language, adhering to IEPs, and communicating with special education teachers and staff in the school. The researchers base strategies on two frameworks: the Universal Design for Learning and Differentiated instruction. Similar to other articles, they do not provide specific ways to work with specific IEPs.Sources Document 2
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20171042“I Dream a World”: Inclusivity in Choral Music EducationFuelbreath, R., Todd, C. (2017) "I Dream A World" Inclusivity in Choral Music Education. Music Educatiors Journal 104 (2), 38-44.Rhonda Fuelberth is an associate professor and coordinator of graduation music education in the Glenn Korff School of Music at the University of Nebraska–Lincoln; Christy Todd is the director of choral activities at Rising Star Middle School in Fayetteville, GeorgiaChoral Music EducatorsPhilosophyThis article explores how choral music educators can facilitate access to meaningful music experiences for all students in their schools. In a changing landscape that honors equity and diversity, music education environments must also change to align with these values. To provide the optimal environment for successful inclusive practice, choral music educators should evaluate barriers to access in terms of scheduling, reconsider current curricular offerings, and imagine new solutions that support music learning for all students. Instead of structuring choral programs around traditional choral concerts and adjudications, directors can use the 2014 Music Standards and the framework of Universal Design for Learning to drive classroom content and acquire the flexibility needed to build inclusive classrooms.access, choral, growth, inclusive, inclusivity, recruiting, Universal Design for LearningInclusionUniversal Design for Learning; Inclusive barriers in music educationDavid Rose and Anne Meyer (with Nicole Strangman and Gabrielle Rappolt), Teaching Every Student in the Digital Age: Universal Design for Learning (Alexandria, VA: Association for Supervision and Curriculum Development, 2002); Alice-Ann Darrow, “Music Education for All: Employing the Principles of Universal Design to Educational Practice,” General Music Today 24, no. 1 (2010): 43–45; and Judith Jellison, Including Everyone: Creating Music Classrooms Where All Children Learn (Oxford, UK: Oxford University Press, 2015).; Charlene Ryan and Nicholle Andrews, “An Investigation into the Choral Singer’s Experience of Music Performance Anxiety,” Journal of Research in Music Education 57, no. 2 (2009): 108–26.Music Education; Music EducationRhonda Fuelberth and Christy Todd describe the Housewright Vision for 2020, which states that all people "regardless of age, cultural heritage, ability, venue, or circumstance..." should have access to participate in "high quality music experiences." The authors use a case study to describe the difficulties with having students with disabilities participate in ensemble competitions or festivals. They suggest ways to choose repertoire, and to think about barriers as stated by Hammel and Hourigan to plan instruction. Fuelberth and Todd also suggest using the Universal Design for Learning which allows students to explore concepts in various ways, and provide music educators with ways to use UDL in their classrooms. Sources Document 2
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20191053Jumping through Hoops: Troubling Music Teacher Dilemmas in the New Era of AccountabilityShaw, R. (2019). Jumping through hoops: Troubling music teacher dilemmas in the new era of accountability. Music Educators Journal, 105 (3), 23-29Ryan Shaw is an assistant professor of music education at Michigan State University in East Lansing, Michigan.K-12 Music Educators, AdministratorsInspirationConversations around changes to music teacher evaluation have publicly played out for the last decade. These discussions largely have focused on discrete aspects of the new accountability systems, including the particulars of observations, measuring student growth in non-tested grades and subjects, the motivation for changes to teacher evaluation, and myriad potential problems and unintended consequences involved. However, the underlying logic that drives these changes has been relatively ignored. I suggest that lurking beneath the surface of recent accountability systems is performativity, an approach to education that reorients schooling toward the competitive needs of the economy. In this “production” model, teachers are narrowly defined as effective if they produce specified results in the form of standardized test scores or successful completion of student learning objectives. This article offers vignettes of music teachers’ struggles under performativity to illustrate the dilemmas faced by conscien- tious educators, and it addresses some of their concerns.accountability, evaluation, performativity, teacher effectivenessMusic Teacher Accountability in correlation with performativity?? performativity, accountabilityMichael Bartos, “Performance and Performativity in Education,” Australian and New Zealand Journal of Sociology 26, no. 3 (1990): 351–67. Heinrich Mintrop and Gail L. Sunderman, “The Paradoxes of Data-Driven School Reform,” in The Infrastructure of Accountability: Data Use and the Transformation of American Accountability, ed. D. Anagnostopoulos, S. A. Rutledge, and R. Jacobsen (Cambridge, MA: Harvard University Press, 2013), 34–35. Sociology; EducationRyan Shaw used data from researchers and provided music educators with self evaluations to determine whether music educators were using measuring learning outcomes. Shaw determined that music educators who felt only sense of accountability responded by using similar pretests and posttests to ensure growth. However, Shaw discovered that music educators who felt they were part of the decision making progress in measuring growth, were more willing to measure growth honestly. Interestingly, Shaw writes about the No Child Left Behind Act and the Race To The Top Act. Shaw believes that both acts implemented standardized testing and that standardized testing has been narrowed to math and reading. Therefore, many music educators are employing literacy and mathematics as part of the msuic education curriculum because of low test scores. Sources Document 2
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20191053High-Impact Experiences through Commissioned Works and Composer ResidenciesEwing, M. (2019). High impact experiences through commissioned works and composer residencies. Music Educators Journal, 105 (3), 33-35.Micah Ewing is the supervisor of music at Sycamore Community Schools, Cincinnati, Ohio.Instrumental & Choral Music Educators, Secondary Music EducatorsInspirationMusic students, their teachers, composers, and school communities experience deep, long-lasting growth in music-making and artistic perspective when provided with opportunities to engage in the commissioning of new musical works in conjunction with composer residencies. Through consideration of relevant literature and case-study examination, the article defines and articulates possible formats for commissioned works projects with composer resi- dencies. A discussion of the beneficial outcomes of such projects for student musicians, music educators, composers, and constituent communities addresses reasons for coordinating proj- ects of this nature. The article concludes with a step-by-step guide that lays out how educators can organize a commissioned work and composer residency project for their students that is appropriate for their specific educational context.Instrumental & Choral Music Educators, Secondary Music EducatorsConnections with CommunityConnections with Community in music educationLaura K. Sindberg, “Piece by Piece: The Story of the Central Bands Commissioning Project,” Music Educators Journal 91, no. 3 (2005): 25–28.Music EducationMicheal Ewing provides a list for music educators to lead and provide opportunities for students to experience a composer in residence. He believes composer residincies impact students and teachers in positive ways. Ewing states that composer residencies help students and teachers connect with their community. He also believes that through composer residencies, students take ownership of the music they are playing and are therefore more professional in their approach to performing the music. Sources Document 2
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20191053The Tanglewood Symposium: Popular Music Pedagogy from 1967 to TodayGurgel, R. (2019). The Tanglewood Symposium: Popular Music Pedagogy from 1967 to Today. Music Educators Journal, 105 (3), 60-65. Ruth Gurgel is an assistant professor of music education and an elementary specialist at Kansas State University, Manhattan.Secondary music educatorsInspirationThe Tanglewood Symposium of 1967 is an event now looked back on as a water- shed moment in the field of music education. At the Symposium, societal happenings of the day provided the background for the discussions, including the Civil Rights movement and the explosion of rock’n’roll. At the Symposium, members held important conversations about popular music and the future of music education. This article analyzes the documentation surrounding the Symposium and suggests areas of music education that still remain a part of the hidden curriculum supporting inequity and how these areas can be brought to light and addressed in popular music pedagogy today. cross-cultural competency, popular music pedagogy, rock/popular music, Tangle- wood Symposium, teaching issues, types of musicPopular Music EducationNo Theory ReferencedNo Theory ReferencedNo Theory Referenced Ruth Gurgle recounts the Tanglewood Symposium that happened in 1967. At the symposium, members decided that all genres of music, including “popular teenage music,” avante-garde, and american folk music should be represented. Members of the symposium were concerned that older generations could understand and empathize with younger generations by listening to “teenage music” such as the Rolling Stones, Simon & Garfunkel, and The Grateful Dead. Gurgle states that the Tanglewood Symposium improved education and that music educators are continuing to ask their ensembles perform or listen to popular music. Gurgle believes that keeping popular music in music education will engage students and help them understand cultures different from their own. Sources Document 2
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20191053An Emerging Process of Assessment in Music EducationPayne, P. D., Burrack, F., Parks, K., Wesolowski, B. (2019). An Emerging Process of Assessment in Music Education. Music Educators Journal, 105 (3), 36-44.Phillip D. Payne is an associate professor of music education and chair of the Music Education Division at Kansas State University in Manhattan; Frederick Burrack is a professor of music education, chair of graduate studies in music, and director of the Of ce of Assessment at Kansas State University; Kelly A. Parkes is director of student teacher and initial certification and chair of the Teacher Education Policy Committee at Teachers College, Columbia University in New York City; Brian Wesolowski is an associate professor of music education at the University of Georgia in Athens.K-12 Music EducatorsPedagogyAn effective assessment process can improve student performance, guide instructional decisions, and advocate for a music program. Strategies include designing and administering reliable and valid measures of student learning and using assessments to enhance feedback, longitudinal documentation of assessment results for accountability, and a transparency of assessment processes and findings for increased advocacy. An emerging process of assessment is inherent through the Model Cornerstone Assessments and contributes to an evolving assessment culture within K–12 music education.assessment, documentation, K–12 music education, Model Cornerstone AssessmentsAssessment Assessment in Music Education; Testing American Educational Research Association (AERA), American Psychological Association (APA), and National Council on MeasurementPhsychologyIn this article researchers use previous about testing and assessment to develop strategies and tools for music educators to assess their students. Sources Document 2
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20191053Teaching about the KoreanGanggangsullaeFolk Tradition in General Music ClassYi, G. J. (2019). Teaching about the Korean Ganggangsullae Folk Tradition in General Music Class. Music Educators Journal, 105 (3), 45-53.Gina J. Yi is an assistant professor of music education at Wheaton College Conservatory of Music in Wheaton, Illinois.Elementary Music EducatorsPedagogyKorean folk music has been rarely included in the Western music curriculum due to limited materials for music teachers to use. This article introduces Ganggangsullae, a promi- nent Korean folk tradition (called a “folk play” by Koreans) that incorporates singing and dancing, and discusses its historical background and the unique elements of Korean folk music that it illuminates: Korean rhythm, minyo singing, dancing, and dialogue play. In addi- tion, this article offers practical teaching guidance for incorporating Ganggangsullae into the elementary general music classroom.cultural tradition, elementary general music, folk play, Ganggangsullae, Korean music, minyo singingFolk Music Education; Inclusionmulti-cultural music educationWilliam M. Anderson and Patricia Shehan Campbell, eds., Multicultural Perspectives in Music Education (Lanham, MD: Rowman & Littlefield Education, 2010), 3.; Anderson and Campbell, Multicultural Perspectives, 2–3; Michael L. Mark, “Multicultural Music Education in the United States,” The Bulletin of Historical Research in Music Education 19, no. 3 (1998): 177–86; and Terese M. Volk, “The History and Development of Multicultural Music Education as Evidenced in the Music Educators Journal, 1967–1992,” Journal of Research in Music Education 41, no. 2 (1993): 137–55.Music EducationGina Yi states that the tradition of the Korean Ganggangsullae (a folk play with music) can enhance elementary music education in several ways. First, this tradition meets the National Music Education Standards of Responding, Connecting, Performing, and Creating. Second, this tradition exposes students to music that is different from what they are exposed to normally. Yi provides some of the songs used in Ganggangsullae, as well as ways these plays are performed, and translations. Sources Document 2
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20191053Inside Out: Integrating Creative Practices into the Orchestra ClassroomPark, L. (2019). Inside Out: Integrating Creative Practices into the Orchestra Classroom. Music Educators Journal, 105 (3), 54-59. Leo Park is a music educator at Northside College Preparatory High School in Chicago, Illinois.Secondary music educators, Orchestral Music EducatorsPedagogyImprovisation-based exercises may be the key to unlocking students’ innate musical creativities. This article focuses on two exercises—drone improvisation and circle stringing— that can be easily integrated into the orchestra curriculum and adapted to the learning needs of the individual student, small-ensemble, and large-ensemble settings. Of critical importance is fostering an environment of musical discovery and exploration that reaches beyond the purview of traditional ensemble-based classroom experiences. Such an approach promotes a comprehensive pedagogy that honors tradition, values experimentation, and embraces the contemporary.circle stringing, creativity, drone improvisation, ensemble improvisation, orchestraCreativity & ImprovisationCreativity & Improvisation in the orchestra classroomNeuroscience; Music EducationLeo Park bases his mehtods on previous research regarding improvisation and creativity. As a practitioner, Park employs methods of imrovisation in his classroom. Park used two methods, improvisation with a drone, and circle singing. The methods helped students understand how to inneract and create interesting art. Sources Document 2
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20191053Democracy in the Middle School Music ClassroomDraper, A. R. (2019). Democracy in the Middle School Music Classroom. Music Educators Journal 105 (3), 17-22.Amanda R. Draper is a Ph.D. candidate in music education at Northwestern University in Evanston, Illinois.Middle school music educators, general music educatorsPhilosophyIncluding democratic principles in a traditional public school general music program can be challenging, but the benefits are significant, including greater student independence and motivation for learning. Democratic practice is both an approach to teaching and an outcome of the experience. It prepares students to be participants in society by providing space for student voices and encouraging students to think deeply and ask challenging questions. It also involves negotiating a rebalance of control in which the music teacher is more of a teacher-facilitator, learning alongside the students and allowing their choices and decisions to be a driving force in the learning process. This article presents one model for incorporating democratic ideals in middle school general music.classroom management, democratic practice, democracy, independence, middle schoolAction Research Democracy in EducationDemocracy in music educationJohn Dewey, Democracy and Education: An Introduction to Philosophy of Education (New York: Macmillan, 1916). Nel Noddings, Education and Democracy in the 21st Century (New York: Teachers College Press, 2013). Democracy in Music Education
Paul Woodford, Democracy and Music Education: Liberalism, Ethics, and the Politics of Practice (Bloomington: Indiana University Press, 2005), 85. 		Philosophy, Education, Music EducationAmanda Draper used theories of democratic practices in education and music education from John Dewey, Nel Noddings, and Paul Woodford to empoy democratic practices in her own music classrooms. Draper incorporated students interests in her classroom and allowed students to make decisions about their own learning. By employing democratic practices, Draper found that students gained confidence, and were excited to share and collaborate with their peers. Sources Document 2
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20191053Equity in Music Education: The Music We Speak: Language and Power in the Urban Music ClassroomLewis, J. (2019). Equity in Music Education: The Music We Speak. Music Educators Journal, 105 (3), 66-68Judy Lewis is an assistant professor of music teaching and learning and coordinator of the Master of Music in K–12 Contemporary Teaching Practices in the Thornton School of Music at the University of Southern California, Los Angeles.K-12 Music Educators, General Music Educators, Elementary Music EducatorsPhilosophyNAlanguage, sociocultural, sociopolitical, social justiceInclusion; Equitylanguage; Democracy in music educationHenry Giroux, Border Crossings: Cultural Workers and the Politics of Education (New York: Routledge, 2005). ; Elizabeth Gould, “Devouring the Other: Democracy in Music Education,” Action, Criticism, and Theory for Music Education 7, no. 1 (2008): 29–44.Education; Music EducationJudy Lewis believes that the language music educators speak reflects previous music education practices, environments, and traditions. Lewis states that the music education culture is dominated by white heterosexual males and that this is reflected in music students are listening to and playing. Lewis states that it is important for students to recognize and learn how cultures besides there own use language to define music.Sources Document 2
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20191054Health and Wellness for In-Service and Future Music Teachers: Developing a Self-Care PlanKuebel, C. (2019). Health and Wellness for In-Service and Future Music Teachers: Developing a Self-Care Plan. Music Educators Journal, 105(4), 52–58. https://doi.org/10.1177/0027432119846950Christa Kuebel - Assistant Professor of Music Education at the University of Central ArkansasAllInspirationResearchers have published an increasing number of reports about undergraduate music students suffering from depression, anxiety, and stress as well as of in-service teachers’ experiences with burnout. Whether an undergraduate music student, a teacher, or a teacher educator, those in our profession need to increase awareness of the prevalence of stress and mental health concerns in music education. Along with presenting information to increase mental health literacy, this article discusses the use of self-care as a form of stress reduction among current and future music educators.in-service music educators, mental health, mental health literacy, preservice music educators, self-careMental HealthBurnout

Self-Care

Conservation of Resources		Christina Maslach, “Understanding Burnout: Definitional Issues in Analyzing a Complex Phenomenon,” in Job Stress and Burnout, ed. Whiton Stewart Pain (Beverly Hills, CA: Sage, 1982), 29–40.

Raphailia Michael, “What Self-Care Is—and What It Isn’t,” World of Psychology, last modified August 13, 2016, https://psychcentral.com/blog/what-self-care-is-and-what-it-isnt-2/.

Gene M. Alarcon, Jean M. Edwards, and Lauren E. Menke, “Student Burnout and Engagement: A Test of the Conservation of Resources Theory,” Journal of Psychology: Interdisciplinary and Applied 145, no. 3 (2011): 223		PsychologyMaintaining perspective as a music educator is so difficult to do. Implementing regular self-care practice and space in our lives for activities outside of our occupational requirements can be one of the most challenging parts of the profession. I agree with the author that this should be a topic that is integrated into the undergraduate music education curriculum and that students should be guided in developing the agency to take control of this facet of their life. Sources Document 1
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20191054Using Music to Encourage Joint Attention for Students with Autism Spectrum Disorder: Attention as a Reciprocal RelationshipScholtens, M. C. (2019). Using Music to Encourage Joint Attention for Students with Autism Spectrum Disorder: Attention as a Reciprocal Relationship. Music Educators Journal, 105(4), 45–51. https://doi.org/10.1177/0027432119846954Mary Crum Scholtens - Elementary Music Educator and Choral Director in Mt. Pleasant, South Carolina. Elementary
General		PedagogyThis article describes effective ways for elementary general music educators to serve their special education students with autism spectrum disorder in the self-contained music classroom. It includes educational, social, and scientific rationales for selecting musical repertoire to support the development of joint attention communication skills for students on the more profoundly affected end of the autism spectrum. Many song titles are included, along with ideas for encouraging and eliciting vocal responses from the students. Resources, including a bibliography of related books and websites for source materials, are also provided.arts inclusion, ASD, autism spectrum disorder, fostering joint attention, repertoire for special learners, participatory songs, self-contained classrooms, special educationMusic, ASD, and AttentionJoint AttentionPeter Mundy and C. Françoise Acra, “Joint Attention, Social Engagement, and the Development of Social Competence,” in The Development of Social Engagement, ed. Peter J. Marshall and Nathan A. Fox (New York: Oxford University Press, 2006), 81–117.Psychology

Music Theapy		This article led me to wonder what the prevalance of self-contained music classrooms are. I also wonder how these techniques would change if they were to be applied to an instrumental music classroom or inclusive music classroom. I taught numerous students with disabilities and always felt ill-equipped to handle certain situations largely due to the size of my classes. Are we doing a disservice to students by placing them in those scenarios or is there a way to accomodate them so that they experience success?Sources Document 1
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20191054A Music Educator’s Guide to Saving the PlanetShevock, D. J., & Bates, V. C. (2019). A Music Educator’s Guide to Saving the Planet. Music Educators Journal, 105(4), 15–20. https://doi.org/10.1177/0027432119843318Daniel J. Shevock - Adjunct Instructor of Music at Penn State University

Vincent C. Bates - Associate Professor of Teacher Education at Weber State University 		AllPhilosophyAs music educators, we always teach much more than the musical concepts and skills outlined in music curriculum standards. In this article, we discuss how music teachers can address what we believe is the most pressing issue of our time: environmental degradation. We first outline some specifics of ecological literacy in music education. This will include discussion of some songs that could form the center of a music curriculum for increasing ecological literacy. Next, we discuss cultivating ecological literacy using local musical practices and sounds of nature. Finally, we share an example of soundscape pedagogy aimed at increasing awareness of and propensities to care for the natural environment and ecological diversity. These components, singing, songwriting, and soundscape composition, are recommended as part of an overall creative pedagogical approach.general music, teaching issues, ecology, environmental issues, ecomusicology, soundscape studiesEnvironmental ConservationEcological Literacy

Ecological Epistemology		Daniel J. Shevock, Eco-Literate Music Pedagogy (New York: Routledge, 2017)

Attilio Lafontant Di Niscia, “Sobre el proceso de adquisición de instrumentos musicales de El Sistema: Hacia una epistemología ecológica en la educación musical,” Revista Internacional de Educación Musical no. 5 (2017): 157–64.		Environmental ScienceInterestingly, the authors of this article implicate music education as a catalyst for environmental degredation. They specifically cite the use of materials in manufacturing instruments as well as the loss of traditional musical cultures within the field. This article seemed to be more appropriate for elementary and general music teachers who may be able to incorporate some of the songs and activities that the author suggests. Primarily having been a large ensemble director, my initial response was to wonder how I could possibly implement any of this within my own classroom. Sources Document 1
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20191054Developing Growth Mindset in the Ensemble RehearsalAdams, K. (2019). Developing Growth Mindset in the Ensemble Rehearsal. Music Educators Journal, 105(4), 21–27. https://doi.org/10.1177/0027432119849473Kari Adams - Doctoral Candidate/Teaching Fellow in Music Education at the University of North TexasElementary
Secondary
General
Instrumental
Choral
PhilosophyGrowth mindset, or the belief that talents and abilities are malleable and can grow, is known to hold immense benefits in the world of education. What benefits could it hold for our students’ musical growth as well? This article explores the many benefits of instilling a growth mindset into our ensembles by examining research in educational psychology and general music. This article provides an overview of the benefits of a growth mindset as well as strategies to help ensemble instructors implement the concept into the classroom.choir, ensemble, general music, growth mindset, psychology, rehearsalMindset in Large EnsemblesGrowth MindsetCarol S. Dweck, Mindset: The New Psychology of Success (New York: Ballantine Books, 2007).PsychologyThis article addresses what I view as an incredibly prevalant issue among music educators. It takes almost no effort to get caught up in the competitive and comparative cycle as a music educator. A shift in mindset from the product of your students to the relationships and growth that they show can do so much for the health of both the teacher and the class. I appreciate that the author provides examples of common pitfalls and specific examples of how to address each area. Sources Document 1
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20191054Promoting Sophisticated Word Use in the Elementary Music ClassroomRifai, A. (2019). Promoting Sophisticated Word Use in the Elementary Music Classroom. Music Educators Journal, 105(4), 28–36. https://doi.org/10.1177/0027432119846255Ayah Rifai - Elementary Music Educator and Independent Scholar in Historical Musicology/Music Theory and Music Education. Elementary
General		PhilosophyBecause acquisition of vocabulary has been shown to affect reading comprehension and verbal capacity, one initiative that has gained momentum in elementary schools is the promotion of sophisticated words across grade levels. Music teachers, like other educators, should provide a vocabulary-rich environment to encourage the use of academic language by all students. This article presents reasons for increasing children’s lexicons in any instructional setting and then offers strategies for inspiring word consciousness and integrating academic terms during instruction so that they become part of students’ quotidian language. Sample lists of terms are included.enrichment, language, lexicon, music, reading comprehension, vocabulary, word wallWord Use in the Music ClassroomLanguage AcquisitionMolly F. Collins, “Sagacious, Sophisticated, and Sedulous: The Importance of Discussing 50-Cent Words with Preschoolers,” Young Children 67, no. 5 (2012): 67.EducationThe content of this article is specifically related to elementary age children; however, this was something that I dealt with on a daily basis in my teaching. I think this is something that every music educator can incorporate into their classroom, not just in terms of the size and variety of vocabulary but in specific word choice as well. I think that vocabulary and verbal communication has so much to do with shaping the culture of your classroom and impacting the students in a positive (or potentially negative) way for the remainder of their lives. Sources Document 1
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20191054Eurhythmics, Sufficient Space, and the Role of Environment in the Child’s DevelopmentJacobi, B. S. (2019). Eurhythmics, Sufficient Space, and the Role of Environment in the Child’s Development. Music Educators Journal, 105(4), 37–44. https://doi.org/10.1177/0027432119849480Bonnie Schaffhauser Jacobi - Aassociate Professor of Music Education at Colorado State UniversityElementary
Secondary
General
Instrumental
Choral
PhilosophySufficient space is integral to high-quality music instruction, but what makes our space “sufficient”? This article provides historical and theoretical background about the role of space in learning and the use of movement as a tool for learning music. When their input is sought, children order space as a high priority within a school and frequently reference aesthetic aspects of the environment. The structure of the educational philosophy of Reggio Emilia (a municipality in northern Italy) is proposed as a model for ways that music educators can envision learning space. By elevating the classroom environment to the level of a “third educator” and inviting input from the child, we may be able to better address challenges of space and build music-learning environments that exceed “sufficiency.”aesthetics, environment, eurhythmics, learning, movement, music, spaceChild DevelopmentMultiple Intelligences

Prepared Environment		Howard Gardner, “The Theory of Multiple Intelligences: As Psychology, as Education, as Social Science” (address, José Cela University, Madrid, Spain, October 22, 2011), http://www.pz.harvard.edu/sites/default/files/The%20Theory%20of%20MI%20-%20As%20Psychology....pdf.

John Dewey, “The Development of Attention,” in The School and Society (Chicago: University of Chicago Press, 1915), 141.

“The Six Principles of the Montessori Prepared Environment Explained,” North American Montessori Center, March 18, 2009, http://montessoritraining.blogspot.com/2009/03/principles-of-montessori-prepared.html.

Monique Laurendau and Adrien Pinard, “Theoretical and Experimental Context,” in The Development of the Concept of Space in the Child (New York: International Universities Press, 1970), 9, 10–12, 18.		Psychology

Music Education		Space and environment are two factors that all music educators struggle with. As an itinerant teacher at one of my local elementary schools, I was asked to teach beginning band in the cafeteria, gym, hallway, and storage rooms. I appreciate that literature exists to document the negative impact these scenarios can have on student learning. It can be a very difficult situation as an educator to feel out of control of the space you are given and decide what kind of impact it will have. As stated at the beginning of the article, one of the suggestions is to just "leave that school" but with so many other factors at play, is that a realistic solution?Sources Document 1
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20191054Equity in Music Education: Sustaining the Courage to ChangeSalvador, K. (2019). Equity in Music Education: Sustaining the Courage to Change. Music Educators Journal, 105(4), 59–63. https://doi.org/10.1177/0027432119846841Karen Salvador - Assistant Professor of Music Education at Michigan State University and president-elect of the NAfME North Central DivisionAllPhilosophyBy examining beliefs and values and striving to enact these mindsets in classroom practices, music educators can find the inner strength to persist and even create change toward more inclusive and equitable music education. Considering the views of some thinkers on the topics of justice, inclusion, and honesty and how to achieve these in life and work can lead to self-evaluation and possible change.change, core beliefs, courage, inclusion, music for all, research, social justiceEquity & AccessSocial JusticeKathleen M. Brown, “Leadership for Social Justice and Equity: Evaluating a Transformative Framework and Andragogy,” Educational Administration Quarterly 42, no. 5 (2006): 700–45.EducationI like the way the author characterizes "personalizing" as a cognitive distortion that acts as a roadblock for teachers to openly recieve and reflect on their practice. I find the most vaulable part of this article to be the statements surrounding the question of "what can I do" because I think they can help in facilitating a more open mindset - perhaps even relating to the idea of growth mindset mentioned earlier in this issue. Sources Document 1
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20191061Approximation and Scaffolding in Modern BandBurstein, S., & Powell, B. (2019). Approximation and Scaffolding in Modern Band. Music Educators Journal, 106(1), 39–47. https://doi.org/10.1177/0027432119857801Scott Burstein - Assistant Professor of Music Ed & Technology, Montclair State University

Bryan Powell - Director of Teaching and Learning at Little Kids Rock
Secondary
Instrumental		PedagogyMany K–12 teachers face hurdles when it comes to running a Modern Band, including the pedagogical challenges of facilitating large scale ensembles with unfamiliar repertoire and instruments. Approximation and scaffolding are two important tools teachers can use to help learners thrive in this environment. This article uses music examples to demonstrate how to approximate popular songs in a variety of ways, providing accommodations and adaptations for students of all skill levels to give all students an opportunity to learn. This article outlines how scaffolding in the Modern Band classroom allows for whole-class instruction while keeping advanced students motivated without alienating beginning students.accommodations, adaptations, approximation, curriculum, funk, Modern Band, popular music, scaffoldingPopular Music Education

Modern Band		Approximation (no citation)

Scaffolding		Dennis McInerney and David Putwain,
Developmental and Educational
Psychology for Teachers: An Applied
Approach (New York: Routledge,
2016).		PsychologyThis article provides a practical roadmap for K-12 educators who are interested in implementing Modern Band techniques in their classroom but may have little to no experience doing so. The authors demonstrate the scaffolding and approximation techniques by outlining a step-by-step approach to teaching “Uptown Funk” in a Modern Band setting. This process could easily be transferred to additional pop songs, effectively creating a usable template for music educators.

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20191061Popular Music in Choir: Helping Students “Find Their Voices”Kastner, J. D., & Menon, S. (2019). Popular Music in Choir: Helping Students “Find Their Voices.” Music Educators Journal, 106(1), 48–54. https://doi.org/10.1177/0027432119856083Julie Derges Kastner - Associate Professor/Music Ed Chair, University of Houston

Saleel Menon - Choral Director, Ridge Point High School
Secondary
Choral
PedagogyDespite renewed interest in a cappella singing in mainstream culture, there are relatively few opportunities for vocal students to participate in popular music in choir, especially while using the learning processes of real-world musicians. In this article, we describe possibilities for using popular music to support singing with good technique, developing music literacy, and exposing students to new repertoire. Additionally, we explore how choir teachers can incorporate popular music into their classes using student-led creative projects as well as how they can develop parameters and scaffolding to help facilitate students’ learning in these activities. Finally, we include practical strategies for choir teachers at any level and describe how these projects have helped our students “find their voices” by developing their musicianship and expressing their creativity.a cappella, choir, creativity, informal music learning, popular music, repertoire, student-led projectsPopular Music EducationLiteracy

Culturally Responsive Teaching

Informal Learning

Scaffolding		James Paul Gee, Social Linguistics and Literacies (London: Routledge, 2008), 2

Geneva Gay, “Preparing for Culturally Responsive Teaching,” Journal of Teacher Education 53, no. 2 (2002): 106.

Sharon Davis, “Informal Learning Processes in an Elementary Music Classroom,” Bulletin of the Council for Research in Music Education 198 (2013): 23–50.

David Wood, Jerome S. Bruner, and Gail Ross, “The Role of Tutoring in Problem Solving,” Journal of Child Psychology and Psychiatry 17 (1976): 89–100		Linguistics

Education

Psychology		This article mitigates some pitfalls that are commonly associated with incorporating popular music into the traditional choral ensemble classroom. The authors immediately address possible concerns and outline specific projects that can be put to immediate use in the classroom. The content regarding music literacy and culturally responsive pedagogy is incredibly broad and does not achieve the same effect as the rest of the included topics. These ideas may have been better utilized as common themes throughout each project, with specific examples of how teachers can incorporate music literacy or culturally responsive pedagogy into the introduction of popular music.
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20191061Mixing It Up: Sound Recording and Music Production in School Music ProgramsClauhs, M., Franco, B., & Cremata, R. (2019). Mixing It Up: Sound Recording and Music Production in School Music Programs. Music Educators Journal, 106(1), 55–63. https://doi.org/10.1177/0027432119856085Matthew Clauhs - Assistant Professor of Instrumental Music Education, Ithaca College

Brian Franco - Music Teacher, Skaneateles School District

Radio Cremata - Associate Professor/Chair of Music Education, Ithaca College
Secondary
General		PedagogyRecent advances in music technology include practical tools for sound recording and production in school music classrooms. Secondary school music production classes allow students to make meaningful connections between school music and the music in their own lives. We offer several projects for teaching music production and sound recording; provide examples of authentic, performance-based assessments; and identify opportunities for collaboration through digital means. These projects are particularly well aligned with the United States’ Core Arts Standards related to creating music and may widen the door for students who are less interested—or less able to participate—in traditional bands, orchestras, and choirs or music appreciation electives.Core Arts Standards, music production, popular music, sound recording, technologyMusic ProductionDeterritorialization

Collaborative Learning		Radio Cremata and Bryan Powell, “Online Music Collaboration Project: Digitally Mediated, Deterritorialized Music Education,” International Journal of Music Education 35, no. 2 (2017): 302–15.

Evan S. Tobias, “Toward Convergence: Adapting Music Education to Contemporary Society and Participatory Culture,” Music Educators Journal 99, no. 4 (June 2013): 29–36		Music EducationThis article presents an interesting argument for the use of technology and music production classes as a tool of inclusion within school music programs. The authors promote the introduction of music technology classes as a justification for the relevance of school music programs, citing student interest and administrator desire to reach a larger number of students. Potential roadblocks are not addressed in this article, including program funding, technology access, and potential scheduling issues.

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20191061Another Perspective: Inquiry, Context, and Popular Music EducationTobias, E. S. (2019). Another Perspective: Inquiry, Context, and Popular Music Education. Music Educators Journal, 106(1), 64–66. https://doi.org/10.1177/0027432119857521Evan S. Tobias - Associate Professor of Music Education at Arizona State UniversityAllPhilosophypopular music, equity, cultural appropriation, context, curriculumPopular Music EducationThe structure of this article provides an interesting look into the context of popular music within exisiting structures. I think this approach may be more widely recieved by current teachers in the field, as it can be hard to think that the only way to incorporate popular music is to restructure an existing curriculum. Sources Document 1
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20191061Popular Music Education: A Call to ActionPowell, B., Smith, G. D., West, C., Kratus, J. (2019). Popular Music Education: A call to action. Music Educators Journal, 106 (1), 21-24Bryan Powell is an assistant professor of music education and music technology at Montclair State University, Montclair, New Jersey.

Gareth Dylan Smith is a visiting research professor of music at New York University.

Chad West is an associate professor of music education at Ithaca College in Ithaca, New York.

John Kratus is an independent scholar and a music professor emeritus of music education at Michigan State University.		K-12 Music EducatorsPhilosophyThis is the editors’ introduction to the Special Focus Issue on Popular Music Educa- tion. Also included is a forward from Robert A. Cutietta, editor of the 1991 Music Educators Journal Special Focus Issue on Popular Music Education.Band, choir, orchestra, song writing, popular music education, composition, improvisation, music technology, diverse populationsPopular Music EducationPopular Music Education“The Tanglewood Declaration,” in Documentary Report of the Tanglewood Symposium, ed. Robert A. Choate (Washington, DC: Music Educators National Conference, 1968), 139.Music EducationAuthors in this article argue that music education should include popular music. Researchers refer back to the 1967 Tanglewood Symposium that stated students should be exposed to multiple genres of music including popular music. The researchers state there is a gap between popular music and the music children are learning in schools, and therefore to reach more children and help them develop an enjoyment for music, that music educators need to use music that students are interested in and listening to. Sources Document 2
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20191061Engaging with Popular Music from a Cultural Standpoint: A Concept-Oriented FrameworkNiknafs, N. (2019). Engaging with popular music from a cultural standpoint. Music Educatiors Journal, 106 (1), 25-30.Nasim Niknafs is an assistant professor of music education at the University of Toronto in Ontario, Canada.Secondary music educatorsPhilosophyThe last two decades in the North America have seen a resurgence of scholarly and practitioner activities advocating for integrating more popular music in music classrooms both through repertoire and pedagogy. However, the emphasis has been on Western-oriented popular music practices, neglecting those of other cultures, even though there is a major increase in population diversity occurring in the United States and Canada. This article examines the concept-oriented framework, through which, instead of exploring popular music geographically, one can engage with the wider concept of popular music across cultures. The framework consists of a central concept selected by music teachers and students and is contextualized by various areas of exploration. Popular music can play an influential, transformative, and socially just role in improving numerous situations.concept-oriented framework, culture, diversity, popular music, protest music, social justiceEquity/Inclusion; Popular Music EducationConcept Oriented Framework in Music EducationThe malleability of this framework allows teachers to adapt it to their classrooms depending on the kinds of music lessons taught under the 2014 Music Standards (PK–8 General Music, Composition/ Theory, Music Technology, Guitar/ Keyboard/Harmonizing Instruments, and Ensemble).Music EducationNiknafs uses the concept-oriented framework, which describes how students see themselves in their world and develop comprehensive understanding, to argue that popular music should be used in classrooms. She believes students learn about cultures through popular music and that this is important for students to learn to collaborate and understand each other. Niknafs also believes it is important for children to be exposed to popular music because some of them may relate to artists or the issues artists are responding to. Niknafs states that popular music is not necessarily the music the light rock and roll that appeals to teenages, but instead music that is written in response to political or other issues. One example Niknafs provides is using protest music for students to learn about the South African Partide. Sources Document 2
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20191061A Return to Amateurism in Music EducationKratus, J. (2019). A Return to Amateurism in Music Education. Music Educators Journal, 106 (1), 31-37.
John Kratus is an independent scholar and a music professor emeritus of music education at Michigan State University, East Lansing.K-12 music educators, instrumental and choral music educatorsPhilosophyThis is the editors’ introduction to the Special Focus Issue on Popular Music Educa- tion. Also included is a forward from Robert A. Cutietta, editor of the 1991 Music Educators Journal Special Focus Issue on Popular Music Education.amateur, ensemble, large ensembles, music-making, popular music, semiprofessionalism Popular music educationAmateurismJames L. Mursell, “Principles of Music Education,” in The Thirty-Fifth Yearbook, Part II: Music Education, National Society for the Study of Education (Bloomington, IL: Public School Publishing Co., 1936), 10.music educationJohn Kratus believes the competition of bands in 1923 is what lead to the idea that students had to be treated as professional musicians. Rather than focusing on competitions, Kratus believes music educators should be more focused on creating amateur music. Kratus uses case studies and research to argue that students should develop talent naturally, and should be playing in ensembles or singing for pleasing asthetics and joy. The band, choral, and orchestral ensembles performing at NAFME are creating music above amateur, and sometimes professional levels. Therefore, is surprising to see that this article was included in the Music Educators Journal. Sources Document 2