Latinx Students and Secondary Music Education in the United States

2018 ◽  
Vol 37 (3) ◽  
pp. 5-11
Author(s):  
Samuel Isai Escalante
Keyword(s):  
Music Education ◽  
Research Question ◽  
The United States ◽  
Research Literature ◽  
Student Population ◽  
Music Teacher ◽  
Secondary Music ◽  
Music Ensembles ◽  
School Music ◽  
Systemic Factors

As of 2014, Latinx youth have comprised roughly a quarter of the U.S. population younger than 18 years. Yet Latinx students have not been found to participate in school ensembles at rates consistent with their proportion of the total student population. This disparity has yet to be fully explained by the research literature. The purpose of this review of literature is to synthesize what scholars understand about Latinx student participation in school ensembles. Literature was chosen based on the following research question: What factors may contribute to the disparity between the Latinx student population and the rate of Latinx participation in secondary school music ensembles, nationally? This review revealed several factors that may influence participation rates of Latinx students in secondary music ensembles, including curricular and systemic factors, music teacher attitudes toward diversity, Latinx parental involvement, and Latinx students’ interests. Implications for increasing participation and improving music education for Latinx students are discussed.

Popular Music Ensembles

2012 ◽  
pp. 877-889
Author(s):  
Carlos Xavier Rodriguez
Keyword(s):  
Public Schools ◽  
Popular Music ◽  
Teaching And Learning ◽  
Traditional Music ◽  
The United States ◽  
Core Values ◽  
Music Teacher ◽  
Music Ensembles ◽  
Large Ensembles ◽  
School Music

Popular music ensembles increase interest and student participation in school music instruction. Some ensembles are small and selective, used as a privilege for the leading performers in larger, traditional school ensembles. Conversely, other popular music ensembles are much larger in size, for instance guitar ensembles, since they are attractive to students who lack background in traditional instruments, yet still allow students to gain experience playing in large ensembles. This article is devoted to identifying and describing core values that underlie teaching and learning in the most prevalent types of popular ensemble in the United States, and globally, as they occur within more traditional music curricula in public schools, and the implications of these emerging ensembles for music teacher education. Examples of specific programs that illustrate these core values in action are cited.

The integration of music technology into popular music ensembles: Perspectives of modern band teachers

2019 ◽  
Vol 12 (3) ◽  
pp. 297-310 ◽  
Author(s):  
Bryan Powell
Keyword(s):  
New York ◽  
Music Education ◽  
Popular Music ◽  
Music Teachers ◽  
The United States ◽  
Music Technology ◽  
Student Agency ◽  
Music Ensembles ◽  
School Music ◽  
K 12

The increased presence of technology into music education classrooms has coincided to some extent with the increased presence of popular music into school music spaces, especially in the United States. This study examined the integration of music technologies into K-12 (ages 5‐18) popular music programmes in New York City (NYC). One hundred sixty-eight music teachers responded to a survey, all of whom had previously participated in a modern band workshop as part of the Amp Up NYC initiative. Results of the study found that many of the challenges of incorporating music technology into modern bands, including lack of access to technology or faulty hardware, are not unique to popular music ensembles. Some of the successes mentioned by the teachers, including songwriting, beat-making and increased student agency, provide a glimpse into the benefits that integrating music technology into modern band classrooms can offer.

Music Education in the Era of School Choice

2018 ◽  
Vol 105 (1) ◽  
pp. 39-45 ◽  
Author(s):  
Lisa Martin
Keyword(s):  
School Choice ◽  
Music Education ◽  
The United States ◽  
Music Educators ◽  
Music Teacher ◽  
Political Climate ◽  
Music Classroom ◽  
School Music ◽  
History Of ◽  
Teacher Workforce

School choice has become an increasingly available option for families in the United States. Given the current political climate, music educators must better understand the various dimensions of the school choice movement and how it may affect the music classroom. Following a brief history of school choice, this article offers a look at the movement’s influence on the music teacher workforce, music curricula, and funding for music education. Recommendations surrounding the equity of school music opportunities are explored.

Habits of Mind as a Framework for Assessment in Music Education

2019 ◽  
pp. 201-224
Author(s):  
Jillian Hogan ◽  
Ellen Winner
Keyword(s):  
Music Education ◽  
Arts Education ◽  
Habits Of Mind ◽  
Public High School ◽  
Student Agency ◽  
Thinking Dispositions ◽  
Music Classroom ◽  
Music Ensembles ◽  
School Music ◽  
High School Music

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.

Diversifying Musical Experiences in Schools and Music Teacher Preparation Programs

2019 ◽  
pp. 891-901
Author(s):  
Robert H. Woody ◽  
Mark C. Adams
Keyword(s):  
United States ◽  
Music Education ◽  
Popular Music ◽  
The United States ◽  
Music Teacher ◽  
Education Programs ◽  
Preparation Programs ◽  
Music Making ◽  
Large Ensembles ◽  
Classical Traditions

This chapter discusses the innate differences between vernacular music-making cultures and those oriented in Western classical traditions, and suggests students in traditional school music education programs in the United States are not typically afforded opportunities to learn skills used in vernacular and popular music-making cultures. The chapter emphasizes a need to diversify music-making experiences in schools and describes how vernacular musicianship may benefit students’ musical development. It suggests that, in order for substantive change to occur in music education in the United States, teachers will need to advance beyond simply considering how to integrate popular music into their traditional large ensembles—and how preservice music teacher education programs may be the key to help better prepare teachers to be more versatile and philosophically open to teaching a more musically diverse experience in their future classrooms.

The Oxford Handbook of Preservice Music Teacher Education in the United States

2019 ◽  
Keyword(s):  
United States ◽  
Teacher Education ◽  
Music Education ◽  
State Level ◽  
The United States ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Education Faculty ◽  
Song Writing ◽  
Faculty And Administrators

The Oxford Handbook of Preservice Music Teacher Education in the United States aims to work from within the profession of music teacher education to push the boundaries of P-12 music education. In this book, we will provide all of those working in music teacher education—music education faculty and administrators, music researchers, graduate students, department of education faculty and administrators, and state-level certification agencies—with research and promising practices for all areas of traditional preservice music teacher preparation. We define the areas of music teacher education as encompassing the more traditional structures, such as band, jazz band, marching band, orchestra, choir, musical theater, and elementary and secondary general music, as well as less common or newer areas: alternative string ensembles, guitar and song-writing, vernacular and popular music, early childhood music, and adult learners

Overture

2019 ◽  
pp. 1-8
Author(s):  
Rena Upitis
Keyword(s):  
Music Education ◽  
Inner City ◽  
Music Teacher ◽  
Massachusetts Institute Of Technology ◽  
Teaching Experiences ◽  
School Music ◽  
Institute Of Technology ◽  
The Relationship ◽  
Elementary School Music ◽  
Opening Section

The opening section of the book describes the relationship between the first edition and the second, written more than thirty years apart, which document the author’s experiences as the elementary-school music teacher at an inner-city school in Boston, Massachusetts. The school partnered with the Massachusetts Institute of Technology (MIT) in a professional development and research project. The author also describes her role as an academic at MIT and relates it to her present university position and to her lifelong work as a music educator. The conversational style of the opening section foreshadows the remaining chapters and the retrospective approach that is taken throughout, as the author explores why the pedagogy described in the first edition has endured so well over the years, not only in terms of her classroom-teaching experiences but also in her role as a preservice educator and music-education researcher.

Statewide Public School Music Competitions/Festivals in Kansas and Oklahoma: The Beginnings of the School Music Contest Movement in the United States

2018 ◽  
Vol 41 (2) ◽  
pp. 132-155 ◽  
Author(s):  
George H. McDow ◽  
Daniel L. Stiffler
Keyword(s):  
United States ◽  
Public School ◽  
Music Education ◽  
Historical Analysis ◽  
The United States ◽  
The State ◽  
School Students ◽  
Secondary Sources ◽  
University Of Oklahoma ◽  
School Music

Music competitions have an ancient history dating back some two thousand years. In the United States, early music contests mimicked the German Saengerfests and Welsh Eistoddfods; however, some of the earliest continuously running music competitions held in America are the state contests for secondary school students. This article identifies for the first time Kansas and Oklahoma as holding the two earliest state school music competitions and corrects some long-standing erroneous information. It studies these two state events through historical analysis of primary sources and triangulates the data with secondary sources. Frank Beach at Kansas State Normal School in Emporia and Fredrik Holmberg at the University of Oklahoma were found to be the two initiators. These two state music contests were influenced by several things including the state track and field meets, previous music contests, the western pioneering spirit, European music systems, and the music specialties of the founders. In the end both contests were seen as promoting the cause of public school music by increasing both the quality and numbers of music education programs and as leading to the exponential growth of state music competitions throughout the United States.

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.

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