Pub Date : 2024-05-10DOI: 10.1177/27527646241239636
Amy Brown
Pre-pandemic, technology integration into music lessons was helpful but not a necessity for effectively teaching elementary music. Those who believed technology integration was important for student engagement, as well as those comfortable with their technological skills, were experimenting with tools on an interactive board or through a website within a whole group. This article presents solutions to the challenges of integrating technology in the general music classroom setting. Specifically, this article explains a music activity using Google Keep, a note and list application not typically used to teach music, and the steps for integrating technology and providing feedback using student discourse.
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Pub Date : 2024-03-21DOI: 10.1177/27527646241241257
Chiao-Wei Liu
In this column, I explore the relationships between identity work and the sense of belonging. I argue that the absence of critical conversations such as race may prompt students to fit in but does not warrant a sense of belonging. Using a research study on Asian immigrant students as a reference point, I propose that we consider students’ engagements with music beyond the classroom as potential sites for critical analysis of elements that play into their realities and frame how they see and understand the world.
{"title":"Belonging in the Search for Identity","authors":"Chiao-Wei Liu","doi":"10.1177/27527646241241257","DOIUrl":"https://doi.org/10.1177/27527646241241257","url":null,"abstract":"In this column, I explore the relationships between identity work and the sense of belonging. I argue that the absence of critical conversations such as race may prompt students to fit in but does not warrant a sense of belonging. Using a research study on Asian immigrant students as a reference point, I propose that we consider students’ engagements with music beyond the classroom as potential sites for critical analysis of elements that play into their realities and frame how they see and understand the world.","PeriodicalId":305856,"journal":{"name":"Journal of General Music Education","volume":"83 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140223460","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-29DOI: 10.1177/27527646231217443
Loneka Wilkinson Battiste
Black Music Aesthetics (BMA), guided by conceptual approaches grounded in African belief systems, are found in the structure and performance practices of Black musics. Music education in American society leans strongly toward Western European aesthetics, which includes: the centrality of rhythm, pitch, and harmony to musical understanding; a reliance on written notation for preserving and sharing musical ideas; and a primary focus on sounds. While Black music and musicality can be explored using Western European aesthetics, they cannot be thoroughly explored in this way. In this series of articles, I draw on the work of ethnomusicologists to define BMA and provide concrete examples for incorporating them in general music. The first article in this series provides a historical foundation and definition for BMA and offers examples of how it can be centered in the study of Black musics.
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Pub Date : 2023-11-30DOI: 10.1177/27527646231211512
Nabile Galván
According to the National Education Association, one out of every four children in the U.S. public education system will be an English Learner (EL) by 2025, with at least half of these students likely being Spanish-speaking EL students. As school populations become more ethnically, racially, and linguistically diverse, current and future music teachers must increase awareness of the barriers that the growing population of Spanish-speaking EL students may encounter. In this article, the author describes the language acquisition stages that Spanish-speaking EL students typically go through, providing insights into possible strategies for addressing their language barriers and socio-emotional needs, as well as fostering a culturally responsive and sustainable environment in the music classroom. In doing so, the author describes several concrete methods that music educators could use to engage with and learn more about the rich Spanish-speaking communities. Thus, becoming more responsive to the current demographic changes and challenges.
根据美国国家教育协会（National Education Association）的数据，到 2025 年，在美国公立教育系统中，每四个孩子中就有一个是英语学习者（EL），其中至少有一半可能是讲西班牙语的 EL 学生。随着学校人口在民族、种族和语言上变得更加多样化，现在和未来的音乐教师必须提高对日益增长的西班牙语 EL 学生可能遇到的障碍的认识。在这篇文章中，作者描述了讲西班牙语的 EL 学生通常经历的语言习得阶段，为解决他们的语言障碍和社会情感需求以及在音乐课堂上营造文化响应和可持续环境的可能策略提供了见解。在此过程中，作者介绍了几种具体方法，音乐教育工作者可以利用这些方法与丰富的西班牙语社区进行接触，并进一步了解这些社区。从而更好地应对当前的人口变化和挑战。
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Pub Date : 2023-11-28DOI: 10.1177/27527646231214735
Chiao-Wei Liu
In this column, I shared my experiences of inviting students to bring in their “funds of knowledge” into the classroom. Acknowledging the diverse cultures in the classroom, I am interested in how students’ funds of knowledge can be celebrated, sustained, and potentially transformed into collective knowledge. Specifically, I am curious how different music traditions and styles interact and generate new conversations. Through this experience, I came to realize the importance of addressing the historical burden many minoritized carry and wonder, “can I be more than the race you see on me?” I share my own experiences to encourage fellow teachers to continue reflecting and attending to the students in front of us. Creating an inclusive classroom requires us to go beyond the present and create space for the changing, the emerging, and the unknown, through which our students may be more than what we know and build a better world.
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Pub Date : 2023-11-28DOI: 10.1177/27527646231211906
Katy Ieong Cheng Ho Weatherly, Christopher Alan Weatherly
This article aims to provide practical strategies and examples for pre-service early education programs and early education teachers to develop music- and movement-based curricula for teacher preparation programs and early childhood music classrooms. To address the inconsistencies in early childhood music programs, the authors developed the Lighthouse Framework, which utilizes constructivist ideology to help students learn through and adapt the teaching model while simultaneously learning music- and movement-based content. Through this proposed framework, pre-service teachers can gain authentic teaching experience, real-time feedback, and an adaptable framework for their future curriculum planning.
{"title":"The Lighthouse Framework: Proposing a Movement-Based Constructivist Framework for Early Childhood Music Education and Pre-Service Education Programs","authors":"Katy Ieong Cheng Ho Weatherly, Christopher Alan Weatherly","doi":"10.1177/27527646231211906","DOIUrl":"https://doi.org/10.1177/27527646231211906","url":null,"abstract":"This article aims to provide practical strategies and examples for pre-service early education programs and early education teachers to develop music- and movement-based curricula for teacher preparation programs and early childhood music classrooms. To address the inconsistencies in early childhood music programs, the authors developed the Lighthouse Framework, which utilizes constructivist ideology to help students learn through and adapt the teaching model while simultaneously learning music- and movement-based content. Through this proposed framework, pre-service teachers can gain authentic teaching experience, real-time feedback, and an adaptable framework for their future curriculum planning.","PeriodicalId":305856,"journal":{"name":"Journal of General Music Education","volume":"60 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139224470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-28DOI: 10.1177/27527646231214473
Timothy David Norman
In this column, I describe a composition activity that involved students in the International Baccalaureate Middle Years Programme using GarageBand for Mac to explore the musical element of texture.
在本专栏中，我将介绍国际文凭中学课程的学生使用 Mac 版 GarageBand 探索 "纹理 "这一音乐元素的创作活动。
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Pub Date : 2023-11-28DOI: 10.1177/27527646231214463
Meagan Dissinger
Students who enter middle school may discover few or no opportunities for music participation beyond the Western ensemble paradigm. However, the explorative experiences of elementary general music can continue to thrive in middle school classroom music. In order for middle school classroom music programs to maximize potential, they must be valued and supported equitably, and invite creativity, questioning, and co-learning. In this article, I discuss four guiding principles for a middle school general music curriculum that is culturally responsive, generationally relevant, and student-centered. When teachers adopt these values, middle school classroom music can affirm students’ musical and nonmusical identities and pave the way for growth in individuals and the music education, performance, and composition fields at large.
{"title":"A Student-Affirming Approach to Middle School Classroom Music: Four Guiding Principles for Curriculum and Instruction","authors":"Meagan Dissinger","doi":"10.1177/27527646231214463","DOIUrl":"https://doi.org/10.1177/27527646231214463","url":null,"abstract":"Students who enter middle school may discover few or no opportunities for music participation beyond the Western ensemble paradigm. However, the explorative experiences of elementary general music can continue to thrive in middle school classroom music. In order for middle school classroom music programs to maximize potential, they must be valued and supported equitably, and invite creativity, questioning, and co-learning. In this article, I discuss four guiding principles for a middle school general music curriculum that is culturally responsive, generationally relevant, and student-centered. When teachers adopt these values, middle school classroom music can affirm students’ musical and nonmusical identities and pave the way for growth in individuals and the music education, performance, and composition fields at large.","PeriodicalId":305856,"journal":{"name":"Journal of General Music Education","volume":"92 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139218871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-28DOI: 10.1177/27527646231217546
Rekha S. Rajan
{"title":"Call for Nominations for the JGME Editorial Committee","authors":"Rekha S. Rajan","doi":"10.1177/27527646231217546","DOIUrl":"https://doi.org/10.1177/27527646231217546","url":null,"abstract":"","PeriodicalId":305856,"journal":{"name":"Journal of General Music Education","volume":"39 5 1","pages":"3 - 3"},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139226020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-28DOI: 10.1177/27527646231211507
Edward Varner
The purpose of this column is to provide a quick introduction to the concept of positive childhood experiences (PCEs) as an important support for the value of music education and music teachers endeavoring to create safe, predictable settings for children to be, learn, and grow. Music learning environments, it would seem, are premium opportunities for schools looking to play a role in providing students with PCEs. As such, it is important for music educators to be more aware of the significant role they play in supporting students by providing them with positive relationships and experiences to safeguard healthy childhood development.
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