Musical Voices from an Urban Minority Classroom: Disrupting Notions of Musical Literacy Through Critical Popular Music Listening

A scoping review of international mindedness and related concepts in music education, 2000–2020

“…Following several observations and semi‐structured interviews, she noted, that their ‘diverse practices include[d] critically engaging with issues of social justice, studying a broad range of musics, introducing multiple musical epistemologies, contextualising musics, considering differential privilege and subverting hegemonic practices’ (p. 230). Lewis (2016) explored ‘how young children make sense of popular music, what tools they bring to their listening engagements, and to what degree their discussions exhibit elements of criticality and agency’ (para. 1).…”

“…I found five studies that explore concepts pertaining to critical pedagogy within music education contexts (Costes‐Onishi & Caleon, 2018; El Kadi, 2017; Hess, 2014; Lewis, 2016; Malito, 2014). El Kadi (2017) examined what she termed ‘Critical Ethnomusicology Pedagogy’ within two schools in Canada that have multicultural student populations (p. iv).…”

Towards Gender Equality in the Music Industry

“…These methods are approaches that can be used to teach musical concepts; each has its own underlying philosophy, objectives, systems and goals. Critiques of an uninterrogated, singular implementation of these methods have been offered (Benedict 2009(Benedict , 2016, and several studies have considered the inclusion of popular musics and popular music pedagogy within the primary school classroom (Jaffurs 2004;Lewis 2016;Linton 2016). Programs such as Little Kids Rock and Musical Futures have attempted to challenge traditional ways of thinking about general music learning (O 'Neill and Bepsflug 2011;Wright 2011Wright , 2016Weiss, Abeles and Powell 2017 among others).…”