“Finding the Other Half of Me”: Culture-Based Approaches to Music Education in Hawaiʻi

2021 ◽  
pp. 002242942110186
Author(s):  
Kate R. Fitzpatrick

The purpose of this study was to examine how Hawaiian music teachers describe their uses of Hawaiian culture–based educational approaches in the music classroom. The theoretical lens of culture-based education framed the study in that it emphasizes increased attention to questions of cultural restoration within Indigenous communities. A collective descriptive case-study design was used to illuminate the complexities and particularities of the phenomenon of Hawaiian culture–based education utilized by four participant music teachers in their own particular contexts. Data collection included three interviews with each teacher participant, a student focus group interview at each school site, and field notes taken from in-person observations of each music classroom. Analysis revealed four themes central to the participants’ experiences, including teachers’ diverse approaches to culture-based education, their sources of cultural understanding, how they addressed or navigated challenges, and the multiple layers of meaning that they and their students derived from these culture-based approaches. Particularly compelling were findings related to each teacher’s identity and relationship to Hawaiian culture, complicated issues of authenticity related to performing and teaching Hawaiian music, and the centrality of positive relationships to culture-based approaches.

2020 ◽  
Vol 33 (3) ◽  
pp. 58-60
Author(s):  
Chiao-Wei Liu

Cultural diversity is not a new concept in the field of music education. Yet minoritized groups continue to face systematic discrimination. Given the shifting cultural realities, how we as music teachers move beyond recognizing diversity but sustain the various cultural and linguistic ways of being of our students becomes a crucial question. I explore the concept, culturally sustaining pedagogy, as coined by H. Samy Alim and Django Paris and offer some pedagogical approaches for music teachers to consider in this column.


Author(s):  
Ian Cicco, M.M.Ed.

The purpose of this study was to examine the sociocultural roots of folk songs from the perspective of renowned folklorist Henry Glassie. Dr. Henry Glassie holds the rank of Professor Emeritus at Indiana University, where he previously served on the faculty for the Department of Folklore and Ethnomusicology. Primary sources included Glassie’s archived collection of folk song transcriptions, recordings, and field notes from the Appalachian region between 1961-1967, housed at the Archives of Traditional Music at Indiana University. A total of 1,665 titles from elementary general music sources were cross-referenced with Glassie’s collection, 26 of which appeared in the archived account. Two oral history interviews with Glassie revealed that folk songs that are commonly used in elementary general music classrooms have historical roots of which teachers may be unaware. The songs in this study raise ethical and moral questions regarding their use in the general music classroom and suggest that teachers carefully research folk songs and their related meanings.


2021 ◽  
Vol 107 (4) ◽  
pp. 35-41
Author(s):  
Jared B. Critchfield

Most music teachers desire to positively influence the development of their students’ character; however, the practicalities of doing so have been understudied in music education. This article draws on research from the related field of sports education and presents possible strategies for developing strong character in music students. Cultivating a moral atmosphere, developing a teaching orientation that encourages student mastery, and listening to student perceptions about their experience in the music classroom are research-driven approaches that music educators can use to encourage positive character development in music students.


2020 ◽  
Author(s):  
◽  
Amy Haddock

This qualitative study examined the stories of tenured rural K-12 music teachers in northwest Missouri. The study sought to determine the reasons tenured teachers remain in rural public settings. Guided by the conceptual underpinnings of retention, rural education, and rural music education, the researcher conducted interviews with teachers and administrators, analyzed documents, and analyzed field notes collected from the six school district building sites employing the participants. Completed research helped to identify three emerging themes: (a) scheduling, (b) administration, and (c) culture. The six participating music teachers agreed the frustrations associated with scheduling could be overcome when transparent communication with administration was coupled with continual student rapport building over time. Recommendations for rural administrators, professors of pre-service music teachers at institutions of higher education, and implications for future research relevant in rural music education settings were included.


2020 ◽  
Vol 39 (1) ◽  
pp. 27-37
Author(s):  
Claire Majerus ◽  
Donald M. Taylor

The purpose of this study was to investigate elementary music teachers’ perceptions of paraprofessional participation in the classroom and to examine the extent to which instructors provided preparation for their paraprofessional colleagues. Five hundred and four members of the National Association for Music Education completed a 32-item survey utilizing a 3-point Likert-type scale ( strongly agree = 3, neither agree nor disagree = 2, strongly disagree = 1). Music teachers indicated that they need help with behavioral reinforcements and transitions in the classroom (e.g., entering, exiting, and moving between activities). They also needed paraprofessionals to adapt music activities for students spontaneously during class, but they provided little to no guidance or training for their colleagues. Out of 504 participants, only 8 (1.6%) indicated any kind of regular meetings with paraprofessionals and special education teachers outside the music classroom to discuss goals and strategies.


2019 ◽  
Vol 28 (3) ◽  
pp. 43-57 ◽  
Author(s):  
Andrea J. VanDeusen

While the United States is becoming increasingly diverse with regard to race, ethnicity, primary language, religion, and culture, many educators feel unprepared to teach students from socioculturally diverse backgrounds. In this case study, I explored the impact of a cultural immersion field experience on preservice music educators’ beliefs and assumptions about teaching students whose backgrounds differ from their own. Nine undergraduate music education majors were placed with one of two elementary music teachers in a community that has a large proportion of Arab and Muslim Americans and immigrants. Participants did not immediately recognize the ways in which culture affected music teaching and learning. Through firsthand experiences in classrooms and the local community, however, they developed greater empathy for and understanding of Arab and Muslim students, began to recognize their own implicit biases, and developed a deepened understanding of the impact of culturally responsive teaching in the music classroom.


2020 ◽  
Vol 38 (4) ◽  
pp. 582-592
Author(s):  
Andrew Goodrich

LGBTQIA+ (lesbian, gay, bisexual, transgender, queer, intersex, asexual) students face significant challenges that include peer harassment and health risks surpassing those of students who do not identify as being gay. Learning environments that include peer mentoring promote resilience and help LGBTQIA+ students gain a sense of well-being. Researchers in music education have recently begun to explore the various complexities that exist in the recognition of sexual orientation in the music classroom, yet research on how peer mentoring assists LGBTQIA+ students with resilience is noticeably absent. Drawing upon available educational research, the social-ecological framework of resilience served as the theoretical framework with how teachers can work with LGBTQIA+ students to become resilient through the process of peer mentoring. Five themes surfaced while conducting this review: the necessity of (a) setting the foundation for peer mentoring, (b) creating safe spaces, (c) encouraging socialization, (d) establishing leadership and identity, and (e) acknowledging intersectionality. Peer mentoring contributes to student well-being and positive sexual identity for LGBTQIA+ students. Salient concepts found in the literature can aid LGBTQIA+ students in the music classroom and inform future research in music education by portraying ways music teachers can use peer mentoring to create an environment of resilience for LGBTQIA+ students.


Author(s):  
Jillian Hogan ◽  
Ellen Winner

Music making requires many kinds of habits of mind—broad thinking dispositions potentially useful outside of the music room. Teaching for habits of mind is prevalent in both general and other areas of arts education. This chapter reports a preliminary analysis of the habits of mind that were systematically observed and thematically coded in twenty-four rehearsals of six public high school music ensembles: band, choir, and orchestra. Preliminary results reveal evidence of eight habits of mind being taught: engage and persist, evaluate, express, imagine, listen, notice, participate in community, and set goals and be prepared. However, two habits of mind that the researchers expected to find taught were not observed: appreciate ambiguity and use creativity. These two nonobserved habits are ones that arts advocates and theorists assume are central to arts education. The chapter discusses how authentic assessment of habits of mind in the music classroom may require novel methods, including the development of classroom environments that foster additional levels of student agency.


Author(s):  
Molly A. Weaver

The main purpose of this chapter is to synthesize the literature regarding courses for secondary instruments in the interest of making recommendations for promising practices. The chapter also is intended to “push boundaries from within the system” of music teacher education. That is, it is intended to be a resource for those who prepare preservice music teachers (PMTs) for the realities of P-12 school-based music education and who aspire to instill in these new colleagues a disposition toward change. The chapter is divided into six sections: importance of secondary instrument courses, characteristics and configurations of secondary instrument courses, focus and content of secondary instrument courses, peer teaching activities and field experiences within secondary instrument courses, recommendations for promising practices (including professional development beyond the preservice music education curriculum and an institutional model for secondary instrument courses), and future considerations.


Author(s):  
Michael Raiber

The impact of teacher dispositions on the professional development of preservice music teachers (PMTs) has been substantiated. This chapter describes an approach to dispositional development within the structure of an introduction to music education course. A teacher concerns model is used to organize this systematic approach through three developmental stages that include self-concerns, teaching task concerns, and student learning concerns. A series of 11 critical questions are presented for use in guiding PMTs’ dispositional development through these developmental stages. Activities to engage PMTs in the exploration of each of these questions are detailed for use by music teacher educators desiring to engage PMTs in dispositional development.


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