Pub Date : 2021-05-21DOI: 10.1177/10483713211018451
Edward Varner
As we consider how best to help our students achieve, we must work to ensure that our practices are equitable. That is, we must make certain that each of our students are equipped with the skills and opportunities to be successful in school and in life. Equity must be a central goal for all educators—in all academic areas. A general music classroom alignment with Social and Emotional Learning can, if implemented with fidelity and purpose, help promote equity in a number of important ways by acknowledging systemic inequities, identifying personal bias, and actively disrupting barriers to equity that plague so many schools.
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Pub Date : 2021-05-03DOI: 10.1177/10483713211012432
Kendra Kay Friar
Scott Joplin was an African American composer and pianist of singular merit and influence. This article is the second in a three-part series considering the biographical, artistic, and cultural contexts of Joplin’s life and work. “King of Ragtime Composers,” focuses on Scott Joplin’s artistic processes, including his structuring of melodic and harmonic content and his novel contributions to ragtime. The discussion is followed by suggested student activities written in accordance with NAfME’s 2014 National Music Standards, including performing a ragtime accompaniment, playing an original Orff arrangement of Joplin’s “The Easy Winners,” improvising within a ragtime framework, and listening to and analyzing performance choices.
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Pub Date : 2021-04-27DOI: 10.1177/10483713211012427
Chiao-Wei Liu
Recently, the United States has witnessed an uptick of racially and culturally motivated events that continue to challenge the role of our schools in creating a more socially just nation. In light of these issues, it is important that we consider what role school music education plays in addressing issues related to social justice. In this column, I started by sharing a class conversation on the analogies related to immigrants in the U.S. and then explored the implication of these analogies/stories. Inspired by Chinua Achebe’s analysis on literature and its relation to reality, I ask, not only what stories we tell about music learning at school, whose interest these stories serve, and whose voices/music are privileged? I propose that multiple stories of our students’ music learning may be enacted as forces to counter the dominate narrative. I end with some curriculum ideas for teachers to adapt in their classrooms.
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