Urban Music Education: The Teachers' Perspective

1995 ◽  
Vol 81 (6) ◽  
pp. 27-31 ◽  
Author(s):  
Richard K. Fiese ◽  
Nicholas J. DeCarbo
Keyword(s):  
Music Education ◽  
Urban Music ◽  
Urban Music Education

Cultural Relevance in Urban Music Education

2014 ◽  
Vol 32 (2) ◽  
pp. 44-51 ◽  
Author(s):  
Jennifer Lee Doyle
Keyword(s):  
Music Education ◽  
Cultural Relevance ◽  
Urban Music ◽  
Urban Music Education

Urban music education: a practical guide for teachers

2016 ◽  
Vol 53 (07) ◽  
pp. 53-3004-53-3004
Keyword(s):  
Music Education ◽  
Practical Guide ◽  
Urban Music ◽  
Urban Music Education

Urban Music Education

2015 ◽  
Author(s):  
Kate Fitzpatrick-Harnish
Keyword(s):  
Music Education ◽  
Urban Music ◽  
Urban Music Education

Urban Music Education Providing for Students

1995 ◽  
Vol 82 (1) ◽  
pp. 32-35 ◽  
Author(s):  
June Hinckley
Keyword(s):  
Music Education ◽  
Urban Music ◽  
Urban Music Education

Social Justice and Urban Music Education

2015 ◽  
pp. 455-472
Author(s):  
Ruben Gaztambide-Fernandez ◽  
Leslie Stewart Rose
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Urban Schools ◽  
Cultural Production ◽  
Social Inequalities ◽  
Urban Music ◽  
Urban Music Education ◽  
Nuanced Understanding ◽  
Definition Of ◽  
Production Approach

Music education has had an ambiguous and fraught relationship with urban schools. This chapter seeks to address this tension through an elucidation of two related problems: how to understand the notion of “urban music education,” and how to approach the intersection between the former and various commitments to social justice. To do this, the authors challenge the taken-for-granted definition of urban music, suggesting that social justice commitments require a more nuanced understanding of what constitutes “the urban,” which highlights social inequalities. The authors provide an introduction to various understandings of social justice and summarize four different approaches to anti-oppressive pedagogy in music education, focusing on access, representation, pedagogy, and ideology. The chapter concludes with a discussion of the implications of a cultural production approach to social justice in urban music education.

Methods and Perspectives in Urban Music Education

1986 ◽  
Vol 30 (1) ◽  
pp. 178
Author(s):  
Larry V. Shumway ◽  
Charles E. Hicks ◽  
James A. Standifer ◽  
Warrick L. Carter
Keyword(s):  
Music Education ◽  
Urban Music ◽  
Urban Music Education

Becoming part of the city: Influences on the career choice of an urban music educator

2018 ◽  
Vol 36 (3) ◽  
pp. 407-417
Author(s):  
John Eros
Keyword(s):  
Music Education ◽  
Career Choice ◽  
Research Question ◽  
Secondary Analysis ◽  
Urban Music ◽  
Urban Music Education ◽  
Service To Others ◽  
Career Cycle ◽  
Teaching Music ◽  
The City

The purpose of this case study was to examine and describe the life experiences that influenced one music teacher’s career choice to teach music in an urban school. The primary research question is: What experiences influenced the participant to pursue urban music education as a career? Calling upon research into urban music education and career choice, the article used a “secondary analysis” of survey, journal, and interview data collected in a larger investigation of the teacher career cycle, as viewed through the lens of narrative research. Findings are presented in four categories, and indicate that the teacher’s career choice was influenced by three primary elements: (a) feeling a need to be of service to others; (b) experiencing cultural differences; and (c) curiosity about the city; all of which led to (d) being a part of the city. These elements combined to form not just a career choice, but a strong sense of commitment to teaching music in a specific city. Implications for both urban music education and music teacher education are discussed, as are suggestions for further research.

Urban Music Educators’ Perceived Professional Growth in a Context-Specific Professional Development Program

2019 ◽  
Vol 67 (4) ◽  
pp. 440-464 ◽  
Author(s):  
Julia T. Shaw
Keyword(s):  
Professional Development ◽  
Music Education ◽  
Professional Growth ◽  
Culturally Responsive ◽  
Development Program ◽  
Nonlinear Process ◽  
Music Educators ◽  
Professional Development Program ◽  
Urban Music ◽  
Context Specific

This collective case study examined the perceived impact of a context-specific professional development program, the Urban Music Education Institute, on urban music educators’ professional growth. The year-long program, which focused on culturally responsive pedagogy (CRP), featured workshops presented by nationally recognized clinicians complemented by a collaborative teacher study group (CTSG). Portraits of individual educators’ growth trajectories illuminate the multifaceted and idiosyncratic nature of teachers’ professional growth. Teacher profiles further illustrate complexities inherent in the nonlinear process of learning to practice CRP. Cross-case themes included teachers’ desire for “permission” to teach in contextually specific ways, sociopolitical dimensions of urban teaching as a focus for professional learning, and ways that cultural Whiteness influenced participants’ processes of learning to practice CRP. The CTSG emerged as a key element contributing toward the program’s context specificity. Participants used this group as a site for negotiating tensions associated with culturally responsive and socially just teaching in the company of colleagues with shared understanding of urban contexts. Implications for professional development aligned with urban music educators’ discipline- and context-specific learning needs are discussed based on the findings.

scholarly journals Successful urban elementary music educators : a phenomenological investigation

2021 ◽  
Author(s):  
◽  
G. Preston Wilson
Keyword(s):  
Music Education ◽  
Comparative Method ◽  
Music Educators ◽  
Elementary Music ◽  
Structured Interviews ◽  
Music Educator ◽  
Music Classroom ◽  
Urban Music ◽  
Pedagogical Decisions ◽  
Elementary Music Educators

The purpose of this study was to explore the characteristics and experiences of teachers who have been successful in urban elementary music classrooms. I aimed to garner an authentic picture and capture the essence of what it means to be a successful urban elementary music educator. This hermeneutic phenomenology was guided by two research questions: (1) What are the lived experiences of urban music educators who have been successful in teaching music at the elementary level? (2) What are the pedagogical approaches used by elementary music educators in urban contexts? The related sub-questions were as follows: (1) What characterizes success in the urban elementary music classroom? (2) What are characteristics of these educators (e.g., personal, educational, interpersonal)? Data collection included approximately 60-minute semi-structured interviews from eight participants. A constant comparative method was utilized to examine the coded transcripts. Trustworthiness was established through data triangulation, participant checking, and peer checking. Through the three-part analysis, six themes emerged: (a) relationships are key; (b) understanding how music functions for students; (c) willingness to perform unofficial job duties; (d) concerns about urban teacher preparation; (e) curricular and pedagogical decisions; and (f) urban music teacher characteristics. The findings of this study, as well as that of other scholars in music education, suggest that being a successful urban elementary music educator is the result of a composite set of skills. The teachers who participated in this study use creativity when making curricular and pedagogical decisions, possess a complex knowledge and understanding of their students, their students' families, and their students' community, and have a deep affection for what they do and whom they serve. Successful urban elementary music educators can serve as valuable resources to provide understanding and offer suggestions for improving urban music education, including ways to nurture and develop the next wave of music educators.

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