“My voice speaks for itself”: The experiences of three transgender students in American secondary school choral programs

2019 ◽  
Vol 38 (1) ◽  
pp. 126-146
Author(s):  
Joshua Palkki
Keyword(s):  
Secondary School ◽  
Music Education ◽  
Choral Music ◽  
The United States ◽  
Music Educators ◽  
Music Programs ◽  
School Officials ◽  
Transgender Students ◽  
And Gender ◽  
Choral Programs

With the purpose of furthering lesbian, gay, bisexual, transgender, queer, questioning, and allies/agender/asexual (LGBTQA) dialogue in music education and to improve choral instruction for trans(gender) students, this multiple narrative case study explores the experiences of trans students in secondary school choral music programs in the United States. The emergent research design employed narrative and ethnographic techniques to honor and highlight voices of the three participants. The connection or lack thereof between voice and gender identity was different for each student. The policies of the students’ school districts, school officials, choral programs, and state music organizations shaped and influenced the participants as they navigated their trans identity within the high school choral context. Mentors (including teachers) and other “important others” helped these students as they traversed their gender journeys. From this research, it emerges that schools and choral programs can make policy changes to better serve trans youth, and more professional development and incorporation of (trans)gender issues is necessary for choral music educators.

Examination of Relationships between Participation in School Music Programs of Differing Quality and Standardized Test Results

2006 ◽  
Vol 54 (4) ◽  
pp. 293-307 ◽  
Author(s):  
Christopher M. Johnson ◽  
Jenny E. Memmott
Keyword(s):  
Middle School ◽  
Academic Achievement ◽  
Music Education ◽  
Standardized Test ◽  
The United States ◽  
Music Programs ◽  
Effect Sizes ◽  
School Music ◽  
And Mathematics ◽  
Choral Programs

The purpose of this investigation was to examine the relationship between participation in contrasting school music programs and standardized test scores. Relationships between elementary (third- or fourth-grade) students' academic achievement at comparable schools, but with contrasting music programs as to instructional quality, were investigated. Relationships also were examined between middle school (eighth-or ninth-grade) students' academic achievement and their participation in school music programs that also differed in quality. Participants (N = 4,739) were students in elementary (n = 1,119) and middle schools (n = 3,620) from the South, East Coast, Midwest, and West Coast of the United States. All scores were standardized for comparison purposes. Analysis of elementary school data indicated that students in exemplary music education programs scored higher on both English and mathematics standardized tests than their counterparts who did not have this high-quality instruction; however, the effect sizes were slight. Analysis of middle school data indicated that for both English and math, students in both exceptional music programs and deficient instrumental programs scored better than those in no music classes or deficient choral programs; however, the effect sizes were not large.

“I Dream a World”: Inclusivity in Choral Music Education

2017 ◽  
Vol 104 (2) ◽  
pp. 38-44
Author(s):  
Rhonda Fuelberth ◽  
Christy Todd
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Universal Design For Learning ◽  
Music Educators ◽  
Choral Music Education ◽  
Inclusive Practice ◽  
Barriers To Access ◽  
Music Standards ◽  
Design For Learning ◽  
Choral Programs

This 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.

scholarly journals Finding the Trans Voice: A Review of the Literature on Accommodating Transgender Singers

2018 ◽  
Vol 37 (1) ◽  
pp. 36-41 ◽  
Author(s):  
Ryan Aguirre
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Vocal Pedagogy ◽  
Music Educators ◽  
Future Research ◽  
Choral Music Education ◽  
Choral Conductors ◽  
Private Lessons ◽  
Transgender Students ◽  
Choral Classroom

Conversations surrounding transgender students are beginning to appear in the nation’s schools. In recent years, experts in the fields of music education and vocal pedagogy have shared their experiences and research on transgender issues in the choral classroom and private lessons. Studies focused on transgender issues in choral music education have yielded inconsistent results. While some have shown music educators to be supportive and accommodating, others have shown a gap in educator knowledge of transgender issues. Vocal pedagogues have had the unique opportunity to work closely with transgender singers one-on-one. Their work is highly transferable to a choral classroom setting. This review of literature synthesizes the work of choral conductors and private voice instructors with the narratives of transgender singers to provide implications for educators and a direction for future research.

Teaching the Core Arts Standards in Modern Band

2021 ◽  
Vol 108 (1) ◽  
pp. 25-33
Author(s):  
Matthew Clauhs ◽  
Bryan Powell
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Performance Standards ◽  
The United States ◽  
Music Programs ◽  
The Core ◽  
Grade Levels ◽  
Band Class ◽  
National Coalition ◽  
New Framework

The National Coalition for Core Arts Standards released standards for music education in 2014. These standards are guided by artistic processes and measured by performance standards specific to content areas and grade levels. As school districts in the United States adopt the Core Arts Standards for their music programs, it is imperative that modern band teachers demonstrate how their curriculum aligns with this new framework. Modern band is one approach to popular music education that is particularly well suited to address this new framework; the emphases of songwriting, improvising, critical listening, and group work in a learner-centered modern band class/ensemble are associated with a wide variety of standards. This article explores connections between popular music pedagogies and each of the processes in the Core Arts Standards and examines which standards may be most appropriate for modern band contexts.

Trans Voices Speak: Suggestions from Trans Educators about Working with Trans Students

2021 ◽  
Vol 108 (1) ◽  
pp. 50-56
Author(s):  
Christopher Cayari ◽  
Felix A. Graham ◽  
Emma Joy Jampole ◽  
Jared O’Leary
Keyword(s):  
Identity Development ◽  
Music Education ◽  
Music Educators ◽  
Gender Nonconforming ◽  
The Past ◽  
Music Making ◽  
Trans People ◽  
The Social ◽  
And Gender ◽  
Music Classrooms

The social climate in the past decade has seen a rise in visibility of trans students in music classrooms and ensembles, leading to a need for scholarship on how to serve this growing population. Literature is being published to address this topic; however, the lack of scholarship by trans educators might lead many music educators to conclusions and practices that can be, at the very least, discouraging to some trans students and may disrupt their learning experiences. This article was written by four educators who identify as part of the trans community (a genderfluid and gender-nonconforming individual, a trans man, a trans woman, and a gender-nonbinary person) to fill this gap in the literature by illuminating some of the pitfalls inherent in the lack of discussion on (and by) trans people in music education. In addition, this article provides five actionable suggestions for working with trans students: (1) Learn about the trans community, (2) inspect your language and biases, (3) represent the diversity of trans people in your teaching, (4) promote healthy music-making and identity development, and (5) model allyship.

Exploring Diverse Voices in the Classroom

2019 ◽  
Vol 33 (2) ◽  
pp. 97-99
Author(s):  
Chiao-Wei Liu
Keyword(s):  
United States ◽  
Music Education ◽  
Cultural Diversity ◽  
The United States ◽  
Student Population ◽  
Music Programs ◽  
Ethnic Stereotypes ◽  
Diverse Student ◽  
Diverse Student Population ◽  
Racial Ethnic

With the increasing diverse student population in the United States, schools across the country face the challenge of addressing cultural diversity in the classroom. While this topic is not new in the field of music education, researchers argue that voices of minoritized groups remain absent in most music programs. Even if different music cultures are introduced, they often reinforce existing racial/ethnic stereotypes. In this column, I would like to share one concept that I found helpful in addressing diversity in the classroom. Through my own work, I learned that the music with which students engage outside the classroom affords rich potential to discuss issues related to diversity. Inviting students to bring in music that matters to them helps them develop their own voices and to recognize and respect different voices, through which we acknowledge the complexity and multiplicity of how diversity plays out in human experiences.

scholarly journals Shaping Policy in Music Education: Music Teachers as Collaborative Change Agents

2020 ◽  
Vol 107 (1) ◽  
pp. 43-48
Author(s):  
Carlos R. Abril ◽  
Brent M. Gault
Keyword(s):  
Teacher Evaluation ◽  
Music Education ◽  
Student Learning ◽  
Music Teachers ◽  
Change Agents ◽  
Music Educators ◽  
Music Programs ◽  
Learning Standards

Music educators have experience working in education environments governed by shifting policies and mandates. How can music educators become agents empowered to shape, interpret, and design mechanisms for putting policy into practice? This article describes ways to understand policy and options for responding and contributing to its development and implementation. We examine how music educators have responded to two policy areas that have had a significant impact on music programs and teachers in recent years: (1) learning standards and (2) evaluation of student learning as a component of teacher evaluation. Examples in this article are meant to serve as a case in point for how music educators can become more responsive and actively engaged in policy matters.

Admission and Assessment of Music Degree Candidates

2019 ◽  
Vol 29 (2) ◽  
pp. 10-21
Author(s):  
Phillip Payne ◽  
Jeffrey Ward
Keyword(s):  
Music Education ◽  
Music Educators ◽  
Music Programs ◽  
Survey Study ◽  
Assessment Practices ◽  
Education Programs ◽  
Current State ◽  
Candidate Assessment ◽  
Assessment Measures ◽  
Music Education Programs

The purpose of this survey study was to examine current admissions processes and assessment practices for music programs of National Association of Schools of Music member institutions. Representatives from 95 institutions responded to a researcher-designed questionnaire. Music education programs were perceived as being comparable to performance programs on admissions standards. We describe the current state of candidate assessment practices from matriculation through degree conferral, consider a range of assessment measures including gateway or barrier instruments, and pose critical questions about the use of such assessments to determine whether music education candidates are appropriately qualified to become P–12 music educators.

scholarly journals A pile of drums: Putting theory into practice in culturally diverse music education

2019 ◽  
Vol 38 (1) ◽  
pp. 79-92
Author(s):  
Jennifer Walden
Keyword(s):  
Music Education ◽  
Culturally Diverse ◽  
Music Teachers ◽  
Music Educators ◽  
Concert Band ◽  
Music Programs ◽  
Global Awareness ◽  
Global Perspectives ◽  
Experience Teaching ◽  
Challenging Situation

This article provides music educators with practical ways to (a) build school community through culturally diverse music and informal performances and (b) inculcate global perspectives into music programs (including concert band and choir) through culturally diverse music. In an autoethnographic style, the article tells a story that spans 2 years in a challenging situation: an international school in a country wrought with political and economic instability. It examines community building and inculcating global awareness from four perspectives. The first perspective reviews engagement in cultural diversity in music education through the lens of recently completed PhD research. It looks what scholars are writing about culturally diverse music education and how these ideas subsequently look in practice. Second, 30 years of personal experience teaching culturally diverse music are tied in, including ideas for student engagement in music classes. The third perspective includes practical ideas: how culturally diverse music can be integrated to broaden a program and rejuvenate interest in music. Finally, the fourth reveals responses from students experiencing learning through culturally diverse music. Examples, transcriptions, and recommended resources are included, leaving music teachers with useful, sustainable approaches for culturally diverse inclusivity.

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