Running Head: CREATING A CULTURALLY RESPONSIVE GENERAL MUSIC

1 CLASSROOM

Creating a Culturally Responsive General Music Classroom

Erin N. Dixon

James Madison University

Author Note

Erin N. Dixon, James Madison University. Erin Dixon is a Junior Music Education major with

double minors in Music and Human Services and Substance Abuse Education.

Contact: dixon2en@dukes.jmu.edu
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According to an article from the Pew Research Center, the projected percentages of

caucasian to minority students enrolled in public schooling in 2018 were 47.3% to 52.7%. In

2022 it is projected that the percent of caucasian students will drop to 45.3%, while minority

students will raise to 54.7%, further accepting minority students as the majority within the public

school system (Fry & Krogstad, 2014). What does this mean for the future of music education in

regards to the culture and diversity of our classrooms? How can we expect to embrace the

cultures of our students when we are constantly driven against the controlling paradigms of

curriculum and standards. As future music educators of the general music classroom

specifically, it is also critical to consider that the chances of students choosing to enroll in music

courses past their elementary music education is left completely up to us. It is left completely up

to how ​we​ chose to welcome music and creativity to the lives of every single student who walks

into our classroom. We could chose to ignore this very daunting fact by continuing to conform

to the intimidating constriction of both the Americanization and Westernization of music

education by staying within our comfort zones of what we consider to be “traditional”. Or, we

could continue to develop and shape our own educational philosophies by opening our minds and

hearts up to the brilliant diversities and cultural backgrounds of our students. Regardless of

potential complications that may arise and will be explored throughout this paper, cultural

responsiveness not only embraces diversity, but, it does so through methods of a multicultural

education fueled by expression, creativity, and and open classroom environment and should play

a prioritizing role in how we begin to approach our educational philosophies. When discussing

both the complications and advances of creating a culturally responsive general music classroom,

the following questions will be examined and debriefed:

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1. What does the “world music” view of multicultural music education say about the

Westernization of music education systems, and,

2. What approaches, methods, or techniques should we, as music educators, explore in

relation to the general music classroom to balance the standards of curriculum while

embracing the diversity of our students amongst Native and African American music

without crossing boundaries of cultural appropriation?

Before digging into the the complications of creating a multicultural classroom, it's

crucial that we begin by discussing how culture should be viewed and emphasized by itself. One

specific philosophy Abril and Kelly-McHale (2016) remind us of is that culture is both visible

and invisible in our classrooms and because of this, should be used as a tool to guide our

pedagogy, curriculum, and when considering and setting educational goals. Specifically, they

suggest that “our preoccupation with selecting repertoire and choosing great materials might

need to take a back seat to meeting the diverse needs of students” ​( p. 255). This suggests that

perhaps the obsession with curriculum and standardization should move second to the

prioritizing of the diversity of the students in our classrooms. This concept of considering the

impact of diversity first and foremost encourages cultural responsiveness from both the student

and the teacher and seems to place cultural competency at a high importance. Yet, educator’s

may confuse music that is outside of their “traditional” repertoire with the term “world music”.

This is clearly problematic because it is extremely hypocritical to limit the educational

exploration of students based only from our own perspectives.

The term “world music” itself poses many challenges when considering the cultural

background of our students. The method of the pedagogy by itself could potentially “offer an
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alternative view of culture in the music classroom” (Abril & McHale, 2016, p. 254). This, at

first glance, does seem rather inviting, however,the “alternative view” that is mentioned usually

only pertains to specific regions of the world. Further, the choice to categorize musics

specifically to their region increases the engagement of “othering”. For example, World Music

Drumming, an approach to music pedagogy developed by Will and Ann Schmid in the spring of

1996, only includes drumming from a few regions in Africa, Latin-American, and Caribbean

cultures (Schmid, 1998). This choice to focus on music from specific cultures does not always

encourage a classroom that is presently culturally responsive. How, though, do we define this

idea of cultural responsivity in regards to a multicultural classroom. According to Abril and

Mchale, it first requires that both the student and the teachers make connections between their on

and those beyond their own musical experiences to grow in understanding and responsiveness

(Abril & McHale, 2016, p. 258). To me, this places even more emphasis on the importance of

education being a two-way street, of the educator being an equal learner just as much as their

students. Cultural responsivity should and will always begin with the teacher.

That being said, how can we ensure that we are actually providing a variety of sources

that encourage cultural responsivity when we constantly have to fight the Americanization of

music education? The Americanization of music curriculums could potentially begin with the

overwhelming emphasis placed on folk music. But, ​if we’re truly considering the limitless

background of our general music classrooms, we must also consider the lack of limit in regards

to the music that is present. ​Most of what is considered to be American folk music, however; is

actually congruent of western heritage or begins after the colonization. This universalist

approach essentially gives Western music the credit of the superior form of art. (Reyes, 2018, p.
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12).​ ​But, what happened to the music of those who were here before us and how does the lack of

Native American music in the general music classroom impact how we view culture? What

happened to the music of African Americans, those who were just as active in shaping American

culture? You could easily say that fixing this problem would simply entail implementing more

of this music into the system. It’s crucial, though, to consider how dependent the success of the

implementation would be on the school itself. For example, what if you’re choosing to do a

Native American piece at a school in which said population is less than 1 percent? This now

potentially opens up doors questioning both social justice and cultural appropriation. When

considering pedagogy to emphasize the importance of cultural responsiveness, we must also

consider where we draw the line between appropriation and embracing the diversity of our

students.

By exploring the previous confusions and arguments rooted behind a culturally

responsive general music classroom, this research paper will address which approaches,

methods, or techniques music educators should explore in relation to the general music

classroom to balance the standards of curriculum while embracing the diversity of our students

amongst Native and African American music without crossing boundaries of cultural

appropriation and “world music” as a problematic viewpoint.

What does the word “culture” mean when pertaining to diverse views of music

education? It is a word that has been shaped, developed, and restructured throughout much of

our history concerning music education. Arguments have been made that there is only enough

“time” to focus on one specific culture or worldview. Thoughts as limiting as those lead to the

overwhelming monopoly of music education's focus on Western music. ​But, what about all of
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the other perspectives and cultures of our students that are simply being ignored? ​The culture

we must pay strict attention to, must first be understood as both visible and invisible. Visible

culture includes “food, clothing, music, language, art, and overt behaviors” (Abril & McHale,

2016, p. 243), aspects that tourists become easily aware of. Hidden underneath these aspects,

however; are deeper aspects of culture. “The invisible part of culture includes values, attitudes,

beliefs, and thought patterns” (Abril & McHale, 2016, p. 243). These aspects are not only more

challenging to identify, but they’re also known to be more challenging to discuss. For example,

it is generally easy to address the known visibilities of many cultures. America: hot dogs, blue

jeans, and country music. It’s without a doubt way more difficult to discuss what lies beneath.

American culture carries beliefs of freedom and liberty, which then turn into attitudes of greed

and ignorance. “Aspects of invisible culture are so deeply embedded and normative that even

cultural insiders can be unaware of these behaviors and habits of mind.” (Abril & McHale,

2016, p. 244). Complications arise when considering implementing these aspects within our

music curriculums. If topics of visible and invisible culture is already difficult to discuss as

adults, how can we expect our students to engage in similar thought-provoking conversations,

right?

When discussing the importance culture should play on our curriculum and pedagogy this

text offers two critical techniques: “culture guiding pedagogy” and “curriculum follows

culture”. When pedagogy begins by first prioritizing the students experience and understanding

of culture, the unique cultures of our students can serve as a tool to guide our pedagogy rather

than interrupt it. (culture guiding pedagogy) The same applies to the term “curriculum follows

culture”. “Our preoccupation with selecting repertoire and choosing great materials might need
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to take a back seat to meeting the diverse needs of students” (Abril & McHale, 2016, p. 255).

Individualized learning can be designed to value meaning, creativity, and expression rather than

repertoire or test scores. “An understanding of students’ cultural backgrounds…” can not only

drive the repertoire selection process, but it can also drive meaningful experiences for the

changing student that are inspired by cultural responsiveness and the concept and creation of a

multicultural music education.

The concept of multicultural education in North America began in the 1960s during the

Civil Rights movement. The term itself has historically been extremely challenging to describe

with just one definition. Because of this, the approaches towards achieving a multicultural

education are anything but few. Multicultural education is often well-put as the normal human

experience. Drawn from multicultural literature, teachers begin by surveying the needs of the

diversity they teach and consider this first within curriculum. Though “multicultural education

as the normal human experience” is clearly the least problematic and likely the strongest

approach explored, “this notion [would] mean that educators, government policies, schools,

universities and so forth should play an active role in the implementation of multicultural

education to assure the effectiveness.” (Reyes, 2018, pg. 11) This further implicates thoughts that

within general music, the concept of a multicultural education becomes even more complicated.

It is clear that we, as music educators, should be exposing our students “outside the mainstream

musical culture” but it's unclear the extent in which it should be done: how often, how much,

which musics, etc. To play devil’s advocate, the argument of “all” musics is easier said than

done due to our deep roots of Western musics.

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Western ideals and music were first placed at the top of an invisible hierarchy beginning

with the concept of “universalism in music”. “Songs that originated outside of European

traditions were qualified as “primitive” and “incomplete” as they did not exhibit the components

of Western European music (Kang, 2016)” (Reyes, 2018 pg. 12). The result of this can clearly

be seen in music education via the lack of Native American songs and African American

spirituals in North American music education. If the songs of these people have automatically

been deemed as “incomplete” how does this affect our students who identify within these

categories? They too will inevitably feel incomplete and simply unwelcomed within our

classrooms if we continue to hold these so called “standards” of music education upon this

invisible pedestal. The “non-universalist” perspective of music states that music is not a

universal language, but rather “musical expressions reflect the customs, traditions, and beliefs of

the culture that produce[s] them” (Reyes, 2018, pg. 12). This interpretation offers framework

principled around the acknowledgement of hierarchy, recognition of culture serving as origin of

music, promotion of diversity specific to that of the community, and that authenticity can only be

determined by the culture itself. This perspective, when accompanied with individualized

learning and multicultural education, can in turn begin to decompose the current notions of

“westernizing” within North American music education. What’s even more compelling about

this concept is that Juliet Hess of Michigan State University offers hands on experience and

research as to just how possible challenging the current models of music education can be within

the general music classroom.

In her article Hess explores her own research via four elementary music teachers who

prioritize challenging the current paradigms of music education. When discussing the problem
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that the term “world music” implies, specifically the “othering” of anything but Western

European music, the concept of ‘teaching music with a global lens’. Through this approach

musics are taught in relation to each other, but are also identified individually. This approach

helps to eliminate thoughts that musics should be generalized, but, should still be related to

Western European models. Another teacher described an event in which she taught her students

a song called ‘Ho Ho Watanay’. One of her students said “Miss, that sounds like music from my

home, my please, my people”. This student was of the First Nations and was excited to have the

opportunity to learn a song that actually represented he and his culture. It is then mentioned that

this could, of course, result in some problematic claims of cultural appropriation (which will be

discussed later). However, it is stated by Hess that “teachers [can] avoid these problems [if] they

take care to include the students in the selection process. But, what does this mean in

circumstances when the teacher genuinely wants to provide her students with a well rounded

music education by teaching Native American musics, but for example, has no First Nation

students within her classroom? At what point does this no longer become a topic of multicultural

education, but rather cultural appropriation?

When teachers selected music “beyond the affinity and identify” of their students, they

approached the teaching of it just as if the world were a more homogenous environment. One

teacher (Susan) explained that it’s about bringing an awareness and an understanding to simple

fact that “the world is a bigger place than the one part of it they happen to live in”. Later, Susan

also discusses her thoughts on the authenticity of performing pieces that lie outside of our own

cultures. In her opinion, authenticity begins to approach the borderlines of cultural appropriation

when educators begin to teach without “expertise, context, in English, and in many times the
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transmission of the actual piece”. Still, however; she describes how nervous she gets when she

tries to teach a song from Africa and she sees a “little choir of people” standing so perfectly in

the corner. How can we tell if they’re getting the real experience of the music? Where does the

relation of power, if it even should, come into play when considering the choral settings of

musics? This sends us even deeper into the complications that lie behind the integrity of both the

music itself, and the educator. Perhaps the integrity of music can be better maintained “while

exploring it and creating with it” (Hess, 2013, pg. 161).

Hess also offers a ‘new’ reason as to why the term “world music” is used as an othering

device. From her perspective, it lies within the concept of Western music schools. World, or

often global, musics are thrown into curriculums to add exotic spice or flavor to the rather bland

European models of music education. This, in itself, intentionally creates an approach of cultural

tourism. Cultural tourism is quite similar to the opposition to the concept of “teaching music

through a global lens” in that it require students to essentially take a tour of “other” music while

their “home” remains in Western traditions. For example “ok class, today let’s take a tour to

Argentina and learn about traditional Argentinian music then talk about how it relates to ​ours.​ ”

This is ultimately the result of topics discussed in the first Hess article, “lack of context and

interaction with a member of the cultural community.” (pg. 75). Hess describes how her

reputation as the Ghanaian drum teacher caused her worry extensively over the potential of

tourism in her classroom. What was stopping her students from imagining or questioning the

“other” person who engages in this specific style of music naturally as their own culture?

What’s even more concerning is the fact that many elementary school music programs include

world music with only superficial goals of engagement. The only option an educator has to
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break these notions of superficiality and to provide an authentic musicking experience to their

students is to fully accept the role of expert. Though this role has been known to enhance the

power relationships between student and teacher, “Professional identity for the student/teacher of

world music is often entrenched in issues of commodification and social identity within

narratives of tolerance and the ensuing self-congratulation” (Hess, 2013, pg. 81) This, however;

becomes further complicated when paired with the importance of dismantling power structures.

Hess, like many others, strives to present herself as a learner with her students. How do we

balance this while keeping the role of the expert in mind? Molefi Asante offers us the concept of

“centricity” when considering the ethics of music education. It refers to the importance of

meeting students where they are “within the context of their own cultural references so that they

can relate socially and psychologically to other cultural perspectives.” This enhances the

concept of individualized learner and further prioritizes the importances of considering the

cultural and academic needs of every single learner.

This concept is further expanded upon in Countryman’s discussions of the tensions that

she herself faced when teaching elementary global musics. She begins by addressing the fact

that most if not all music educators come from a rigorous background of Western European

music education. If these educators are not introduced to challenging cultural scenarios, then

how can we expect them to provide the same for our students? Bartel’s (2004) model not only

shares the concept of the educator as the expert, but also challenges “the rehearsal model” of

large-ensemble music making. Though I do understand what Countryman is referring to in

regards to high school music programs, but, I’d argue that somewhat large-ensembles can be

quite beneficial to the general music classroom especially when considering the authenticity of
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the music that is being performed. Still, we must consider the complications that arise when

aiming to balance “honest, personally enriching and communally compelling” musicking with

musicking that is ethical for both the teacher and the student. After considering her own

problematic engagement in “othering”, searching for authenticity, and using Eurocentrism as a

​ usics Countryman suggests that one

homebase for musical concepts/descriptions for ​all m

solution could potentially begin within our classroom environments. Specifically, creating a

classroom that is thoughtful and challenging simultaneously can encourage discussion centered

around the multiple conceptions of topics such as global music or the concept of othering. These

explorations could best be fueled through experiences of practicing all musics, thus creating

social consciousness within our students from the moment they step into our classrooms.

Countryman offers five framing principles that aim to “ground [multicultural music education]

on a transformative vision of the society we want to construct” (Countryman, 2009, pg. 34)

1. Share growth and understandings via multicultural music education that allows students

to engage critically through the performing, improving, listening and critiquing.

2. Be ready to adapt practices based off of the current diversity of the classroom

3. Apply context to all levels of music making with challenging conversation

4. Discuss the “unflattering” narratives of the White-dominated system of music education

5. Bring awareness the normalness of the discomfort of knowledge that challenges what we

believe.

While continuing to develop thoughts about multiculturalism, I began to wonder how it

would affect the general music classroom in relation to the unique perspectives of youth choir

seeing as many elementary school music programs offer this as an after school activity.
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Bradley’s research entitled “Global Song, Global Citizens?” stood out to me as it seemed to open

up even more potential challenges to consider when selecting a variety of repertoire for our

students. Further, are there approaches or methods specific to the concept of “global song” that

can be used in the general music classroom on a day-by-day basis? The concept of global song

was developed by Bradley in response to her beliefs that music must extend beyond what is

expected in order to make important lifelong connections. Global song can be defined as “the

varied musical practices of peoples and cultures from around the world”. Essentially, global

song incorporates Western forms of those of non-European cultures as well. Though I

understand the intention of this term, I think that in a way it could play a role that is just as

problematic as the term ‘world music’. Is there really a need to label a song global just for the

sake of labeling? This, to me, is a form of othering as well. However; Bradley moves on to

claim that the term “choir”, for example, could be considered a social construct based off of the

Western model of music education and that choral music often involves the notation of a folk

song which often goes against the aural traditions of cultures. One could argue that this not only

removes dynamics of authenticity, but, develops a higher connotation in regards to cultural

appropriation. Much of the literature surrounding multicultural choral music education suggests

that approaches such as these are “best administered in the general music classroom where

“music appreciation” is the goal” (pg. 31). Though you could accept this response, the goal of

one’s classroom should never be to only help their students achieve an appreciation of the

subject. The goal, instead, is to grow and developed an enriched understanding of the concepts

discussed. That being said the structure behind a multicultural choir and a multicultural general

music classroom should overlap in their multicultural “achievements” regarding

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“knowledge/skills/attitudes, cultural awareness, sensitivity and valuing.” Throughout her

research, Bradley received data from the Mississauga Festival Youth Choir in Ontario, Canada

via twenty interviews with the students (grade 4-6). Many students audition for this choir each

year and many are denied, leading to notions of the autonomy of music within the choir. This

educational practice contributes to many elitist attitudes to one’s individuality and could

potentially complicate attitude once the “global song” is introduced. These complications

surrounding classroom attitude and environment should also be analyzed when considering how

to approach the introduction of musics classrooms may not be used to.

As mentioned before, the idea of of music educators practicing cultural responsiveness

with their students stemmed from multicultural education values of encouraging students to

embrace and discuss the diversity and culture present in the classroom. For many of these

educators, a constant challenge Native American music, also known as the music of the First

Nations. As we have explored through discussing previous concepts, much of the music

incorporated in the general music classroom developed in response to the Westernizing of

musical concepts. Because of this we see challenges arise when music “outside” from traditional

American culture is brought into the classroom. The musics included are usually labeled with

the term “folk” music, or, the music of the people. But what people? The settlers from Europe

who colonized what is now known as America? The westernizing of traditional American music

has been developing for hundreds of years. Before, however; there was the music of ​our ​people.

How do we, as educators, go about the ​ethical​ teaching of Native American music within our

curriculum? When considering the ethics of multicultural education, two popular guidelines

include “the use of authentic materials which have been approved by cultural insiders and the
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presentation of the music’s cultural connections” (Belz, 2005, pg. 21). But, how does one go

about selected said authentic materials if resources are limited? Edwards (1998) suggests that

music teachers should receive training in working with Native American musics. This research

surveyed if Native American inclusions varied based on grade level, which groupings were

represented, which languages were presented, and if cultural insiders attested to the authenticity.

The inclusions were divided into chants/poetry/stories, book or film, music, visual, and dance.

Of all these, music had the overall highest inclusions across each grade level, suggesting that

music offers a safe environment to begin introducing aspects of Native American music.

Fifty-eight groupings of Native American tribes were represented through the music; Navajo

being the most present along with Zuni, Sioux, and Inuit. Authenticity was prioritized through

the presentations of cultural connections. The specific connections addressed discussed the

transmission of culture from generation to generation, the respect of nature, the respect of man

within the family model, location influences lifestyle, dances are an inherent part of cultures,

cultures are dynamic and constantly evolve, unique elements of vocal style, and the flute,

shakers, bell, and drum as traditional instruments. Of all selections explored throughout this

study, each piece was “verified” by at least three separate sources. From this, Belz developed

the following guidelines to consider when assisting the experience of Native American music

within multicultural music education.

“1 . Cultural insiders should attest to the authenticity of the as the use of appropriate

activities and correct terminology

2. Cultural insiders should supervise the preparations of recordings

3. The music should be experienced in terms of its cultural connections

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4. The peoples (tribes, nations) as well as geographical locat the music originates should

be identified.

5. Music is to be presented in the original languages, accom nunciation guides and

translations.

6. The unique aspects of the vocal style should be explained

7. Notation and transcriptions of the music should be avail

8. Clear directions for games, dances and stories should be

9. High quality photographs should be used.

10. Teaching strategies should involve active experiences with the music. 1 1 .

Presenting Native American music through integration plines may lead to more

meaningful experiences for students.

12. Native American cultures are dynamic, evolving cultures and therefore contemporary

as well as traditional music should be presented.”

Though the two cultures are completely different and should be regarded as so, many of

these “guidelines” could also crossover into thoughts of evaluation pertaining to the music that

lies deeply within African-American culture. Though the musics of African-Americans are

definitely documented, they are predominantly under-represented within the general music

classroom even though there music is responsible for making up much of the heritage of

American music. Similar to the music of the First Nations, the music of African Americans is

also often pushed to the side for not falling into the category of “traditional” American music

when their musics equally contributed to all that American music is known for today. When

deciding how to exactly go about our affiliations with this concept in our classrooms, we must
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not forget that the style of music should not be limited to just spirituals. Instead, we must

recognize the importance that blues, jazz, and many other contemporary works written by

African-composers played on the development of not only music, but music education as a

whole. Further, we must continue to develop growth in these regions consistently throughout the

school year rather than just one specific month. In the beginning of the twentieth century,

African-American composers began to combine the techniques of their own traditions with those

of the European tradition as well. This resulted in styles such as jazz and blues that encompassed

variations of call and response, syncopation, improvisation, and various vocal effects. In

the1960s the Civil Rights Movement increased the awareness of the impact that their cultures

have had on our society and began the appreciation of their musics. In our final study developed

by Choi, three African-American composers shared their perspectives on approaches to consider

when choosing what to implement in a multicultural music education classroom. Cederic

Adderly shares how his song “I Dream a World” can be used to discuss the injustices for this

specific minority of American life. He suggests that giving students the opportunity to create

their own dream poems or improvise them over the instrumental tune could serve as experiences

to fuel discussion and creativity. John Lane discusses how his work “Songs to Eleanor” could

not only open up topics concerning blues, but French diction and Schonberg’s concept of

Sprechstimme as well. The final composer, Trevor Weston, discusses how his work “New Blues

for TJ” could also explore the blues style but musical concepts such as descending intervals as

well. Aside from this, this article suggests that for the educator committed to staying culturally

responsive will have less of a challenge when searching for resources. Further it suggests that

African-American classical music could be used as a bridge into deeper, older styles of African
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American music such as spirituals. “We as music educators believe that African-American

classical music requires critical consideration in the development of a diverse music education.”

Though I don’t necessarily disagree with this statement, I wonder if it could potentially lead to

even more problems when finally getting to the point of teaching spirituals. In a way, this seems

quite similar to the concept of othering in that it further separates the music of a culture that has

already been “othered” time and time and again. I’m not sure if it would make more sense to

use this as a tool, or as an extension to previous implementations of African-American musics

within our classrooms. Regardless, it is clear that the culturally responsive educator should

consistently question and challenge his or her advancements in encouraging diversity and

discussion especially when concerning musics that are not always “accepted”.

Throughout our explorations, we have continued to discuss the most efficient methods

and approaches in regards to actually implementing philosophies of multiculturalism to create a

culturally responsive classroom. When practicing, we must first remember that creating this

concept of embracing diversity first begins with the teacher. We cannot expect something as

often controversial as culture to simply “show up” within our general music classrooms. The

initiation of these concepts can best begin with the power of discussion, creating guided

conversation by realizing the differences between Abril and McHale’s concept of visible and

invisible culture. These conditions, so to speak, should be discussed no matter how much

discomfort they cause. As Abril and McHale also shared, culture should be used to guide both

our pedagogy and curriculums. In other words, they recommend that we notice and calculate the

diversity of our classrooms before deciding which pedagogies we should build off of. Most of

the literature reviewed suggests that all practices with end goals of creating a culturally
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responsive classroom begins with multicultural pedagogies. Specifically, focusing on these

pedagogies rather than belittling perspectives such as ‘world music’. Hess’ articles recommend

avoiding the blind act of ‘othering’ by teaching musics in relation to each other, still identifying

them as something of their own rather than under a broad and discrediting category. Hess also

suggest that one of the most efficient ways an educator can limit fine lines of cultural

appropriation is to work towards being ok within the role of the expert. This is often a role that

may seem to controlling, but, in situations as tricky as these, it would be more superficial to

assume this role. From the teacher’s perspective, however; this would now mean that they

continue to educate and grow within their own mindsets of multiculturalism so that they can

avoid the effects of cultural appropriation successfully. But, how do we continue to do so? At

what point are self-reflection or training programs no longer beneficial?

Questions such as these are critical when continuing to think about the further

implications of this research. For example, earlier Reyes shared that educators should be

responsible for exposing our students for music that is outside comfort zones. Though it makes

perfect sense to do so, it’s definitely a concept that is easier said than done as the extent is

unclear. How often should we do so, how much should be introduced at a certain time, how can

we continue to balance the sensitive pacing with the balance of a culturally responsive

classroom? Looking back on the topic within First Nations’ music, the point at which

introducing the music to a classroom with no First Nations students becomes a topic of cultural

appropriation rather than multiculturalism is also not clear. Another thing to consider in relation

to cultural appropriation is the authenticity of the musical experience. How can we ensure

students are getting a ‘real’ experience? Also, if we’re assuming the best way to approach
CREATING A CULTURALLY RESPONSIVE GENERAL MUSIC CLASSROOM 20

uncomfortable topics of cultural appropriation is to assume the role of the expert, how do we

balance keeping this role while maintaining a healthy teacher-as-the-student classroom? I also

wonder how these roles and methods change dependent on the culture being discussed or the

diversity present in the classroom. For example, Choi’s research based off of African-American

composers recommends great expansions for using classical music or spirituals composed by

African-Americans in the general music classroom. But what about jazz and blues? What are

some practical ways in which jazz and blues can be explored throughout the school year while

continuing to expand the developing of musical contexts? Many of these concerns could likely

be advanced through a process of more detailed research but is probably best advanced via

hands-on experience and consistent reflection and growth. These concepts are simply more

challenging to practice seeing as practicum and hands-on experiences such as those that are

needed are limited in that I personally do not have access to them on a daily basis. That being

said, both the implications and findings of this critical research will remain prioritizing thoughts

as I continue within my undergraduate and postgraduate music education career.

Reflecting upon previous conversations regarding the changing percentages of majority

and minority students within our public school systems should be reason enough to deeply

consider the methods and applications of creating a culturally responsive classroom. As

explored first by Abril & McHale, music educators must first consider both the visible and

invisible properties of culture by themselves, especially when encouraging uncomfortable

discussion revolving culture. We later discuss how this can be accomplished through specific

pedagogies in regards to multiculturalism rather than the use of problematic perspectives such as

‘world music’ or ‘othering’. The implications surrounding the similar phrase of ‘global music’
CREATING A CULTURALLY RESPONSIVE GENERAL MUSIC CLASSROOM 21

was also explored in relation to the challenges of multiculturalism in the youth choir specifically.

Finally, we contemplated the sensitivity of introducing both musics of the First Nations and

African-American musics when addressing borders of cultural appropriation and authenticity as

well as surveyed “guidelines” for doing so. Whether we try to ignore it or not, creating a general

music classroom that is truly culturally responsive is anything but a simple thing to tackle. It

requires extreme amounts of hard work, dedication, and sacrifice from the facilitator. After all,

the process of multiculturalism does begin with the educator and in turn demands honest

reflection for growth, success, and efficiency. It requires that we continue to challenge the

current ideals of music education every day by prioritizing the empowerment of diversity and

cultures of every student that walks into our classroom no matter how demanding or difficult it

may be. Because what really matters is not the curriculum, or if they sang the right note, or if

they got a “good enough” score they got on the test. What really matters is the inspiration you

allowed them to create through musical expression and cultural empowerment.

“The diversity in the human family should be the cause of love and harmony, as it is in

music where many different notes blend together in the making of a perfect chord.”

-Abdu’l-Baha
CREATING A CULTURALLY RESPONSIVE GENERAL MUSIC CLASSROOM 22

References:

1. Abril, C. R. & Kelly-McHale, J. (2016). Thinking about and responding to culture in

general music. In C. R. Abril & B. M. Gault (Eds.), ​Teaching General Music:

Approaches, issues, and viewpoints (​ pp. 241-263). New York: Oxford University Press.

2. Belz, M. J. (2005). Inclusion of Native American music in" Silver Burdett Making Music

K-8". ​Bulletin of the Council for Research in Music Education,​ (164), 19-34.

3. Bradley, D. (2006). Global Song, Global Citizens? Multicultural Choral Music

Education and the Community Youth Choir: Constituting the Multicultural Human

Subject, ​University of Toronto.

4. Choi, E., K., L. J., (2016). Cultural diversity: Resources for music educators in selected

works of three contemporary African-American classical composers. ​Music Educators

Journal, 103(2),​ pgs. 35-40.

5. Countryman, J. (2009). Stumbling toward clarity: Practical issues in teaching global

musics. In E. Gould, J. Countryman, C. Morton, & L. S. Rose (Eds.) ​Exploring social

justice: How music education might matter (pp. 23-37).​Toronto: Canadian Music

Educators’ Association.

6. Fry, R. & Krogstad J. M. (2014). ​Dept. of Ed. projects public schools will be

​ etrieved from
‘majority-minority’ this fall. R

http://www.pewresearch.org/fact-tank/2014/08/18/u-s-public-schools-expected-to-be-maj

ority-minority-starting-this-fall/
CREATING A CULTURALLY RESPONSIVE GENERAL MUSIC CLASSROOM 23

7. Hess, J. (2013). Performing tolerance and curriculum: The politics of self-congratulation,

identity formation, and pedagogy in world music education. ​Philosophy of Music

Education Review, 21​(1), 66-91.

8. Hess, J.L. (2013). Radical musicking: Challenging dominant paradigms in elementary

music education (doctoral dissertation) University of Toronto, Toronto, Ontario, Canada.

9. Schmid, W. (1998) World Music Drumming. Wisconsin: Hal Leonard.

10. Reyes, F.L. (2018). Multicultural music education in North America: Achievements and

obstacles, ​The Canadian Music Educator, 59(2)​, pp 10-17.