A Proleptic Perspective of Music Education

By explaining the cultural mechanism of \u27prolepsis\u27 through examples of my own teaching, I posit that all too often educators\u27 and teacher educators\u27 (purely \u27ideal\u27) recall of our pasts and imagination of our students\u27 futures become fundamentally materialized constraints on our students\u27 life experiences in the present

The Music Identity Project

At MayDay Group Colloquium 24 in East Lansing, MI, Sandra Stauffer (2012) charged that: If we want change, we need to start telling different stories . . . we work with beginning teachers, and we worry about teacher identities. We tell them a story...one that does not serve them well. A story that they will be prepared. Maybe we should tell stories of self-making, of re-making and replacing ourselves. Of preparation as a constantly evolving teacher story. Maybe then transformation can be the norm. Sandy’s comments of transformation resonated strongly with the very project I was presenting at the same colloquium on the lived-experiences and music identities of six preservice teachers in a Secondary Music Education Methods course during the spring semester of 2012. This paper emerged out of my presentation and it is my hope that by sharing the stories of these six preservice teachers, as well as my own, that we can show the type of self-making, re-making and replacing ourselves for which Sandy was advocating. [excerpt

Discourse Analysis

This chapter (a) presents discourse analysis as both epistemology and methodology; (b) suggests a sociolinguistic toolkit that could be used as one type of approach to conducting discourse analysis; (c) reviews and points to literature in music education and music therapy that have used such epistemological and methodological tools; and (d) suggests that, by engaging with discourse analysis, we can begin to ask questions about participants and their interactions within environments where music therapists operate and analyze prevailing discourses within structures and systems of music therapy. [excerpt

Discourse Analysis as Potential for Re-Visioning Music Education

Discourse analysis holds great potential for re-visioning the field of music education. This paper explores works from Foucault, Blommaert, Scollon and Scollon, as well as others, to suggest a theoretical and methodological approach to analyzing discourse in settings of music transmission that takes into consideration who we are, what we do, and how we do it. Discourse is defined in this paper as meaningful, mediated language-in-place. By analyzing acts of speech as well as cultural objects (such as instruments, mallets, and bows) and concepts (such as a conducting gestures or solfege syllables) used as mediational means in situ, we can reveal how discursive sources of power dominance, inequality, and bias are initiated, perpetuated, (re)produced, and transformed in sites of music transmission. Analyzing such models may help develop a more flexible way of understanding and visioning music education—one that blurs boundaries between musics, ways of knowing music, and spaces where musicking takes place

Composing/Arranging Familiar Songs in Choir with GarageBand

This practical multi-stage project description demonstrates to teachers how they can engage students in arranging and composing music related to the choral curriculum by using Digital Audio Workstations (DAW) like GarageBand

Outside Ourselves: Becoming Better Teachers Through Ethnographic Fieldwork

Two questions students often ask me are: “why do you travel so much?” and “why do you engage in so much research?” My answer to both is relatively simple, “to become a more informed person and teacher.” [excerpt

“Charleston, Goddam”: An Editorial Introduction to ACT 14.2

In this editorial, I trace the events following the tragic and racist shootings that occurred at the A.M.E. church in Charleston, South Carolina on June 17, 2015. Drawing upon anti-racist scholars and musical activists, I make a case for getting political and for cultivating activism in our classrooms. I ask our field to critically reflect upon our participation in a system that advantages Whites. I suggest that one possibility to engage in dialogue around issues of race is to encourage an environment of musical creativity where—together with students—teachers study and write music that speaks to our times and addresses issues of social justice within our local communities and across the globe

Going for Broke: A Talk to Music Teachers

In 1963—a racially-charged time in the United States—James Baldwin delivered “A Talk to Teachers,” urging educators to engage youth in difficult conversations about current events. We concur with Giroux (2011, 2019) that political forces influence our educational spaces and that classrooms should not be viewed as apolitical, but instead seen as sites for engagement, where educators and artists alike can “go for broke.” Drawing upon A Tribe Called Quest’s 2017 Grammy performance of “We the People…” as an example of the role of the arts in troubled times, we consider ways to work alongside youth in schools to respond, consider, and process current events through music

How Can We Change Our Habits If We Don’t Talk About Them?

For the late nineteenth century pragmatists, habits were of great interest. Habits, and the habit of changing habits, they believed, reflected if not defined human rationality, leadingWilliam James to describe habit as “the enormous fly-wheel of society.” What the pragmatists did not adequately address (at least for us) is the role of power relations in the process of changing habits. In this article we discuss our experience of attempting to engage critique and reflection on habitual practices in music teacher education, offering the reader an article within an article. That is, we reflect on our failure to publish a critical article in a widely read practitioner journal by sharing the original manuscript and its reviews, with the hope that our experience might shed additional light on social reproduction and efforts aimed at change

Towards a More Inclusive Music Education: Experiences of LGBTQQIAA Students in Music Teacher Education Programs Across Pennsylvania

During the past decade, the field of music education has seen an increase in the amount of scholarship surrounding LGBTQ studies in music teaching and learning. For example, the University of Illinois hosted three symposia for the field of music education dedicated to LGBTQ studies (2010, 2012, 2016), and proceedings from these symposia were published in three separate issues of the of the Bulletin of the Council for Research in Music Education (2011, 2014, 2016). Other notable scholarship has been published in Action, Criticism, and Theory for Music Education (Gould 2005); the Music Educators Journal (Bergonzi, 2009; Carter, 2011; McBride, 2016); the Journal of Research in Music Education (Carter, 2013; Nicholas, 2013); and UPDATE: Applications of Research in Music Education (Garrett, 2012). (excerpt