Culturally Responsive Teaching in Music Education

McKoy, Constance L.; Lind, Vicki R.

doi:10.4324/9781003208136

Cited by 18 publications

(12 citation statements)

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“…Additionally, the research highlighted the importance of developing well-structured teaching resources that authentically capture Chengdu's music culture while remaining adaptable to its dynamic nature (Walker, 2007). These resources should encompass various elements such as lesson plans, multimedia content, and assessment tools, ensuring that Chengdu popular music can be effectively integrated into diverse academic settings (McKoy & Lind, 2022).…”

Section: Discussionmentioning

confidence: 99%

Teaching Resource of Chengdu Popular Music for Fostering Literacy and Cultural Education in China

Bao,

Boonsrianan

2024

IJELS

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Chengdu’s popular music, with its profound historical and cultural significance, serves as an educational resource at the intersection of music, literacy, and cultural education. This research aims to propose guidelines for the teaching resource of Chengdu popular music for fostering literacy and cultural education. Located in the culturally diverse Sichuan Province, Chengdu boasts a rich tapestry of musical traditions, from folk to hip-hop, making it an ideal research site. Two key informants, experts in folk and hip-hop music, provide valuable insights into Chengdu’s musical evolution. Data analysis involves thematic analysis of questionnaires and interviews, offering a comprehensive understanding of the city’s music culture. The study reveals Chengdu’s historical role as a cultural crossroads and the evolution of its pop music into a distinctive force within China’s music landscape. Advocating for the integration of Chengdu popular music into educational curricula, this research emphasizes the need for well-structured teaching resources to capture its cultural authenticity. The benefits of cultural education include fostering diversity appreciation, enhancing cultural understanding, promoting literacy skills, cultivating emotional intelligence, strengthening cultural identity, and inspiring creativity and expression. Chengdu popular music offers a transformative approach to fostering cultural literacy, empowering students to thrive in a globalized world.

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Section: Discussionmentioning

confidence: 99%

Teaching Resource of Chengdu Popular Music for Fostering Literacy and Cultural Education in China

Bao,

Boonsrianan

2024

IJELS

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“…Asked differently: Are there aspects of all music (product) and all music making (process), including instrumentation, singing, and dancing that are common to all people in all epochs and domiciles? Certainly, no is the answer (McKoy & Lind, 2022;Nettl, 2000;Nketia, 1962). Perhaps due to the vast heterogeneity in musical practices across the continent, it has not been possible among Africans to settle on one definition for the term music, as Mbede (2018) argues:…”

Section: African Music Explainedmentioning

confidence: 99%

The Bible and Music in African Christianity

F. A.,

2024

African Journal of Culture, History, Religion and Traditions

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This bibliographic study explores the interplay between the Bible and music within the context of African Christianity. Underpinned by the theory of syncretism, the paper employs a contextual thematic analysis to unravel the nexus between African indigenous music and Christian worship and draws implications for both scholarship and practice. Findings indicate that early European missionaries incited a satanic impression against the use of African indigenous music among Christian worshippers. It was contrarily revealed that Bible-informed use of African music in Christian worship is imperative for evangelisation, deeper spirituality, and faster church growth in Africa. In conclusion, the paper emphasises that the Bible and (indigenous) music are inseparable. It also maintains that music has the transformative power of fostering community cohesion, religious identity, and spiritual devotion among African Christians. Finally, the paper recommends greater collaboration among scholars, theologians, music educators, and gospel music practitioners in the African context in accomplishing the goal of the gospel.

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“…Before encouraging youth to share their experiences, however, it is important to honor their experiences. Thus, the first component of a pedagogy of expression involves practicing culturally responsive teaching (Gay 2018, McKoy andLind 2023)-ensuring that youth feel that their lives and experiences are validated by their teachers, their peers, and their school curricula. Once youth feel firmly grounded in their respective experiences, educators may invite them to share their experiences through music.…”

Section: Activist Music Education: Conceptualizing Dissentmentioning

confidence: 99%

“…The second facet of the tri-faceted pedagogy encourages teachers to honor children and youth's lived experiences before inviting them to share them. The honoring of students' experiences involves a place-based pedagogy such as culturally responsive teaching (Gay 2018, McKoy andLind 2023)-an approach that focuses on children and youth's strengths and assets. Sharing in this context occurs through songwriting combined with the Freirian (Freire 2000(Freire /1970 practice of "naming the world" (Hess 2019b).…”

Section: Music It Matters Too Much" "Hmm… I Get That" Susan Affirms "...mentioning

confidence: 99%

Activist Music Teaching: A Way Forward or a New Autocracy?

HESS

2023

ACT

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The push toward socially just music education begs the question of whether activist music teaching may foster a new autocracy. In this paper, I consider how Deleuzian lines of flight and the related concepts of nomadism, territorialization, deterritorialization, and reterritorialization trouble or extend activist music education. I further explore the question of how students might dissent and draw a "line of flight" from the activist authority of the teacher. I draw on Guattari's (2005/1987) nomadism and "lines of flight" to consider the limits placed on the lines of flight drawn by students when a leftist ideology operates in the classroom.

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Culturally Responsive Teaching in Music Education

Cited by 18 publications

References 0 publications

Teaching Resource of Chengdu Popular Music for Fostering Literacy and Cultural Education in China

Teaching Resource of Chengdu Popular Music for Fostering Literacy and Cultural Education in China

The Bible and Music in African Christianity

Activist Music Teaching: A Way Forward or a New Autocracy?

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