Karen Howard

In this chapter, Howard considers the vast resources contributed to music education and ethnomusicology by Patricia Shehan Campbell over five decades. These resources have been geared toward diversifying repertoire and pedagogical practices, and their impact has been felt across all levels of music education. Included are considerations of Campbell’s writings, collaborations, professional relationships, networks, and symposia. Following Campbell’s work in the 1970s and 1980s, her collaborations encouraged the uniting of key practices from ethnomusicology with music education. The 1990s found Campbell involved at the international level in both fields, continuing to advocate for integration of the two disciplines. Campbell continued to create resources with culture bearers for the benefit of educators working in K-12, university, and community settings, all the while codifying the framework that she came to call “World Music Pedagogy.” Her pedagogical examples have influenced music educators around the world, including this author, Campbell’s previous doctoral student, who strives to continue the work through a new series of resources formed at the nexus of ethnomusicology and music education. The chapter ends with a Brief Response by William Anderson.

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.

Abstract This chapter addresses general music teachers’ interest in ways to grow their pedagogical and musical skills, learn more about their students’ interests and cultural backgrounds, and the decentering of a long-standing history of Whiteness in repertoire and teaching strategies. The chapter offers practical suggestions for music teachers interested in infusing world music into their curricula. Included are matters related to culturally relevant pedagogy, authenticity in performance practice, and cultural appropriation. These are followed by a framework for consideration when implementing diverse musics and their attendant cultures. This framework is then applied to three examples of music cultures, with ideas for music learning and teaching.

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.

"Realizing Diversity by Karen Howard is a groundbreaking and practical resource for crafting diverse and anti-bias music education in classrooms, ensembles, and studios at all levels--from preschool to university and community settings. At the book's core is an Anti-Bias Framework intended to help music educators gain confidence and comfort in designing music curricula that are just, equitable, and make participants feel safe and welcome."-- publisher's website. Includes bibliographical references and index.

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.