Rethinking the Elementary “Canon”: Ideas, Inspirations, and Innovations from Hip-Hop

2020 ◽  
Vol 107 (2) ◽  
pp. 58-65
Author(s):  
Adam J. Kruse ◽  
Donna J. Gallo
Keyword(s):  
Elementary School ◽  
Music Education ◽  
Culturally Responsive Teaching ◽  
Hip Hop ◽  
Culturally Responsive ◽  
Music Educators ◽  
Elementary Music ◽  
Responsive Teaching ◽  
Critical Importance ◽  
Elementary Music Education

This article offers perspectives on disrupting the typical elementary school “canon” through providing considerations and pedagogical orientations for including hip-hop. Three issues of critical importance in elementary music education are addressed: decentering Whiteness in elementary music, understanding hip-hop in relation to culturally responsive teaching, and establishing new pathways for musical creativity through hip-hop. Engaging with hip-hop both as a genre and the product of a culture offers music educators opportunities to meaningfully reconsider their practices.

scholarly journals The Impact of an In-Service Workshop on Cooperating Teachers’ Perceptions of Culturally Responsive Teaching

2016 ◽  
Vol 26 (2) ◽  
pp. 50-63 ◽  
Author(s):  
Constance L. McKoy ◽  
Rebecca B. MacLeod ◽  
Jennifer S. Walter ◽  
D. Brett Nolker
Keyword(s):  
Music Education ◽  
Learning Environments ◽  
Culturally Responsive Teaching ◽  
Culturally Responsive ◽  
Cooperating Teachers ◽  
Music Educators ◽  
Responsive Teaching ◽  
Service Program ◽  
Teachers Perceptions ◽  
The Impact

Culturally responsive teaching values students’ identities, backgrounds, and cultural references as key tools for building meaningful learning environments. It has been adopted by many educators globally, but has not been incorporated consistently by music educators. Few researchers in music education have investigated the impact of culturally responsive teaching and misconceptions exist about what it means to teach music in a culturally responsive manner. The purpose of this research was to investigate the impact of an in-service program on cooperating teachers’ perceptions of culturally responsive teaching. At the conclusion of the workshop, participants rated familiarity and importance of culturally responsive teaching higher than they did prior to the workshop. Sixteen of the 18 participants indicated that the workshop had changed their understanding of culturally responsive teaching.

Culturally Responsive Teaching as a Method for Teaching Students With Emotional/Behavioral Disorders in the Music Classroom

2021 ◽  
pp. 875512332110438
Author(s):  
Christina J. Sisson
Keyword(s):  
Music Education ◽  
Culturally Responsive Teaching ◽  
Culturally Responsive ◽  
Culturally Relevant ◽  
Behavioral Disorder ◽  
Responsive Teaching ◽  
Students With Special Needs ◽  
High Expectations ◽  
Music Classroom ◽  
Mind Set

As students with special needs become increasingly mainstreamed into music classes, there is a demand for strategies to help teachers meet these students’ needs. The purpose of this review of literature was to review and synthesize the literature focused on teaching students with an emotional/behavioral disorder (EBD) in the music classroom and to explore the possibility of culturally responsive teaching (CRT) being a method of engaging students with EBDs. Using targeted database searches, I reviewed the literature on the topic of culturally relevant teaching and synthesized the results into the following categories: (a) CRT and EBD and (b) CRT and music education. Becoming a culturally responsive teacher requires becoming culturally competent, designing culturally relevant curricula, demonstrating cultural caring, building a community of learners, and maintaining high expectations for students. By incorporating this mind-set into daily teaching, music teachers should find success working with students with EBDs.

“He didn’t know what he was doin’”: Student perspectives of a White teacher’s Hip-Hop class

2020 ◽  
Vol 38 (4) ◽  
pp. 495-512 ◽  
Author(s):  
Adam J Kruse
Keyword(s):  
Music Education ◽  
Students Of Color ◽  
Hip Hop ◽  
Culturally Responsive ◽  
Research Study ◽  
The United States ◽  
Responsive Teaching ◽  
Majority Students ◽  
Musical Practices ◽  
Data Informed

In this article, I share findings from a research study about a high school Hip-Hop course in the United States and offer considerations toward informing culturally responsive teaching and decentering Whiteness in music education. I explored the experiences and perceptions of majority students of color in a Hip-Hop course taught by a White music educator who was largely inexperienced with Hip-Hop. I was curious to understand how the students saw their teacher, what they experienced as strengths and weaknesses of the course, and what they felt they took away from the experience. I designed the qualitative study employing elements of Hip-Hop musical practices (sampling and remixing), analyzed data informed by Hip-Hop vocal techniques (doubling and ad-libbing), and structured findings based on Hip-Hop aesthetic principles (flow and rupture). Overall, students appreciated the teacher’s acknowledgment of his lack of Hip-Hop experience and his ability to prioritize their perspectives and voices. They reported gaining valuable musical experiences in the course as well as developing cross-cultural competence to better understand their fellow students.

Global Perspectives: Making the Shift from Multiculturalism to Culturally Responsive Teaching

2017 ◽  
Vol 31 (2) ◽  
pp. 24-28 ◽  
Author(s):  
Jennifer S. Walter
Keyword(s):  
Music Education ◽  
Culturally Responsive Teaching ◽  
Culturally Responsive ◽  
Responsive Teaching ◽  
Student Centered ◽  
Multicultural Music Education ◽  
Global Perspectives ◽  
Equity And Access ◽  
Important Approach ◽  
History Of

In the early part of the 1970s, multicultural music education began in earnest and was focused primarily on the curriculum used for music: textbooks, method books, and repertoire. At the turn of the 21th century, however, culturally responsive teaching emerged as the predominant pedagogy for relating to students. It was considered a student-centered approach to learning, and to date, culturally responsive teaching has been gaining momentum in education and in music education. Simultaneously, there have been discussions in music education surrounding equity and access to music for all. These discussions have resulted in more urgency to include all students in general music through the completion of high school. Culturally responsive teaching, therefore, is poised to become an important approach to equity and access to music for all. What follows is a brief history of the movement and how culturally responsive teaching can become an integral part of all teachers’ approaches to music.

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