“STEAM education,” with its addition of “arts” to STEM subjects, is a complex and contested concept. On the one hand, STEAM builds upon the economic drivers that characterize STEM: an alignment of disciplinary areas that allegedly have the greatest impact on a developed country’s Gross Domestic Product (GDP). On the other hand, the addition of the arts may point to the recovery of educational aims and purposes that exceed economic growth: for example, by embracing social inclusion, community participation, or sustainability agendas. Central to understanding the different educational opportunities offered by STEAM is the interrogation of the role—and status—of the arts in relation to STEM subjects. The term “art” or “arts” may refer, for example, to the arts as realms/domains of knowledge, such as the humanities and social science disciplines, or to different ways of knowing and experiencing the world enabled by specific art forms, practices, or even pedagogies. In the face of such variety and possibilities, STEAM is a portmanteau term, hosting approaches that originate from different reconfigurations or iterative reconfiguring of disciplinary relationships. A critical discussion of the term “STEAM” will thus require an analysis of published literature alongside a review and discussion of ongoing practices in multiple field(s), which are shaped by and respond to a variety of policy directions and cultural traditions. The outcome is a multilayered and textured account of the limitations and possibilities for and relational understandings of STEAM education.

The movement from STEM to STEAM, with its emphasis on real-world applications, promises to meet the changing needs of a globally connected world. However, the potential of transdisciplinarity to inspire and deepen our understanding of who we are and how we make sense of a world in turmoil remains undertheorized. This article makes a case for repositioning STEAM education as democratized enactments of transdisciplinary education, where arts and sciences are not separate or even separable endeavors. Drawing upon posthumanist theorizing, three projects will exemplify transdisciplinarity across music, mathematics, and science education. Transgressing and transcending disciplinary boundaries, and attending to both human and nonhuman perspectives, we invite a rethink of the work of schools, going beyond democratizing creativity to fully enact posthumanist transdisciplinarity.

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This chapter explores the potential of critical reflection as a tool for addressing issues of social justice and inclusion within the music classroom. It argues that critical reflection as an integral part of musical experiences can be utilized to develop awareness of injust and exclusionary practices in music, whether political, historical, or social. Drawing on the Social Justice Critical Reflection Model of Ingram and Walters, it offers a starting point for considering the conditions for learning and pedagogies in which critical reflection can provide teachers and students a vehicle for transforming their own musical understanding and learning within a more democratic and socially just framework.

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