This article provides a view of rural music teacher preparation through the lens of critical social theory, drawing from literature about rural schools and social class, and the author’s experience as a rural student, teacher, and music teacher educator. It brings to light patterns of privilege and oppression within current ideals, standards, and practices, particularly as they might relate to “shared visions” in music education and/or music teacher education. The overall aim, nonetheless, is practical—identifying specific problems in preparing rural music teachers and suggesting a range of possible solutions.
This article takes a practical look at social class in school music by exploring the manifestations and impact of three of its dimensions: financial resources, cultural practices, and social networks. Three suggestions are discussed: provide a free and equal music education for all students, understand and respect each student’s cultural background, recognize the social forces that perpetuate poverty.
The main purpose of this essay is to critically analyze why social class receives relatively little attention in American social justice scholarship in music education. An associated aim is to make a case for more extensive considerations of class, including a much stronger intersectional alliance between critical class and antiracist scholarship. In particular, an intersectional approach to class and race is shown to have explanatory and political potential in music education, particularly in the controversy surrounding Michael Butera's resignation as NAfME Executive Director. The article concludes with a call for solidarity among all who strive for social justice in music education.
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