Marginalized Voices in Music Education explores the American culture of music teachers by looking at marginalization and privilege in music education as a means to critique prevailing assumptions and paradigms. In fifteen contributed essays, authors set out to expand notions of who we believe we are as music educators -- and who we want to become. This book is a collection of perspectives by some of the leading and emerging thinkers in the profession, and identifies cases of individuals or groups who had experienced marginalization. It shares the diverse stories in a struggle for inclusion, with the goal to begin or expand conversation in undergraduate and graduate courses in music teacher education. Through the telling of these stores, authors hope to recast music education as fertile ground for transformation, experimentation and renewal.

Music Education for Social Change: Constructing an Activist Music Education develops an activist music education rooted in principles of social justice and anti-oppression. Based on the interviews of 20 activist-musicians across the United States and Canada, the book explores the common themes, perceptions, and philosophies among them, positioning these activist-musicians as catalysts for change in music education while raising the question: amidst racism and violence targeted at people who embody difference, how can music education contribute to changing the social climate? Music has long played a role in activism and resistance. By drawing upon this rich tradition, educators can position activist music education as part of a long-term response to events, as a crucial initiative to respond to ongoing oppression, and as an opportunity for youth to develop collective, expressive, and critical thinking skills. This emergent activist music education—like activism pushing toward social change—focuses on bringing people together, expressing experiences, and identifying (and challenging) oppressions. Grounded in practice with examples integrated throughout the text, Music Education for Social Change is an imperative and urgent consideration of what may be possible through music and music education.

This volume offers chapters written by some of the most respected narrative and qualitative inquiry writers in the field of music education. The authorship and scope are international, and the chapters advance the philosophical, theoretical, and methodological bases of narrative inquiry in music education and the arts. The book contains two sections, each with a specific aim. The first is to continue and expand upon dialogue regarding narrative inquiry in music education, emphasizing how narrative involves the art of listening to and hearing others whose voices are often unheard. The chapters invite music teachers and scholars to experience and confront music education stories from multiple perspectives and worldviews, inviting an international readership to engage in critical dialogue with and about marginalized voices in music. The second section focuses on ways in which narrative might be represented beyond the printed page, such as with music, film, photography, and performative pieces. This section includes philosophical discussions about arts-based and aesthetic inquiry, as well as examples of such work.

Sociology for Music Teachers: Practical Applications, Second Edition, outlines the basic concepts relevant to understanding music teaching and learning from a sociological perspective. It demonstrates the relationship of music to education, schooling and society, and examines the consequences for making instructional choices in teaching methods and repertoire selection. The authors look at major theories, and concepts relevant to music education, texts in the sociology of music, and thoughts of selected ethnomusicologists and sociologists. The new edition takes a more global approach than was the case in the first edition and includes the application of sociological theory to contexts beyond the classroom. The Second Edition: Presents major theories in ethnomusicology, both traditional and contemporary. Takes a global approach by presenting a variety of teaching practices beyond those found in the United States. Emphasizes music education in a traditional classroom setting, but also applies specific constructs to studio teaching situations in conservatories (with private lessons) and community music. Provides recommendations for teaching practices by addressing popular music in school music curricula, suggests inclusionary projects that explore musical styles and repertoire of the past and present, and connects school to community music practices of varying kinds. Contains an increased number of suggestions for projects and discussions among the students using the book.

Music education has historically had a tense relationship with social justice. One the one hand, educators concerned with music practices have long preoccupied themselves with ideas of open participation and the potentially transformative capacity that musical interaction fosters. On the other hand, they have often done so while promoting and privileging a particular set of musical practices, traditions, and forms of musical knowledge, which has in turn alienated and even excluded many children from music education opportunities. The Oxford Handbook of Social Justice in Music Education provides a comprehensive overview and scholarly analyses of the major themes and issues relating to social justice in musical and educational practice worldwide. The first section of the handbook conceptualizes social justice while framing its pursuit within broader contexts and concerns. Authors in the succeeding sections of the handbook fill out what social justice entails for music teaching and learning in the home, school, university, and wider community as they grapple with cycles of injustice that might be perpetuated by music pedagogy. The concluding section of the handbook offers specific practical examples of social justice in action through a variety of educational and social projects and pedagogical practices that will inspire and guide those wishing to confront and attempt to ameliorate musical or other inequity and injustice. Consisting of 42 chapters by authors from across the globe, the handbook will be of interest to anyone who wishes to better understand what social justice is and why its pursuit in and through music education matters.

Culturally Responsive Teaching in Music Education presents teaching methods that are responsive to how different culturally specific knowledge bases impact learning. It is a pedagogy that recognizes the importance of including students’ cultural references in all aspects of learning. Designed to be a supplementary resource for teachers of undergraduate and graduate music education courses, the book provides examples in the context of music education, with theories presented in Section I and a review of teaching applications in Section II. Culturally Responsive Teaching in Music Education is an effort to answer the question: How can I teach music to my students in a way that is culturally responsive? This book serves several purposes, by: • Offering theoretical/philosophical frameworks of social justice • Providing practical examples of transferring theory into practice in music education • Illustrating culturally responsive pedagogy within the classroom • Demonstrating the connection of culturally responsive teaching to the school and larger community

"Trans and gender expansive 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, they 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 trans and gender expansive 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 trans and gender expansive students in school music classrooms"--