The questions stated here arose from in class readings. While we have discussed these questions as a group, and came up with responses, we recognize that we are still grappling with these ideas and are committed to continue thinking about these issues.
July 7th, 2020
References
Treweek, C., Wood, C., Martin, J., & Freeth, M. (2019). Autistic people’s perspectives on stereotypes: An interpretative phenomenological analysis. Autism, 23(3), 759–769.
Baldwin, A. (2017). Community music-making for everyone via performing ensembles: Here are five groups that make an inclusive, musical difference in their communities. (Lectern). Teaching Music, 24(3).
- What stereotypes are perpetuated through educational systems and structures? (Treweek, Wood, Martin, & Freeth, 2019).
- Are there music opportunities and programs available for special needs people of all ages, including adults? (Baldwin, 2017).
- In mainstream media, is it acceptable for an actor to portray a person with special needs if they’ve done their homework and research to understand their role at a deep level? (Treweek, Wood, Martin, & Freeth, 2019).
References
Treweek, C., Wood, C., Martin, J., & Freeth, M. (2019). Autistic people’s perspectives on stereotypes: An interpretative phenomenological analysis. Autism, 23(3), 759–769.
Baldwin, A. (2017). Community music-making for everyone via performing ensembles: Here are five groups that make an inclusive, musical difference in their communities. (Lectern). Teaching Music, 24(3).
July 8th, 2020
References
Ansdell, G. (2002). Community music therapy & the winds of change. Voices, 2(2), np. Retrieved from https://doi.org/10.15845/voices.v2i2.83
Mitchell, E. (2019). Community music therapy and participatory performance. Voices, 19(1). Retrieved from https://doi.org/10.15845/voices.v19i1.2701
- How can community music therapy be transferred to developing countries that don’t have these kinds of programs in place?
- Why do we elevate performance with distinctive audience-performer relationships over collaborative music making?
- What does our system of assessment reveal about our values in music making? What is the role of participatory music in assessment?
References
Ansdell, G. (2002). Community music therapy & the winds of change. Voices, 2(2), np. Retrieved from https://doi.org/10.15845/voices.v2i2.83
Mitchell, E. (2019). Community music therapy and participatory performance. Voices, 19(1). Retrieved from https://doi.org/10.15845/voices.v19i1.2701
July 12th, 2020
Reference
DeVito, D., Telles, T., & Hidalgo, B. (2020). Culturally responsive research projects in a title I elementary center for fine arts. Visions of Research in Music Education 35. http://wwwusr.rider.edu/~vrme/v35n1/visions/DeVito%20Telles%20and%20Smith_Culturally%20Responsive%20Research.pdf
- DeVito, Telles, and Hidalgo (2020) seemed eager to include a wider curricular effect from the Rawlings approach and recognized that poverty is a “likely correlate of student achievement” (p. 8). How does empowering learners with purposefulness, shared decision making, and using culturally relevant curriculum make real, authentic change in poverty stricken lives of students?
- To what degree should both observation assessment and outcome-based assessment be taken into account in final assessment?
- How did the educators determine what was considered culturally relevant music for each school community?
Reference
DeVito, D., Telles, T., & Hidalgo, B. (2020). Culturally responsive research projects in a title I elementary center for fine arts. Visions of Research in Music Education 35. http://wwwusr.rider.edu/~vrme/v35n1/visions/DeVito%20Telles%20and%20Smith_Culturally%20Responsive%20Research.pdf
July 15th, 2020
References
Bradley, D. (2012). Good for what, good for whom?: Decolonizing music education philosophies. In The Oxford Handbook of Philosophy in Music Education.
Stanton, B. (2018). Musicking in the borders: Toward decolonizing methodologies. Philosophy of Music Education Review, 26(1), 4–23.
Chávez, L., & Skelchy, R. P. (2019). Decolonization for ethnomusicology and music studies in higher education. Action, Criticism & Theory for Music Education, 18(3). Retrieved from http://act.maydaygroup.org/volume-18-issue-3/act-18-3-chavez-and-skelchy/
- Can we deem decolonizing pedagogy in music as a revolutionary pedagogy in terms to address conflicts between ethnic minorities and majority, in that case conflicts between the Indigenous and non-Indigenous?
- “Philosophy colonizes when it intimidates those who might otherwise engage in critical thinking” (Bradley, 2012, p. 3) What structures are currently present in the realm of music pedagogy that prevent students from critical thinking?
- There is an established persona of the “White Saviour,” and now the necessity to “listen for Whiteness” (Bradley, 2012, p. 5). How can we who fall into the position of historical dominance craft a teaching philosophy that doesn’t inadvertently play that role?
References
Bradley, D. (2012). Good for what, good for whom?: Decolonizing music education philosophies. In The Oxford Handbook of Philosophy in Music Education.
Stanton, B. (2018). Musicking in the borders: Toward decolonizing methodologies. Philosophy of Music Education Review, 26(1), 4–23.
Chávez, L., & Skelchy, R. P. (2019). Decolonization for ethnomusicology and music studies in higher education. Action, Criticism & Theory for Music Education, 18(3). Retrieved from http://act.maydaygroup.org/volume-18-issue-3/act-18-3-chavez-and-skelchy/
July 16th, 2020
Collective Group Questions
Angelina Gibson
Jamie Iles
Leslie Kent
Emily Pepper
David He
References
Benedict, C. (forthcoming Jan 2021). Educating for Intelligent Belief or Unbelief. In C. Benedict, Music and Social Justice: A Guide for Elementary Educators. New York: Oxford University Press.
Sensoy, O., & DiAngelo, R. (2017). Chapter 11:“Yeah, but . . .”: Common rebuttals. Is everyone really equal? : An introduction to ke concepts in social justice education / Özlem Sensoy and Robin DiAngelo. (Second edition.). Teachers College Press.
Collective Group Questions
- Why are we so hesitant to offer inclusion to religious thought and/or music?
- “In secular democracies, particularly the U.S., by ignoring the belief (and unbelief) traditions and systems of our students, we tend to treat students as if everyone is or should fall somewhere on a broad spectrum of Christianity, or, in our more aware moments (in certain parts of North America), Judeo traditions” (p.120). What is the basis for the assumption that everyone is somehow on the Judeo-Christian spectrum rather than an agnostic or atheist?
- What is unbelief?
Angelina Gibson
- Sensoy and DiAngelo write that oppression is not static in whom it affects and how it is evidenced. What are some ways that oppression has evolved or changed in the education system? How is it different today than it was a decade ago?
- What underlying assumptions or ways of thinking lead the dominant group to presume that the presence of minority groups translates into the absolution or reduction of oppression?
- What are some ways I can incorporate social justice conversations into my music classroom?
Jamie Iles
- One of the themes I would like to discuss more is positioning Social Justice Education as Something “Extra”. Should there be a class on social justice education? Should it be the responsibility of every individual teacher to ensure an adequate social justice education? What is an adequate education in that area?
- Another theme in which I would benefit from further discussion is citing exceptions to the rule. How many exceptional cases must there be for them to be considered the norm?
- A third topic I would like to discuss more in depth is intersectionality. Why is there a need to create a social hierarchy of which gender or race is more or less privileged? Is the effect of creating this social hierarchy reinforcing a belief that people on the bottom of the “privilege chain” are not incapable.
Leslie Kent
- "When we object that social justice perspectives are radical and subjective, we are also saying that mainstream perspectives are neutral and objective" (Sensoy & DiAngelo, 2017, p.187) I'm having trouble seeing why this is the case. How exactly does the labeling of one viewpoint as such, automatically reduce another viewpoint to having the opposite perspective? I once heard a wise life commentator (aka, a blogger) say "What is descriptive of my life is not meant to be prescriptive for yours". I feel that people often jump to the opposite position upon hearing yours, as though there can be no middle ground.
- "We cannot simply decide that these messages have no effect; it takes conscious and ongoing effort to challenge them" (Sensoy & DiAngelo, 2017, p.190) I have no question about this statement, and no dissent either. I just see a painful reflection of what my teenagers insist upon, every time I attempt to question the lyrics of one of their songs.
- FOURTEEN THOUSAND DOLLARS??!! (Sensoy & DiAngelo, 2017, p. 195)
Emily Pepper
- Sensoy argues that schools must educate students so that they are able to live with a multitude of perspectives, challenging ideas and tolerate ambiguity. However, school teachers and administration often choose to separate children who do not work well together or do not get along. Is segregating children an appropriate way to improve students ability to work within society?
- This is not a question but I really liked this passage from Sensoy and DiAngelo “The think critically about language is to think critically about power and ideology”. The way we speak can influence the perceptions of others.
- How can we as teachers explore different themes of social justice in our elementary classrooms?
David He
- How should we as pedagogues reply to implicit contents, albeit not discrimination, lies in current curriculum?
- Similar with the chants and chanting, Chinese modern songs have many totalitarian ideas. How should music teachers do to preventing those indoctrination?
- The studies of ethnomusicology in China provide new ideas by encouraging students to learn Chinese folk music, but students seem bored with learning those music. In stead of telling them folk music is required of examinations, what else teachers can do to fascinate the students?
References
Benedict, C. (forthcoming Jan 2021). Educating for Intelligent Belief or Unbelief. In C. Benedict, Music and Social Justice: A Guide for Elementary Educators. New York: Oxford University Press.
Sensoy, O., & DiAngelo, R. (2017). Chapter 11:“Yeah, but . . .”: Common rebuttals. Is everyone really equal? : An introduction to ke concepts in social justice education / Özlem Sensoy and Robin DiAngelo. (Second edition.). Teachers College Press.