Karen Howard

In consideration of white music educators' perceptions of and engagement with matters of race and music, the purpose of this qualitative study was to problematise the acceptance and valuation of Hamilton, and possible hypervaluation of Whiteness through the perceptions and experiences of eight White music educators who were fans of the show. The research was guided by the following questions: (1) Does this acceptance of Hamilton reflect the repertoire and cultures included in their music curricula?; (2) Does Hamilton function as propertized Whiteness thereby deeming it worthy of inclusion in music education settings?; and (3) Does the experience that is Hamilton pass as white, therefore making it feel comfortable and accessible to white music educators commonly uncomfortable with rap music? Interviews were analysed using a framework of whiteness as property including: rights of disposition, rights to use and enjoyment, reputation as property, and the absolute right to exclude.

The purpose of this phenomenological study was to investigate choral directors' experiences as they navigate Whiteness through their own personal philosophies and practices related to repertoire selection and how those lived experiences may or may not impact their students. Twelve practicing choral directors from middle school through university settings were interviewed. Three important themes arose during analysis including the presence of dysconscious racism with episodes of white fragility, the presence and absence of ethical caring, and the development of a critical consciousness along a spectrum based on experiences. Implications for music educators are offered.

The African Mexican music tradition of son jarocho comes from the Veracruz region of Mexico. As a performance practice, son jarocho has strong ties to social justice and civil rights, and is a thriving genre both in Mexico and in the United States. This article includes teaching suggestions for guitar or ukulele lessons in general music settings for elementary or middle school level students. The phases of World Music Pedagogy are applied to several son jarocho resources.

The purpose of this column is to explore a meaningful collaboration between a classroom music teacher and an expert from a music culture. Dr. David Aarons from Jamaica worked with a music educator and a class of 5th grade students. They explored dance traditions, steel pan performance, singing games, and stories. They also discussed sociocultural and sociohistorical meanings of the lyrics, instruments, and hybrid nature of many of the current traditions.

This article offers a specific process for researching songs in an ethical manner. Typical barriers to diversification of repertoire are explored: 1) hypervaluation of Western European classical music, overemphasis on notation, and insufficient preparation to work toward an anti-racist environment. Suggestions are provided to help educators become more confident in diversifying repertoire and pedagogical strategies.

Preparing choral music educators who are sociocultural pedagogues requires the development of a knowledge base of diverse singing traditions, the meaningful inclusion of culturally diverse content in the choral curriculum and rehearsal, and thoughtful adaptation in the delivery of instruction that shows a sensitivity both to the learners and the represented music cultures. The purpose of this case study was to analyze the outcomes of a newly designed graduate course for choral conducting students as they engaged in singing traditions from marginalized and lesser-known music cultures. The research focused on inequities in music education based on race, ethnicity, and music cultures that have resulted in asymmetric power relationships between choral directors and students. I applied Maton’s (2016) Legitimation Code Theory (LCT), a research framework inspired by Bourdieu’s (1986) work with “rules of the game” and Bernstein’s (2000, 2003b) work with knowledge codes. LCT allows examination of knowledge practices and can be used to shape teaching practice and curricular content. The research was guided by the following questions: (a) what beliefs do music educators hold about repertoire and music cultures that they do and do not include in their choral curricula in relation to the place and time in which they teach, and (b) what can be discovered regarding successful pedagogical strategies based on knowledge and knower structures. Two relevant themes emerged including the impact of cultural elitism in the choral conducting community with subthemes of perfectionism and concerns related to performance practice, and the development of a refl ective praxis.