A Historical Perspective from Folklorist Henry Glassie: Roots of Folk Songs in Music Education

2021 ◽  
pp. 153660062110092
Author(s):  
Ian Cicco, M.M.Ed.
Keyword(s):  
Music Education ◽  
Folk Songs ◽  
Folk Song ◽  
Professor Emeritus ◽  
General Music ◽  
Indiana University ◽  
Music Classroom ◽  
Field Notes ◽  
Elementary General Music ◽  
Oral History Interviews

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.

The Journey From Instrumental to Elementary General Music Education: How to Succeed in a New Specialization

2018 ◽  
Vol 32 (1) ◽  
pp. 13-17
Author(s):  
Christa R. Kuebel
Keyword(s):  
Music Education ◽  
General Music ◽  
Education Majors ◽  
Music Classroom ◽  
Elementary General Music ◽  
Music Education Majors

For various reasons, instrumentalist music education majors may find themselves teaching in an elementary general music classroom. Based on research and experience, this article will discuss why the transition from instrumental to elementary general music education may occur as well as offer suggestions to support instrumentalists new to the elementary general music classroom.

Developing 21st-Century Musicianship: Tablet-based Music Production in the General Music Classroom

2021 ◽  
pp. 104837132110344
Author(s):  
Jason Fick ◽  
Chris Bulgren
Keyword(s):  
Music Education ◽  
Learning Environments ◽  
21St Century ◽  
Contemporary Music ◽  
Music Instruction ◽  
Technology Skills ◽  
General Music ◽  
Music Classroom ◽  
Music Production ◽  
Essential Skills

Increased availability of tablets at home and in classrooms provides educators access to a powerful tool for music instruction. Music production lessons on tablets offer alternate approaches to developing music literacies while teaching valuable technology skills. These activities are ideal for general music education because they align with contemporary music practices and are adaptable to a variety of learning environments (in person, remote, and hybrid). This article will present a model for tablet-based music production instruction in the general music classroom that aligns with the National Core Arts Standards and accompanying process components grounded in five essential skills: sequencing, recording, editing, effects processing, and mixing.

Research-to-Resource: Developing a Culturally Responsive Mind-Set in Elementary General Music

2018 ◽  
Vol 37 (2) ◽  
pp. 11-14 ◽  
Author(s):  
Jacqueline Kelly-McHale
Keyword(s):  
Culturally Responsive ◽  
Community Context ◽  
General Music ◽  
Practical Applications ◽  
Music Classroom ◽  
School Teaching ◽  
Elementary General Music ◽  
Cultural Responsivity ◽  
Mind Set ◽  
Context Specific

The terms culturally responsive teaching and culturally responsive pedagogy have become more common in the vernacular of public-school teaching. However, practical applications of cultural responsivity are not often clearly presented due to the nature of being responsive. Responsivity requires knowledge of students and community (context) specific to each teaching context. Content and materials should then be derived from the development of the contextual understanding. This is why presenting a tool box of culturally responsive practices is not possible when seeking to become more culturally responsive in the classroom. This article seeks to situate cultural responsivity as a mind-set as opposed to an approach or method within the elementary general music classroom. Practical steps that can be taken toward the development of this mind-set are then presented with a focus on context and content.

Teaching the Korean Folk Song (Arirang) Through Performing, Creating, and Responding

2017 ◽  
Vol 31 (1) ◽  
pp. 16-25 ◽  
Author(s):  
Hyesoo Yoo ◽  
Sangmi Kang
Keyword(s):  
Music Teachers ◽  
Music Educators ◽  
Folk Songs ◽  
Folk Song ◽  
Upper Elementary ◽  
Depth Information ◽  
General Music ◽  
Comprehensive Musicianship ◽  
Music Standards ◽  
Music Classrooms

This article introduces a pedagogical approach to teaching one of the renowned Korean folk songs ( Arirang) based on the comprehensive musicianship approach and the 2014 Music Standards (competencies in performing, creating, and responding to music). The authors provide in-depth information for music educators to help their students achieve learning outcomes for the skill, knowledge, and affect domains of the Korean folk song ( Arirang). Furthermore, the authors offer music lessons for Arirang in a variety of ways that are appropriate for upper elementary and secondary general music classrooms, including performing, creating, and responding to the music. An educational website that includes exemplary lesson plans, videos, and worksheets is also provided to help music teachers obtain content and pedagogical knowledge of Arirang.

scholarly journals General Music Today Music Ideas Series: Viewpoints in Secondary General Music—Article Two: Power Trio: Three Ideas for Renewed Success With Classroom Ensembles

2019 ◽  
Vol 33 (1) ◽  
pp. 6-14
Author(s):  
Virginia Wayman Davis ◽  
Laura Singletary ◽  
Kimberly VanWeelden
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Practical Experience ◽  
Upper Elementary ◽  
Elementary Music ◽  
General Music ◽  
Music Classroom ◽  
Music Ensembles ◽  
Music Class ◽  
Instrumental Ensembles

In this second of three in the series, we explore methods for incorporating instrumental ensembles into your music classroom. Experiences such as performing on ukulele, bucket drums, and in modern popular music ensembles are excellent ways to provide meaningful, relevant music education to students of all ages. Using both research-based information and practical experience, we will discuss ideas for three common instrumental ensembles. The techniques and resources provided in this article are starting points, appropriate for various levels and configurations of music classes: upper elementary music classes, secondary general music classes, afterschool or extracurricular music groups, or for teachers seeking to start an alternative ensemble or rebrand an existing nonperformance music class.

Integrating Social-Emotional Learning Into Our “New Normal” Teaching Elementary General Music

2020 ◽  
pp. 104837132096137
Author(s):  
Taryn Raschdorf ◽  
Brittany Nixon May ◽  
Amie Searcy
Keyword(s):  
Music Teachers ◽  
Social Emotional Learning ◽  
Music Educators ◽  
Emotional Learning ◽  
General Music ◽  
Music Curriculum ◽  
Social Emotional ◽  
Building Relationships ◽  
Music Classroom ◽  
Elementary General Music

As social-emotional learning (SEL) initiatives are being adopted by many states and school districts, many music teachers have been actively and successfully integrating SEL into their elementary general music curriculum. Whether teaching in person or remotely music educators can create an environment conducive to SEL by practicing mindfulness, building relationships with and between students, encouraging family music engagement, and engaging in inclusive music activities. In this column, you will find resources and ideas about SEL, discover how it looks and functions in the music classroom (virtual or not), and hear from music educators who currently incorporate SEL in their teaching.

Una Noche de Música: Sustaining Our Students’ Culture

2021 ◽  
pp. 104837132110323
Author(s):  
Victor Lozada ◽  
Emilio Ríos-Jiménez ◽  
Holly Hansen-Thomas ◽  
Liliana Grosso Richins ◽  
Suzan South
Keyword(s):  
Music Education ◽  
Linguistically Diverse ◽  
Folk Songs ◽  
Community Cultural Wealth ◽  
Pedagogical Practices ◽  
Linguistic Capital ◽  
Cultural Wealth ◽  
Folk Tales ◽  
Culturally Sustaining Pedagogy ◽  
Music Classroom

Students in the music classroom are more culturally and linguistically diverse than ever before. Latinx students are the fastest growing population. Often, these students are neglected through deficit-based pedagogical practices with regard to their cultural and linguistic practices; however, other research into asset-based pedagogical practices such as community cultural wealth and culturally sustaining pedagogy can allow for more equitable and just music education. Accessing community cultural wealth with regard to aspirational, navigational, social, resistant, and especially familial and linguistic capital can lead to better outcomes for students. Incorporating a Noche de Música [Night of Music] at a school allows for families to demonstrate their capacity to cocreate music-based and language-based literacies among faculty, students, and their families. This can include culturally sustaining pedagogical practices that lovingly affirm and sustain students’ language, culture, and history through folk songs, folk tales, and multimodal approaches to communication.

Comparison of the National Standards for Music Education and Elementary Music Specialists' Use of Class Time

2002 ◽  
Vol 50 (2) ◽  
pp. 155-164 ◽  
Author(s):  
Evelyn K. Orman
Keyword(s):  
Decision Making ◽  
Music Education ◽  
National Standards ◽  
Elementary Music ◽  
General Music ◽  
Class Time ◽  
Music Specialists ◽  
Elementary General Music

The purpose of this study was to examine use of class time in elementary general music classes in relation to the nine voluntary National Standards for Music Education. Elementary music specialists (N = 30) were videotaped teaching students in Grades 1 through 6. Use of class time was analyzed separately for teacher and student according to activity and the focus of the activity. Overall, results indicated that elementary music specialists spent class time on all nine standards; however, less time was devoted to those standards that required creative or artistic decision-making skills from the students. Congruent with previous research, teachers in this study spent the majority of class time (46.36%) engaged in talking. Additional results showed that students spent the majority of class time (57.07%) in passive roles.

scholarly journals Aligning Culturally Responsive and Trauma-Informed Pedagogies in Elementary General Music

2020 ◽  
Vol 34 (1) ◽  
pp. 21-28
Author(s):  
Carin A. McEvoy ◽  
Karen Salvador
Keyword(s):  
Music Education ◽  
Culturally Responsive ◽  
General Music ◽  
Trauma Informed ◽  
Elementary General Music

In elementary general music, the need for culturally responsive pedagogies and trauma-informed practices may coexist. Creating an environment and developing instruction in ways that are both culturally responsive and trauma-informed may be possible, because both approaches share common theoretical underpinnings and practices. In this article, we review the research on culturally responsive music education and trauma-informed practices and make practical suggestions for implementing these pedagogies in elementary general music classes.

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