Digital audio technology in music teaching and learning: A preliminary investigation

The inclusion of digital audio technology for sampling, editing, mixing and producing music in formal music classrooms has been considered a needed area of expansion across the music teaching and learning landscape. Current research suggests that music technology, defined broadly, is often disregarded in many music classrooms. However, the ubiquity of music technology suggests its relevancy in the digital age, especially for sampling editing, mixing and producing music. The purpose of this research was to survey the current climate of music education across all levels of instruction, with a special focus on teaching digital audio technology using MIDI controllers and audio production techniques. A researcher-developed survey was distributed to a population of music teachers across the United States (N=83). Results found that participants taught few digital audio technology concepts, used Garageband extensively, were self-taught, relied on out-of-date hardware and used a variety of MIDI controllers. Implications for music education and considerations for additional research are provided in conclusion.

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

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.

Honoring Trans and Gender-Expansive Students in Music Education

Trans and gender-expansive (TGE) youth deserve safe and empowering spaces to engage in high-quality school music experiences. Supportive music teachers ensure that all students have access to ethically and pedagogically sound music education. In this practical resource, authors Matthew Garrett and Joshua Palkki encourage music educators to honor gender diversity through ethically and pedagogically sound practices. Honoring Trans and Gender-Expansive Students in Music Education is intended for music teachers and music teacher educators across choral, instrumental, and general music classroom environments. Grounded in theory and nascent research, the authors provide historical and social context, and practical direction for working with students who inhabit a variety of spaces among a gender-identity and expression continuum. Trans and gender-expansive students often place their trust in music teachers, with whom they have developed a deep bond over time. It is essential, then, for music teachers to understand how issues of gender play out in formal and informal school music environments. Stories of TGE youth and their music teachers anchor practical suggestions for honoring students in school music classrooms and in more general school contexts. Part I of the book establishes the context needed to understand and work with TGE persons in school music settings by presenting essential vocabulary and foundational concepts related to trans and gender identity and expression. Part II focuses on praxis by connecting research and teaching pedagogy to practical applications of inclusive teaching practices to honor TGE students in school music classrooms.

“But When Are We Going to Learn the Real Do?” Toward Learner-Centered Pitch Practices in U.S. Music Classrooms

While the field of music education is rife with participation in methodological debates around “best systems” for learning about pitch, the authors in this article explore the possibilities of learner-centered approaches to teaching pitch among students with diverse music backgrounds. Specifically, the article highlights several challenges faced by the students with fixed pitch backgrounds in U.S. music classrooms: confusion around solfège syllables used to represent both movable and fixed pitch systems, and difficulty in transitioning between fixed and movable systems regardless of the symbolic language used. The authors offer a variety of research-based recommendations for deepening students' understandings of pitch in light of these challenges and emphasize the necessity for a learner-centered approach to pitch pedagogy in U.S. music classrooms. The purpose of this article is to (1) help practicing teachers understand more deeply and empathize with the nature of confusion students with fixed pitch backgrounds might experience in American music classrooms, and (2) develop pedagogical strategies that are sensitive to the experiences of these students while working to deepen understanding of pitch.

Integrating Cantonese Nursery Rhymes Into Early Childhood Music Classrooms: A Lesson for Learning Music, Language, and Culture

As cultural diversity is increasingly celebrated in classrooms, multicultural learning in music education has become more essential and meaningful. Therefore, this article emphasizes the integration of Cantonese nursery rhymes into early childhood music classrooms by providing a detailed lesson plan and some teaching suggestions. This effort aims to enhance students’ cultural awareness and knowledge of world music by integrating Chinese music elements into general music learning. It also serves to provide inspiration and suggests possibilities for music educators who wish to incorporate multicultural elements in music education.

Hidden Ground: Exploring an Approach to Educational Music for Strings

This article presents the findings of a study that explored the composition of Canadian educational music. Particularly, the authors focus on the analyses of composers’ scores on creating new string compositions for young musicians within the New Sounds of Learning Project. On a macro level, the composers predominantly composed multiple movements (three to four), using single section (A), binary (AB), ternary, or variation forms (A, A’, A”, A”’, etc.), and they adopted simple meters throughout. At the micro-level, the majority of the compositions also included a technical element that was used to further skill development, that is, lack of meter to focus attention, syncopation to develop rhythmic fluency, interactive rhythms between parts to promote player coordination, modular structure to address varied skill levels, or free rhythm to promote imaginative thinking. The findings will be of interest to those members of the music profession who promote or would like to promote the dissemination of new music for strings within educational settings in Canadian music classrooms.

Promoting Gender Inclusivity in General Music: Considerations for Music Listening

General music teachers can promote gender inclusivity in music classrooms through music listening activities. Helping all students feel included and honored could improve student learning and foster continued and diversified music listening in school and beyond. The purpose of this article, the first of three about gender inclusivity in general music, is to help music teachers create inclusive general music experiences to support all students during music listening activities. By knowing learners as individuals, teachers can help all students feel valued in music classrooms, which may serve to deepen and extend their music listening skills and preferences.

Understanding an Invisible Minority: A Literature Review of LGBTQ+ Persons in Music Education

The topics of inclusivity and diversity in music education have drawn increased attention to how different minority groups experience music education. Unlike concerns surrounding most gender and race issues, lesbian, gay, bisexual, trans, queer, and other sexual and/or gender minority (LGBTQ+) students and teachers are not always as visibly identifiable as other minority groups and therefore can easily be overlooked. In this literature review, I examine research specific to the LGBTQ+ community, representing an invisible minority group in music classrooms with the aim to raise awareness of the unique obstacles that LGBTQ+ music teachers and students face, so that further discussions engaging music educators might have a stronger knowledge base. Findings suggests that many LGBTQ+ music educators struggle to fully embrace their identity, often having to negotiate professional and personal personalities out of fear or uncertainty. Although music classrooms are often considered safe spaces for LGBTQ+ students, the music curriculum should be more inclusive.