TOPICS Music Education Praxis 2017:03

2017:03http://topics.maydaygroup.org

ISSN: 2469-4681

TOPICS for Music Education Praxis

Article URL: http://topics.maydaygroup.org/2017/Robinson_2017.pdf © 2017, Deejay Robinson

ALaborofLove:ARationaleandSecondGradeMusicCurriculum

foraMoreJustandEquitableWorld

DeejayRobinson

BostonUniversity

ABSTRACTAmericanmusiceducationsystematicallydiscriminatesagainstBlacksandotherminorities.Scholarshavesuggestedpracticesfordiversifyingpre-serviceprogramsandhighereducationfaculty;however,littleliteraturefocusesonrace,power,andprivilegeinK-12classrooms.LessliteratureexistsbyminoritiesreportingeffectsofEurocentricmusicteachingonminoritystudents,eventhoughpsychology,sociology,andeducationresearchers havepublishednumerousstudiesonthephenomenon.Thepurposeofthisarticleistoofferanewteachingmodelformusiceducatorsinasecondgradegeneralmusicclassroom.Thecurriculumaimstousemusicasatooltodevelopcriticallearnerswhoengageindismantlingsystemsofhegemonythatpermeatethefield.Moreover,thiscurriculumseekstogivevoicetothesilencedandmarginalizedexperiencesofPeopleofColorinthefieldandtoimploreotherstotelltheirstories.PauloFreire’s(1970)PedagogyoftheOppressedisusedasatheoreticalframeworktodefendtheauthor’sideals.

Keywords:blackness,curriculum,hegemony,livedexperiences,love,musiceducation,power,privilege,racism

Freedom!Freedom!Ican’tmoveFreedom,cutmeloose!Singing’,freedom!Freedom!Whereareyou?CauseIneedfreedomtoo!Ibreakchainsallbymyself,wontletmyfreedomrotinhell,I’makeeprunningcauseawinnerdon’tquitonthemselves.

(Beyoncé,2016)

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TOPICS for Music Education Praxis 2017: 03 •Deejay Robinson 76

“Hello,mynameisRebecca.”wroteastrangerinCincinnati,Ohio.Shesentme

apersonalmessageonFacebookregardingmypost(Robinson,2016;seealso

Zubrzycki,2016).AtthistimeMichaelButera,then CEOoftheNationalAssociation

forMusicEducation(NAfME)said,“BlacksandLatinoslackthekeyboardskills

neededforthisfield”and“musictheoryistoodifficultorthemasanareaof

study”(McCord,2016;Rosen;2016).InadditiontolabelingLatino/asandBlacksas

musicallyinept,ButeraalsoattributedtheoverrepresentationofWhitesinmusic

educationtounderperformingandunderservedpublicschools.Rebeccacontinued:

IsawyourpostregardingtheimmenselyignorantcommentgivenbyMichaelButera.Icouldn'tcommentonyourspecificpostbecausewe'renotFacebook"friends"butIjustwantedtoapplaudyouforbringingthistolight.Mysonis9yearsoldheisLatinoandAfricanAmerican.He’sinthe4thgradeatDunbarSchoolforCreativeandPerformingArts.Hehasplayedtheviolinsincehewas4yearsold.Inthefallof2014whenhewas7yearsold,hedecidedthathewantedtoplaypiano,sohetaughthimselftoplay.Thefollowingsummer,lessthanoneyearafterhebeganteachinghimself,heauditionedinto4thgradewithadoublemusicmajor,pianoandorchestra.Heisnowplayingwithmiddleandhighschoolstudentsathisschool.Heistheonlyelementarystudentinhispianoclass.Histalenthasproventobenatural.Yet,accordingtoMr.Butera,helackstheskillstobeasuccessfulmusician.Thiskindofcommentiswhatkeepsouryoungboysandgirlsofcolorfrombelievinginthemselves.Ithindersthemfrombeingtheirbest.Thisangersmebutmoreimportantlyitsaddensme.Ourchildrenareintelligentandtheyaremorethancapable!Thanksagainforyourpost!

JasonAlexanderHolmes(2016)fromRochester,NewYorkwrote:

4. TherearethosewhobelieveNAfMEanditsstateorganizationsmosteasilyserveprimarilywhite,suburbanpopulations.Frommyobservations,thisbeliefissupportedbypolicieswithintheseorganizations.5. "Weservemusiceducation"isverydifferentfrom"weservemusiceducationwhenitlookslikex"or"weservetomakemusiceducationlooklikex."(wherexisoftenreferredtoas"quality"or"bestinstructionalpractices,"butisnarrowlydefined)6. Havinghadablackleaderdoesnotmakeone'sorganizationdiverseor


inclusive.(KindalikehavingablackPresidenthasn'tmadeourcountryonebitlessracist)7. "It'stheschools'fault,"doesnotanswerthequestion,"Whatareyoudoingtoworkthroughthischallenge?"....9. Isitpossiblethatthelackofdiversityinmembership(andteachercandidatesofcolor)pointstoanarrowviewofwhatourstudentsneedfromtheirteachers?Areweprovidingsuchterribleexperiencestoourstudentsofcolorasawhole,thatwedrivethem(us)awayfromwantinganythingtodowithschool?....11. I'mblackandIplaythepianoquitewell.Icanalsobeatheorybeast(onlywhennecessary).12. IalsohavemusicalskillsotherthankeyboardtechniqueandtheorythatIlearnedasakidmusicianinchurch.Iusetheseskillsevery dayinmyteachingandinmyworkoutsidetheclassroom(workthatinformsandguidesmyteaching).

Intheabsenceofsocialmediaasanidentifieroftwenty-firstcenturyglobalization,

onemightconcludethatButera’scommentsandthepublic’soutrageoccurredin

BullConnor’s“JimCrow"Alabama.

TextbookstoriesaboutBlacklifeintheAmericanSouthdescribetheJim

CroweraasatimeinhistorywhereBlackswererelegated (often subrogated)to

second-classcitizenship.LawsinstitutionalizedWhitesuperiorityandBlack

inferiority.Divisionbaseduponracewasbrazenlydisplayedinrestrooms,

restaurants,schools,stores,andchurchesallovertheAmericanSouth.While

prosaicstockstoriesofhistorywhitewashesthecomplexitiesofinstitutionalized

racism,counter-narrativeshavedocumentedhowcurrentstereotypesofBlack

musiciansandBlackentertainmentarevestigesofWhiteappropriationofslave

cultureduringtheearlynineteenthcentury(Abrahams,1992;Radano,2003).


In1828,ThomasD.Rice,aWhitecomedian,createdthefictionalcharacter

JimCrowafterwatchingaBlackgroomdanceathiswedding.Ricecoveredhisface

inmake-updarkastar,overexaggeratedhisnose,eyes,andmouth,and“dance

gesturesthatmayhavebeendictatedbythegroom’sphysicaldisabilities”

(Abrahams,1992,p.140).Theseappropriatedperformancesofslavecultureand

entertainmentbecameknownasminstrelshows.Minstrelshowsaimedtoimitate

slaves’“speechmaking,singinganddancingstyles,andanenactmentoftheirmost

privatescenesofcourtshipandthebreakingupoftheirfamilies”(Abrahams,1992,

p. 145).Duetothepopularityofminstrelshows,Whitepoliticiansdoubled-downon

thefictionalcharacterofJimCrowbycampaigningandlegislatingasetofcodesand

lawsdeliberatelydesignedtokeepthedescendantsofnewlyfreedslavesinastate

ofperpetualinferiority.InhisbookLyingupaNation:RaceandBlackMusic,Ronaldo

Radano(2003)wrote:

Blackmusic…becamesuchapowerfulandurgentculturalforcebecauseitservedtoheightenbothspecificityofracialdifferenceandtheinterruptionofthatdifference.Whileblackmusicrosefromacross-racialinterplay--fromtheengagementsofblackandwhitethatconstitutedmodernracialform--itwouldalwaysbeactualizedthroughperformancesbyAfrican-Americans.Thecontinuingactivitiesofwhitesinblackface(andincreasinglyblacksinblackface)thatenduredwellintothetwentiethcenturymighthavecalledattentiontotheartificeofmusic’sracialcategories,butthatartificialitywouldexistincontradiction,bothchallengingandreinforcingideologicalcommitmentstotheauthenticityofblacknessassuch.Nomatterthesound,theterm“Negromusic”correspondeddirectlywiththeracialidentificationoftheperformer;whatlimitedAfrican-Americanstotheperformanceofexpressionsofquestionableartisticvaluesalsosuppliedthenaturalismcrucialtoauthenticity.(p.257)

RadanoexplainsthatstereotypesofBlacksaslackingintellectualabilitiesandthe

promulgationofBlackartistsandentertainmentasdangerous,exotic,overtlysexual


andviolent,likelybeganasagrosslyexaggeratedandinaccuratere-creationofa

slave'swedding.Thomasandothercomediansprofitedfromtheracializedshowsby

employingBlacksastheperformersintheirownplight.

Baldwin(1963)inanopenlettertohisnephewwrote:

Thisinnocentcountrysetyoudowninaghettoinwhich,infact,itintendedthatyoushouldperish.LetmespelloutpreciselywhatImeanbythatfortheheartofthematterishereand [is at]thecruxofmydisputewithmycountry.Youwerebornwhereyouwerebornandfacedthefuturethatyoufacedbecauseyouwereblackandfornootherreason.Thelimitstoyourambitionwerethusexpectedtobesettled.Youwerebornintoasocietywhichspelledoutwithbrutalclarityandinasmanywaysaspossiblethatyouwereaworthlesshumanbeing.Youwerenotexpectedtoaspiretoexcellence.Youwereexpectedtomakepeacewithmediocrity.Whereveryouhaveturned,James,inyourshorttimeonthisearth,youhavebeentoldwhereyoucouldgoandwhatyoucoulddoandhowyoucoulddoit,whereyoucouldliveandwhomyoucouldmarry.

IknowyourcountrymendonotagreewithmehereandIhearthemsaying,"Youexaggerate."TheydonotknowHarlemandIdo.Sodoyou.Takenoone'swordforanything,includingmine,buttrustyourexperience.Knowwhenceyoucame.Ifyouknowwhenceyoucame,thereisreallynolimittowhereyoucango.Thedetailsandsymbolsofyourlifehavebeendeliberatelyconstructedtomakeyoubelievewhatwhitepeoplesayaboutyou.Pleasetrytorememberthatwhattheybelieve,aswellaswhattheydoandcauseyoutoendure,doesnottestifytoyourinferiority,buttotheirinhumanityandfear.Pleasetrytobeclear,dearJames,throughthestormwhichragesaboutyouryouthfulheadtoday,abouttherealitywhichliesbehindthewords"acceptance"and"integration."Thereisnoreasonforyoutotrytobecomelikewhitemenandthereisnobasiswhateverfortheirimpertinentassumptionthattheymustacceptyou.(p.21)

LikeBaldwin,intimesofbigotryandmisery,Ifindrefugeinre-discoveringthe

beautyofBlacknessthatmyancestorsdancedandmarched,sangandmoaned,

wrote,andconcealedwithinthepagesofhistory.Icontinuallyreturntothe

question,howIcanusemusiceducationasaconduittoensurethatregimesof

racismandbigotryarenotwhitewashedasnationalanachronisms;yet,encourage


youngmindstoempathizeandsympathizeandthusworktobuildamorejustand

equitableworld?

Inthisarticle,Iaimtoofferacurriculumthatcountersthemaskednarrative

ofBlackandLatina/oinvisibilityinAmericanmusiceducationby(a)re-telling

storiesofracialmarginalization,(b)situatingthestoriesinBlackstudiesliterature

andresearch,and(c)mergingthelivedexperiencesofBlackandLatino/a

marginalizationwithquantitativeandqualitativeresearchsupportingevidenceof

racialbiasesinourfield.PauloFreire’s(1970)PedagogyoftheOppressedteaches

thatifeducatorswanttocreateabetterworld,thenteachingandlearningmust

“perceivesocial,political,andeconomiccontradictions,andtotakeactionsagainst

theoppressiveelementsofreality.”(p.17)AligningmybeliefswithFreire,Ibelieve

thatmusiceducatorswantingtochangethestatusquomustemploymusic

educationasaconduitfordismantlinghegemonicstructuresthatpermeateourfield

andengageothersintakingupthemantleforequityinoursociety.

Baldwinwhilereminiscingonhisbrother’sjazzconcertdemandedthatBlack

peopletellourstorybecause,“thereisn’tanyothertaletotell,it’stheonlylight

we’vegotinallthisdarkness.”Hecontinued,“Andthistale,accordingtothatface,

thatbody,thosestronghandsonthosestrings,hasanotheraspectineverycountry,

andanewdepthineverygeneration.”(1957,p.20)Thetimeisnowandthecasefor

justiceandequityinAmericanmusiceducationistoourgenttowait!


KnowWhenceYouCame

TheAmericanmusiceducationprofessionprotectsWhite-malehegemony(Elpus,

2014,2015;Elpus&Abril,2011;Rickels,etal.,2013;).PembrookandCraig(2002)

estimatedthatoutof119,000musicteachersintheUnitedStates,60%aremales

and40%arefemales.Racially,musicteachersintheU.S.were94%White,3%

Black,1%Hispanic,and2%Other.Elpus(2015)furtherexposedtheraceand

genderinequalitywithinmusiceducationthroughacomprehensiveanalysisofthe

demographicprofilesofpre-servicemusicteacherPraxisIIscoresintheUnited

States.Elpusanalyzed20,521PraxisIItestscoresfrom2007through2012.Test

scoreswerefirstseparatedintotwodatasets:passandfail.ThenElpuscompared

theresultstotheentirepopulationofteachersintheUnitedStatesaswellasU.S.

populationasawhole.ElpusfoundthatfemalecandidatesandBlackcandidatesare

morelikelytofailthetestwhencomparedtotheirmaleandWhitecounterparts.

(2015,p.16)

Elpus(2015)alsofoundracedivisionsinK-12musicclassrooms.When

controllingforhighschoolseniorswithfourormoreyearsofcourseworkinmusic

whothenenrollinpre-servicemusiceducationprograms,Elpusfounda16.07%

increaseforWhites,5.48%decreaseforBlacks,6.59%decreaseforHispanics,and a

5.43%decreaseamongAsians.Elpuspostulatedthattheremaybea“leakypipeline”

tomusicteacherlicensurethatexcludespotentialmusicteachersbyraceand

gender.(p.4)Theresearcherremarkedthatthoughtherehavebeenstudies


examiningtheunderrepresentationofminoritiesinPraxisexams,“noempirical

workonthisissueinmusiceducationhasbeenconductedtodate.”(p.5)

Suggestingthatbeliefsandlivedexperiencesinfluenceteachingand

learning,datafromquantitativestudieshavebeenusedtoconductqualitative

researchseekingtouncovertheeffectsofinstitutionalbiasesonminoritiesinmusic

education(Fitzpatricketal.,2014;McKoy,2013;Kendall-Smithetal.,201l;Talbot,

submitted).Otherscholarshaveexaminedinstitutionalracismbyreviewing

admissionrequirementsandschoolmusiccurricula.Theresearchrevealedthat

universityandschoolofmusicadmissionpoliciesandcourseworkprivileged

affluentWhitestudentsandsimultaneouslyexcludeothercultures’musicsand

traditions.(Bradley,2006;Bradleyetal.,2007;Hess,2013,2014,2015;Koza,2008)

Researcherswhostudycognitivebiases,individualschemas,andstereotype

threathavedemonstratedthatconsciousandunconsciousbiasesarepresenteven

whenthereisnointenttomarginalizeormakeothersfeelinferior.(Brannonetal.,

2015;Logeletal.,2008;Markus,1977;Steele,2010)BlackDiasporaandAfrican-

Americanscholarshaveassertedthatracismandbigotryarenotconfinedtospecific

timesorplaces, nor are theyreservedforindividualexpressionsofhate.

(Desmond&Emirbayer,2009;Coates,2013;Lewis,2003;Omi&Winant,1999)

MichelleAlexander(2012),theauthorofTheNewJimCrow,contendedthatracism

mustbeviewedasanatural,invisible(andsometimesgenuinelybenign)institution

embeddedinthestructureofasocialsystem.(p.108)Musicisasocialactivityand

musiceducationisasystemofteachingandlearningmusic.(Koza,2006;Myers,


2007;Regelski,2006;Small,1995)Therefore,musiceducationisasocialsystem

thatisnotimmunetoinstitutionalracism.

Mis-Education,Empowerment,andLove:PedagogyoftheOppressed

Educationwaselevatedasanimportantvalueinmychildhood.Mygrandmother

recited,“Educationisthekeytoabetterlife!”Myfamilyinsistedthatbehaving

cooperativelyinschool,listeningtomyteachers,anddoingmyworkwouldputme

aheadofmypeersandopenendlessdoorsofpossibilities.Yet,whenIbecamea

teacherIlearnedofadifferentnarrative,acounter-narrativeexposing

institutionalizededucationalinjusticesthatinfiltrateschoolssystemsacrossthe

country.(Piller,2016;Reardon&Owens,2014)Isoonlearnedthattheingredients

foraBlackboy'ssuccess,asdescribedbymygrandparents,wasonly3/5ofthe

recipe.Myeldersforgot(orchosenottomention)thatnomatterhowhardIwork,

thereisalwayssomeone—usuallyaWhiteperson—whowillbegivenmore,praised

more,andadvancedmorethanme.Teachingawakenedmetoorganizedsystemic

racismthattoldBlackandBrownboysthattheireducationalattainmentwould

comelasttoWhitesandAsians.

TheBostonPublicSchoolscommissionedaresearchstudyaimedat

examiningtheopportunityandequityofBlackandLatinostudentsinthedistrict.

Thestudyconcluded,“acrossallindicators,BlackandLatinomales,whomakeup

almostfour-fifthsofallmales,donothavethesameaccesstoeducational

opportunitiesastheirWhiteandAsiancounterparts.”(Mirandaetal.,2014,p.10)


Theconclusionreachedbytheinvestigatorswasangeringaswellasconfounding.I

wonderedhowwasitpossiblethatapublicschooldistrictcouldsucceedin

educatingtheWhiteandAsianminorityandfailedtoprovideaccesstoquality

educationtothemajorityBlackandBrownstudents,wholooklikeme.Thefindings

reachedbyMirandaandhercolleaguesechoaperspectivethatmusiceducationand

generaleducationhaveconsciouslyandunconsciouslymiseducatedPeopleofColor

bydenyingBlacksandLatino/astheirrighttofullyandfreelypursuealifeofliberty

andhappinessthatisequaltotheirWhitecounterparts.Inessence,thereisa

severedlineinthetheoryofeducationasupwardmobilityforallandthepracticeof

educationasadiscriminatoryprotectorandperpetratorofprivilege.

PauloFreire(1970)wrote:

Itisonlywhentheoppressedfindtheoppressoroutandbecomeinvolvedintheorganizedstrugglefortheirliberationthattheybegintobelieveinthemselves.Thisdiscoverycannotbepurelyintellectualbutmustinvolveaction;norcanitbelimitedtomereactivism,butmustincludeseriousreflection:onlythenwillitbeapraxis.(p.52)

Jorgensen(2005)characterizedFreire’sdispositionofpraxisinmusiceducationas

intentionallycreatingmusiccurriculumsthatframemusicinsocietal,cultural,and

globalcontexts.(Barrett,2002;Jorgensen,2005)Broadeningachild’sperspectiveto

considertheworldsituatesthecurriculumintherealmofglobaleducation.(Apple,

1988;Ho&Law,2009;Jones,2007;Mansfield,2004;Papstephanou,2005)The

framingofmusicinsocialcontextscloselyalignswiththeworkofmanyscholars

whocallforamoreglobalalternativetothedominanceofWhiteEuropeanclassical


musicthatoverwhelminglymarginalizesandsilencesthemusicofothercultures.

(Alperson,1991;Elliott,2005;Regelski,2006;Small,2011)

RobinsonandHendricks(submitted)describedmyexperienceasaBlack

manfromtheSouthwhoencounteredandwrestledwithmyblacknesswhile

studyingandteachingWesternEuropeanclassicalmusic.Thenarrativeresonated

withresearchrevealingthatmusicandnon-musicstudentsfacebarriersupon

admissionsintomusiceducationclassesand/orprograms,andoftenleavebefore

completion.(Butler,Lind,&McKoy,2007;Fitzpatricketal.,2014;McPherson&

Hendricks,2010;Teachout&McKoy,2010;)

Mypersonalexperienceinmusicisdifferentfromthelivedexperiencesmy

studentsbringtotheclassroom.ItwouldbeunethicalifIignorethepossibilitythat

mycurricularchoicescanre-createfeelingsofisolationandmarginalizationthatare

familiartome.Itwouldbecounterproductivetocreatingamorejustandequitable

worldifI,aBlack-male,usemyauthorityasamusicteachertoreversepower

dynamicsandforcemyperspectiveontostudents.Itwouldbewrongandunethical

formetoproclaimthatwhitenessissynonymoustooppressionjustasitiswrong

forblacknesstobesynonymouswithmusicineptitude.Icannotforceanyonetopull

backone'sveilofprivilege.Norisitmyobjectivetomakeanyonefeelembarrassed

orguiltysimplybecausetheywerebornintoprivilege.Itismyaimtospreadlove

andtoseekunderstanding,notonlyunderstandingofmystudentsandtheirlived

experiences,butalsoforstudentstoseekunderstandingofselfandothers.


OnApril4,1968,thenightoftheassassinationoftheReverendDr.Martin

LutherKing,Jr.,thenDemocraticpresidentialcandidateBobbyKennedysaid:

WhatweneedintheUnitedStatesisnotdivision;whatweneedintheUnitedStatesisnothatred;whatweneedintheUnitedStatesisnotviolenceandlawlessness,butloveandwisdomtowardoneanother,andafeelingofjusticetowardthosewhostillsufferwithinourcountry,whethertheybewhiteorwhethertheybeblack.(inSchlesinger,2012,p.875)

Freire(1970)declaredthatthetaskoftheoppressedmustbetoliberateselfand

theoppressorsthroughlove.(p.29)Thelossofinnocentyoungliveswhetherat16th

StreetBaptistChurchinBirmingham,Alabama;ColumbineHighSchoolin

Columbine,Colorado;SandyHookElementarySchoolinNewtown,Connecticut;or

PulseNightclubinOrlando,Florida.Wehavetimeandagainbeenremindedjust

howpreciouseachandeverylifeis—andhowquicklyviolenceandhatredcan

snatchitaway.InanotherletterBaldwindeclared,“IfIloveyou,Ihavetomakeyou

consciousofthethingsyoudon’tsee.”(BlackScholar,1973/74,p.42.)Ibelievemy

curriculumwillcreateconsciouscitizenswhoengageineradicatingsystemsof

oppression,onlyifthedesignandimplementationisdeliveredasalaboroflove.

TheCurriculum:ScopeandSequenceofCriticalSocialJusticeinaSecondGradeMusic

Thecurriculummap(AppendixA)isorganizedintoninesections:

• Themes:theoverarchingbigideastobeexplored.Eachthemeservesasa

lensoraframeworktoconceptualizeeachlessonofaunit.Allactivitiesmust

bedirectlylinkedtothetheme.

• Months:AcademicschoolyearfromSeptember-June.


• Guidingquestions:thoughtsandinquiriestobeanalyzed,critiqued,and/or

discussed.Guidingquestionscanbebothexplicitandimplicitinquiries.

Teachercandirectlyaskquestionstostudentsorsuggest questionsto serve

asthoughts fortheteacherandstudenttoponderandwrestleover

throughoutthe developmentofalessonand/orunit.

• Voicefromthemarginsliterature:children’sbooksaboutmarginalized

musicians

• Repertoire:vocalandinstrumentalworkstobestudiedand/orperformed

• Singingandplaying:musicandnon-musicactivitiesincludingbutnot

limitedtoplayinginstruments,singingsongs,playingsinginggames,dancing,

teambuildingactivities

• Criticalsocialjusticerelatedactivities:specificandintentionalactivities to

engagestudentsincritiquinghegemonicprivilegesinmusiceducationand in

Americansociety

• Musiccommunication:toolsexploredthathelpstudentslisten,write,read,

andperformmusic

• Compositionprojects:projectsdesignedforstudentstocreatemusicby

usingavarietyoftoolstoread,write,andperformmusicworkswrittenby

selfandothers

Attemptingtoanalyzethecurriculumintwodiscretecategoriesa)musicandb)

cultural/politicaliscounterproductivetohowmusicandsocietyareintertwined.

Therefore,lessonsincludebothmusicandcultural/politicalactivities(AppendixB).


Guidingquestions,singingandplaying,musiccommunication,andcomposition

projectsarelikelytoremainthesame;yet,repertoire,voicesfromthemargins

literature,andcriticalsocialjusticeactivitiesaremoretransient.Thelatterare

transientbecauseissuesofsocialjusticearenotconfinedtoaspecifictime,place,

and/orcontextandthusaresubjecttochangeassocial,political,andstudent

demographicsshift.

CurricularContentintheCurriculumMap

Themainrepertoirestudiedduringunitoneis“SoGood,TheBostonSong.”As

teacher,Iamresponsibleforteachingthesongfocusingonstyle,vocaltechnique,

phrasing,vowelmodifications,andotherperformancepracticeaspects.Asstudents

becamefamiliarwiththesong,Iposequestionsabouthowstudentsidentifyand

knowBoston:

• Wholivesinthecity?

• Whohaspoliticalpowerinthecity?

• Whoseemstobeintheupper,middle,andlowersocio-economiclevelsof

status?

• WhathistoricaleventshavehelpedshapeBoston’sheritageandlegacy?

Next,studentsinterrogatetheirbiasesbyanalyzingfourdifferentmapsofthecity

andchartingtheirresponses(AppendixD).StudentsreadLarryGetsLostinBoston,

astoryaboutadogwhoislostinthecity.Next,studentsengageinresearchprojects

wheretheyexamineBoston’snumerouscommunities,neighborhoods,cultures,and


traditions.Duringtheprojectphasemyroleasteachershiftstofacilitator,giving

studentsthepowertoresearch,converse,andproblem-solveinpeergroups.

Learning(s)fromtheprojectsarethenconnectedbacktotherepertoire.InOctober

orNovember,studentstakeafieldtripandtourBostonendingwithaninformal

streetperformanceof“SoGood,TheBostonSong.”Oncebackoncampusstudents

reflectupontheentirelearningexperience.Studentslovethisunit!All40second

gradersrankedlearningtheBostonSongaseitherfirstorsecondtocomposition

projectsinanendoftheyearreflection.Unitonelaysthefoundationforthe

curriculumbyestablishingafluidityofteacherandstudentinteractions,critical

conversationsthatleadandsequenceinstructionalflow,performanceopportunities,

andreflection.

Thecaseforsecondgrade.Whysecondgrade?Howdoesoneappropriately

introduceandcontinuallyscaffoldcomplexthemessuchaswhiteprivilege,racism,

andmarginalizationonsevenandeightyearolds?HowardGardnerarguedthat

humandevelopmentfromagetwotoseven“harborsmoreofthesecretsandpower

ofhumangrowththananyothercomparablephaseofgrowth.”(2011,p.88)Byage

seventhe“symboliccompetence[is]mastered.Habitsofbodyandmindareset.

Artistryandcreativityingeneralareunleashed-orblocked.”(p.88)Hecontinued:

Atthistime,however,thechildisattemptingtomakeoverallsenseoftheworld;sheisseekingtointegratethewaves,streams,andchannelsofherowncomplexofintelligencesintoacomprehensiveversionofhumanlifethatencompassesthebehaviorofobjects,interactionswithotherhumanbeings,andanincipientviewofherself.Sheisstronglyconstrainedtocarryoutthisintegration,forsurvivalcouldnottakeplaceintheabsenceofsomecoherentversionoftheworld.(p.88)


Gardnerconcludedthatbysecondgrade,sevenyearoldsareinadevelopmental

sweetspotwheretheytrytounderstandandcategorizethecomplexitiesofthe

worldandsimultaneouslyunleashtheirartistryandcreativity.Theconclusion

reachedbyGardnerandhisresearchteamatProjectZerorevealedthatsecond

gradecanbeasafe,nurturing,andcreativeopportunitytousemusicasaconduit

forinterrogatinginstitutionalandsocietalbiases.Next,Iwillexaminethe

curriculummaponamacro-level(unitsofstudy)andamicro-level(weekly

lessons).

Thecaseforchildren’sbooks.Iteachgeneralmusicatanindependentdayschool

inMassachusetts.MassachusettsishometoHarvardUniversityandMassachusetts

InstituteofTechnology,twoofAmerica’smostprestigiousinstitutionsofhigher

learning.Of thestudentsatthisprivateschool 69%areWhite.Tuitionpackagesfor

prekindergartenbeginat$31,820andgrowto$43,970forgrades9-12.Inessence,I

teachsomeofthemostaffluentandprivilegedstudentsofAmericansociety.

Thecurriculumcreatesanintentionalandsafespaceforthestudentsto

conceptualize,address,anddismantleissuesofrace,power,andprivilegeinmusic

educationbypositioningchildren’sliteratureasasirentoamplifythevoicesof

musiciansthatareabsentfromtraditionalmusiceducationtexts.Eachstorychosen

mustfulfilltworequirements:(1)doesitconnecttothelessonandlearningtargets

tobeassessed,and(2)willthestoryallowforstudentstoappropriatelyengagein

conversationsthatlinkitscontenttocurrentcontexts?


CriticsmayarguethatIamneglectingtheneedsofmymajorityWhite

classroombyonlypresentingstoriesaboutdemographicswhoareonthemargins.

However,studentsofcolor,“deserveacurriculumthatmirrorstheirown

experiencebacktothem.”(Style,1988,n.p.)Style’spositiondefendstheargument

thatstudentsofcolorhavetherightandshouldfeelrepresented,recognized,

legitimized,validated,andcelebratedincurricula.Stylecontinued,“Butcurriculum

mustalsoinsistuponthefreshairofwindowsintotheexperienceof

others.”(Style,1988,n.p.)Here,sherecognizesthemajoritybyencouraging

teacherstocultivateempathy.

KathleenHorning(2016)andhercolleaguesattheCooperativeChildren’s

BookCenter(CCBC)attheUniversityofWisconsin-Madisonfoundthatoutofthe

3,200children’sbookpublishedin2015intheUnitedStates,326werewrittenby

minorityauthorsandonly456wereaboutminorities.Theiranalysiscorroborates

WalterDeanMyers(2014)NewYorkTimeseditorial.Dean,whileinschooland

wrestlingwithitmeanstobeablackteenagerinawhite-dominatedworldwrote,

“WhatIwanted,neededreally,wastobecomeanintegralandvaluedpartofthe

mosaicthatIsawaroundme.”(p.2)Readingstoriesaboutmarginalizedmusicians

providesopportunitiesforstudentsto“empathizewithotherpeopleorimagine

whatit'sliketobeintheirposition.”(Lund&Evans(2006)p.65)Connecting

counter-narrativesandtheartsinantiracistteaching(Bell,2010)cultivatescritical

socialjusticelearnerswhowillhaveopportunitiestoencounterexperiencesand


perspectivesthataredifferentthantheirs.Areferencelistofbooksinmyclassroom

islocatedinAppendixC.

Assessingstudentlearning.Abrahams(2006)contendedthatassessmentand

evaluationinanycriticaleducationprogramshouldbeongoing.Mystudentsare

assessedinformallyandformally.Informalassessmentsor“TicketstoLeave”are

dailyandoccurattheendofclass(AppendixB).Beforelining-up,eachstudent

individuallydemonstratesaparticularskill-setbeingexplored(e.g.,improvisingon

anon-sensesyllable).Theprocessisthesamefortheformalassessment,exceptI

recordanumberof1-4inmygrade-book:1-needssupport,2-approaching

standard,3-meetsstandard,and4-exceedsstandard.

Improvisationasameansofmusicplay.Scholarshaveadvocatedfor

improvisationtobeatthecenterofmusicteachingandlearningforitsinherent

musicalandnon-musicalaesthetics.(Higgins&Mantie,2013)Kanellopoulos

(2007)postulatedthatimprovisationcouldbeawayof“transformingthemusic

classroomintoademocraticrealminthepursuitoffreedom.”(p.114)Theauthor’s

analysisconcludedthatimprovisation(1)isamodelofbeingandplayingtogether

thatallowschildrentobeinthemomentand(2)enablestudentstocreateand

recreatemeaningfulrelationshipstotheirmusic.(pp.114-115)

Improvisationactivitiesoccurdailyintheformofdoorgreetings,question

andanswervocalises,vocaland/orinstrumentalcallandresponses.‘Improvisation

onScat’and‘ImprovisationonRap’aretwoactivitiesinthe‘SingingandPlaying’

sectionofthecurriculummapwherestudentsareformallyassessed.Studentsfirst


improviseonnon-sensesyllables(scatting)afterlearningaboutjazzandconnecting

jazztolesser-knownjazzmusicians(e.g.,MelbaDorettaListon,TroyAndrews).

Studentsalsocontextualizejazzinthepoliticalandsocietalstructuresof1940-60’s

Americansociety.Improvisingonwordlessmelodiessequencestostudents

improvisingspokenword/rapsinthespring.Theprocessisessentiallythesame:

studentstraceandconnecttherootsofrapbacktojazzandblues.Thenstudents

connecttheirlearningtoastory(e.g.,HipHopDog)andcontextualizerapasan

exampleofacommunityofmarginalizedartistsexpressinglivedexperiences.

Studentsdemonstratetheirlearning(s)bywritingpoemsaboutsomethingof

importancetotheirlivesandthenimprovisethosepoemsoverasimpleYouTube

beattrackinfrontoftheclass.

Musiccommunicationvs.musicliteracy.“Literacyisfunctionalwhenitsserves

theproductivepurposes(i.e.,maintainingthestatusquo)ofthedominantinterests

insociety.”(Gutstien,2006,p.5)Maintainingthestatusquointraditionalmusic

educationmeansproducingstudentsthatcanreadandwritemusicwithinthe

narrowconstraintsofWesternEuropeanclassicaltraditions.Aimingformusic

literacyhasthepotentialtodividestudentsintotwogroups:thosewhoareliterate

inWesternEuropeanmusictheoryandthosewhoareilliterateinWestern

Europeanmusictheoryandnotation.Mycurriculumseekstodismantlethestatus

quobyNOTelevatingWesternEuropeanmusictheoryasthestandardbarrierfor

deemingstudentscompetentmusicians.Instead,Iaimtogivestudentstoolsto

communicatemusictoothersinawaythatismeaningfultothem.MarieOsaidit


best,“Musicnotationcomesinmanystyles,butallnotationisdoingis

communicatingthemusicfromcomposertoperformer.”(inBenedict,2012, p. 154).

IfindthatJohnFeierabend’s(2001)ConversationalSolfegebestbolstersmy

objectiveofprovidingstudentswithtoolstocommunicatemusicthoughtsand

ideas.Feierabend’smethodstructurestheacquisitionofmusicsoundstothatof

learningalanguage.“Oneshouldlearnwithhis/herearsbeforelearningwith

his/hereyes.”(Feierabend,2001,p.9)Whenlessonplanning,Ichoosefourtofive

musicactivitiesperlessonfollowingthesequencingofprocessesandstepsoutlined

inFeierabend’sLevel1teacher’smanual.Thereare2formalassessmentsof

students’abilitytocommunicatemusic:Teacher-directedpartnercompositions(in

whichIwillshortentoTDPC)andstudent-directedbands.

InthefallIorganizestudentsintopartnersfortheTDPC.Partnersare

groupedbasedonindividualgrowthoninformalassessmentsandmyobservations

ofhowstudentssociallyinteractduringtheclass.Thegoalistopairstudentsbased

ontheirZonesofProximalDevelopment.(Vygotsky,1967)Eachpaircomposesa

30-secondpiecetobeperformedonthesopranoglockenspiel.Studentsmonitor

howwelltheyareworkingwithothersbyperiodicallycompletingself- andpartner

evaluations.Iusestudentandpartnerevaluationstomonitorsocialdevelopments

andconferencewithpartnersthatareexperiencingchallenges.Intentionally

scaffoldingTDPCwithheavyteacherinterventionsequencestostudentorganized

anddirectedbandsinthespring.Eachbandoutlinesnormsandworktogetherto


composea#1hitforanalbumreleaseparty.StudentschoosefromavarietyofOrff

instrumentsincludingone'svoice.Eachbandperformstheirhitpieceattheendof

theunit.Performancesarerecordedandpostedtotheschool'sinternalinternet

platform.

Opportunitiesforself-reflectionandassessment.Musiceducatorsmustequip

studentswiththeabilityto“expresstheirownthoughtsandfeelingsandinteract

musicallywithothersusingtheirownmusicalvoices.”(Jones,2007,p.6)Iprovide

opportunitiesforstudentexpressionthroughverbal/aural(respondingbyspeaking

andwriting),kinesthetically(respondingthroughmovement),visually(responding

throughdrawing/coloring),andmusically(respondingbysingingandplaying

instruments).

Studentsvisuallyself-reflectbyimaginingabetterworldanddrawinga

picturewhilelisteningtoarecordingofLouisArmstrong’s“WhatAWonderful

World.”Anartifactoftwostudents’beautifulreflectionscanbefoundinAppendixE.

Teacherreflectionisalsoessential.Teacherreflectionenablesonetocontinually

revisethecurriculumtoaccommodatedifferencesandmakenewchoicestobetter

servetheindividualandcollectiveuniqueneedsofstudents.Myreflectionsarein

theformofjournalingand/orimmediatelywritingdownnotesinorderto

implementchangesforthenextclass.Writingcriticalsocialjusticeunitsand

engagingstudentsinthestruggleforliberation“cannotbepurelyintellectualbut

mustinvolveaction;norcanitbelimitedtomereactivism,butmustincludeserious

reflection.”(Freire,1970,p.52)


Thecaseforpublicschoolmusicclassrooms.Iamaformerurbanpublicschool

generalmusicteacher;thus,Iamawareofmycurrentprivilegeasamusicteacher

inanaffluenturbanprivateschool.(Robinson,2014)Asapublicschoolteacher,I

taughtgeneralmusicacrosssevendifferentgrades(PreK-5)andfourdifferent

strands(generaleducation,advancedwork,studentswithlearning/emotional

disabilitiesandimpairments,andEnglishlanguagelearners).Oneschoolyear,I

taughtover500elementarystudentsaweek infiveunequallydividedclassesaday.

Iknowthedemands,lackofresources,feelingsofisolation,pressedfortime,and

purelove,joy,andhappinessthatpublicschoolmusicteachingbrings.Ialsocannot

ignorethefactthatmycurrentpositionaffordsmemoremeansandresources.

However,theseedsofmycurriculumwereplantedandnourishedbytherainand

sunofmypublicschoolteachingterrain.Ihungpostersofminoritymusiciansand

displayedbooksofvaryingdifficulty,eventhoughIknewIwouldnothavetimeto

readthem.Imonitoredlocalandnationaleventsandusedmusicasatooltoengage

studentsincriticalandcompassionateconversations,eveniftheobjectivedidnot

involvecritiquingracialbiases(AppendixF).Icontinuallysearchedfor

opportunitiestobuildbridgesconnectingeducatorsandcommunity/political

leadersbyinvitingleadersintotheclassroom.(Miller,2014;Jones,2006,2007)

Teacherswhofindthemselvespressedfortimecanchooseonechildren’sbook

(AppendixC)pertermandcraftalessonaroundthecontextandcontentofthe

story.


Freirecontendedthatcriticalteachingandlearningenablesteachersand

studentstobothbesubjects,“notonlyinthetaskofunveilingthatreality,and

therebycomingtoknowitcritically,butinthetaskofre-creatingthatknowledge…

knowledgeofrealitythroughcommonreflectionandaction.”(1970,p.51)This

rationaleisanamalgamofmylivedexperiencesasaBlackmaleinthecontextof

Americanmusiceducation.Itisthehopethatthisrationalandresourcesherein,will

serveaslaunchpadforindividualinvestigationaswellasamodelforprecedence.

Beyourownexampleinthestruggleforjustice.Shareyourstorywithloving

kindnessandteachyourstudentshowtodothesame.

Conclusion:BeYourOwnExampleintheStruggle

TannerandTanner(1994)stated,“[the]schoolthatholdsitselfobliviousto

problemsandissuesincontemporarylifeisdenyingitsstudentslearning

experiencesthatareessentialtothebuildingofabettersociety.”(p.151)The

whiteningofAmericanmusiceducationagainstthebrowningofAmericansocietyis

anissuethatmusiceducationmustaddress.Iarguethatanymusiccurriculum—

studio,classroom,lecturehall,andtheboardroom—thatholdsitselfobliviousto

theracedisparitiesinAmerican(music)societyisdenyingstudentslearning

experiencesthatareessentialtobuildingadiversefieldandabetterworld.Inmy

currentteachingcontextwherethemajorityofstudentsareWhite,IbelieveIhave

acrucialobligationtoengenderaspiritofcriticalsocialjustice.Iwantfuture


generationsofAmericanstobeequippedwiththeknowledgeofhowpowerand

privilegecanbuildwallsaswellasbreakbarriers.

Intentionallyrestructuringone'scurriculummayseemlikeadauntingtask;

however,changesinmusiceducationarenecessary.Theremustbeanadoptionof

methodsinthepresenttoshapethefuture.(Palmer,2010,p.320)Minorityand/or

criticalsocialjust-mindedteacherscanengageinthestruggleforequityinmany

ways.Mid-careerandveteranteachersshouldcontactlocalschoolsofferingmusic

educationprogramsandasktomentorpre-serviceandnovicemusicstudentsin

exchangeforuniversityandschoolofmusiccoursevouchers.Offeringcourse

voucherswithinandoutsideoftheschoolofmusic,acknowledgesthatmusic

educationcannotoperateinavacuumandmustbe interdisciplinary.In-service

teachersshouldvolunteertopresentworkatschool,district,state,andnational

professionaldevelopmentforums.Itisnotunlikelythatmanyin-serviceteachers

areunawareofprofessionalnetworkingopportunitiesduetothedemandsofthe

schoolyear.Inthiscase,musiceducationprofessorscanleadthewaybyseekingout

minoritymusicteachersintheircommunities.Outreachcanestablishaclassroom-

to-lecture-hallpipeline.Suchongoingandfrequentexchangesbetweenpracticing

teachersanduniversityprofessorsmayrevealthevariedanduniqueteaching

modelsthatwillabatethegapbetweentheoryandpractice.Teacherpreparation

programsshouldholdnetworkingeventsconnectingtheirstudentstopracticing

teachers.Networkingeventsshouldbeheldatthebeginningoftheyearand

studentscouldfindateacherandbegintodevelopanapprenticeshipstarting


freshmenyear.Thesesuggestionsandallotherscannotbeviewedasaloopholeto

escape thoroughcurriculumrestructuring.Anyandallinnovationsmustbedonein

tandemwithcriticalanalysisandredesigningoftraditionalhegemonicmusic

educationcurriculaonalllevels.

TheheartandbeautyofPedagogyoftheOppressedliesistheabilityofthe

oppressedto“betheirownexampleinthestrugglefortheirredemption.”(Freire,

1970,p.39)Therefore,mymessagetoallmusicprofessionals—publicandprivate,

generaleducationandhighereducation,principalsofficetoexecutivesuites—must

be: first,reflectonwhoyouare;second,knowyourpast;andthird,envisiona

betterfuture.However,thinkingmustbematchedwithaction.Actiondemands

intentionalanddeliberatedeedsthatexamineandseektodismantleinstitutional

racism.EmpoweringstudentstointerrogateinequalitiesinAmericansocietyandin

musiceducationistedious;but,very,veryjoyouswork.Ifthefieldofmusic

educationistoabatetheracialabyss,then,musicteachersmustbewillingto

rethinkhegemoniccurriculumsanddesignanewmodelofteachingthatseeksto

empowerstudentstobuildabetterworldnotonlyforthemselves,butforallwhom

comeafter:

I'm telling these tears, "Go and fall away, fall away" Maythelastoneburnintoflames.Freedom!Freedom!Ican'tmoveFreedom,cutmeloose!Freedom!Freedom!Whereareyou?CauseIneedfreedomtoo!IbreakchainsallbymyselfWon'tletmyfreedomrotinhellHey!I'makeeprunningCauseawinnerdon'tquitonthemselves!

(Beyoncé,2016,excerptfromverse2)


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of #NAfME, the National Association of Music Education said “Blacks and Latinos lack the keyboard skills needed for this field (music education).” Mr. Butera believes this is because, music theory is too difficult for [Facebook status update]. Retrieved from https://www.facebook.com/photo.php?fbid=10100190932896228&set=a.630478324708.2083426.48701092&type=3&theater

Robinson, D. W. & Hendricks, K. S. (Submitted). Black keys on a white piano: A Negro

narrative of double-‐‑consciousness in American music education. Submitted, 2016, Talbot, B. (Ed.), Marginalized Voices in Music Education.

Rosen, J. (2016). League president and CEO comments on recent controversy

surrounding diversity meeting . League of American Orchestras. Retrieved from http://americanorchestras.org/news-‐‑publications/public-‐‑statements/league-‐‑president-‐‑comments-‐‑on-‐‑diversity-‐‑discussion.html

Sensoy, O. & DiAngelo, R. (2012). Is everyone really equal? An introduction to key

concepts in social justice education. New York, NY: Teachers College Press. Schlesinger, A. M. (2012). Robert Kennedy and his times. Boston: Houghton Mifflin. Small, C. (2011). Musicking: The meanings of performing and listening. Hanover, NH:

Wesleyan University Press. Steele, C. M. (2010). Whistling Vivaldi: How stereotypes affect us and what we can do. NewYork, NY: Norton & Co. Style, E. (n.d.). Curriculum as window and mirror. The national SEED project.

Retrieved from http://nationalseedproject.org/about-‐‑us/timeline/26-‐‑latest-‐‑articles/41-‐‑curriculum-‐‑as-‐‑window-‐‑and-‐‑mirror.

Talbot, B. C. (submitted). Marginalized voices in music education. New York, NY:

Routledge. Tanner, D. & Tanner, L. (2007). Curriculum Development: Theory into Practice. 4th ed

Chapters 5 and 7. Upper Saddle River, NJ: Pearson. Teachout, D., & McKoy, C. (2010). The effects of teacher role development training

on undergraduate music educations

https://www.facebook.com/photo.php?fbid=10100190932896228&set=a.6

http://americanorchestras.org/news-publications/public-statements/league-president-comments-on-diversity-discussion.html



http://nationalseedproject.org/about-us/timeline/26-latest-articles/41-curriculum-as-window-and-mirror




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Vygotsky, L. S. (1967). Play and its role in the mental development of the child. Soviet Psychology, 5(3), 6-‐‑18.

Zubrzycki, J. (2016, May 9). After music association leader’s diversity comments, calls for resignation.[blog post]. Education Week. Retrieved from http://blogs.edweek.org/edweek/curriculum/2016/05/music_asssociation_leaders_comm.html

About the Author: Deejay Robinson is an early childhood general music teacher at an independent day school in Cambridge, Massachusetts. Deejay taught general music in the Boston Public Schools prior to being a private school music teacher. Deejay has authored two editorials and co-‐‑authored two chapters. He is currently engaged in a large-‐‑scale research project. The project hopes to reveal the ways in which Black and Latino/a music teachers have dealt with and overcome issues of social/educational marginalization in music and music education because of race. Deejay has written curriculums for Boston’s Handel and Haydn Society and the Massachusetts Department of Elementary and Secondary Education. Deejay has degrees in vocal performance from Millikn University (B.M.), Longy School of Music of Bard College (M.M.), and a (Ed.M.) in music education from Boston University. He can be reached at [email protected]

http://blogs.edweek.org/edweek/curriculum/2016/05/music_asssociation_


Themes Ethnography (Self)

Ethnography(Others) Ethnography(Community)

PerformancePracticeandReflection

ConsciousandUnconsciousBiasesinMusicEducation

MusicasaSocialRitual Praxis:TheMakingofaBetterWorld

Performance Practice and Reflection Revisited

Months September October November December January February/March April May/June

GuidingQuestions Who am I? - Where am I? - How do I know? - What can I do?

- Who am I? - Where am I? - How do I know? - What can I do? - Who are others around me? - What music is important to them and why?

- How and to what extent is music the same and different in in our community? -How and to what extent is music the same and different in the world?

-Howdoperformerandaudienceexpectationschangedependingoncontext?-Whataretheperformanceexpectationsinourcommunity?

-Whataremybiasesaboutmusicdifferentthanmyown?-Whydopeoplemakemusic?-Whyaresomemusiciansforgottenandothersremembered?

-Howandtowhatextentismusicusedinsocialsettings?-Inwhatwaysdoesmusicilluminateculture?

-Howhasmusicbeenusedtocreateamorejustandequalworld?-Whatcanwedo?

-Howandtowhatextenthavewegrownasperformers?

VoicesfromtheMarginsLiterature

-LarryGetsLostinBoston

LittleMelbaandHerBigTrombone

-DancingtheRingShout-OfftotheSweetShoresofAfrica-Music,MusicforEveryone

-Elijah’sAngel -BeforeTherewasMozart-TheStoryofMariaMozart-HildegardSings

-WhentheBeatwasBorn-HipHopDog

-LouisTaughtMeScat

Repertoire “SoGood–TheBostonSong”

-“AutumnLeaves”-ConcertSongs

ConcertSongs ConcertSongs -JosephBoulogne,ChevalierdeSaint-GeorgeL’amantanonyme(1780)Balletno.1-African-Americanspirituals-MusicoftheCivilRightsMovement

-“ParentsJustDon’tUnderstand”byWillSmithandJazzyJeff-ConcertSongs

-“Whatawonderfulworld”byLouisArmstrong-“Wearetheworld”byMichaelJackson-ConcertSongs

ConcertSongs

Singing/Playing -Rulesandroutines-Ice-breakersandteambuilders

Improvisingscat(Vocal)

Improvisingonsopranoglockenspiel(instrumental)

Concertrehearsals Improvisationonsopranoglockenspiel(instrumental)

Improviserap(vocal) Studentbandpractices Concertrehearsalandperformance

CriticalSocialJusticeActivities

-Mostamazinginstrument-Bostonmapping

Peerevaluationsandteacherconferencesongroupprojects

School-widecommunityserviceproject

-Reflections-Assessments

-MyFriendMartin-WhoseMusicIsitAnyway?

-Rappingoriginalstudentnarratives

-“WhataWonderfulWorld”drawing

-Letterstofirstgradestudents-Reflections-Assessments

MusicCommunication Rote,decodingfamiliarmelodiesandrhythms

Decodingunfamiliarmelodicandrhythms,readingandwritingmusic

-Reading,writingandcreatingmusic-ThanksgivingComposition

ConcertPrep -Rote,decodingfamiliarmelodiesandrhythms

Decodingunfamiliarmelodiesandrhythms,readingandwritingmusic

Reading,writing,andcreatingmusic

Reading,writing,andcreatingmusic

CompositionProjects Teacher-directedPartnerComposition-commontime-quarter,eighth,rests-60secondsinlength-playedonthesopranoglockenspiel-performancebeforeholidaybreak

Student-directedBands-studentchoiceofusingtraditionalnotationorcreatetheirownsystem-studentchooseinstruments-performedinmid-lateMay


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AppendixBSampleLessonPlan

2ndGradeClassObjective:Repeatrhythmicandtonalexercisebyrotewith80%accuracy. Time

I.WarmUp/DoNowa)BodyWarm-Up

1. Stretches2. ShakeDown3. Breathing(hissing,counting,studentfeedback)

b)VocalWarm-Up1. Sirens2. Liptrills3. Solfege:DO-RE-MI(PatternSet4A)4. 5vowels:AH-EH-EE-OH-OOO

c)RulesChant-ReinforceII.Rote-Readiness:Rhythm

EchoMe

Speakrhythmicpatternsonaneutralsyllable(BA)andhavestudentsrepeatthepatternwiththesameneutralsyllable.

EchotheInstrumentPlayrhythmicpatternsonaninstrumentandthestudentsSPEAKthepatternwithaneutralsyllable.

LearningtheSongSingYankeeDoodle(whole-part-whole)andhavestudentsrepeatthesong.SingClosetKey(whole-part-whole)andhavestudentsrepeatthesong.

KnowingWhenNottoSpeakAsktheclasstostand.Tellthestudentsthatyouaregoingtosaythespecialpatternandhavethestudentsrepeatthepattern.Tellthestudentsthatthespecialisnevertobespoken.Inotherwords,studentsaretosayallpatternexceptthespecialone.Studentswhorepeatthespecialpatternaretositdown.Theonlystudentleftstandingisthewinner.

10minutes10minutes


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III.MovementActivity:WatchMeWhip/NaeNaeFocusonthebeginningofthesongbybreakingdownthemovements.

1. Watchmewhip2. Watchmenae/nae3. Watchme4. StinkyLeg

Havestudentsdotheentiredance,checkingforaccuracyonthefoursteps.IV.MusicinSocietyandCultureTellthestudentstheyaregoingtowatchashortinterviewandthemakingofSilento’smusicvideo.Thestudentsshouldhavethesequestionsinmindwhilewatchingthevideo:

1. WhendidSilentomakethesong?2. WhatwasSilento’sprocesstocreatingthesong?3. WhydidSilentodecidetomakeamusicvideo?4. WhatcanwelearnfromSilento?

https://www.youtube.com/watch?v=XxX00aE5QmsHavestudentsengageinaTurnandTalktoanswerthequestions.Shareoutanswers.V.TickettoLeave-ClosingAssessmentHavestudentslineupbyimprovisingashortpatternusinganeutralsyllable.

5minutes15minutes2minutes

https://www.youtube.com/watch?v=XxX00aE5Qms


AppendixCChildren’sBooksforMarginalizedVoicesinMusicEducation

African-AmericanVoicesAndrews,T.(2015).Tromboneshorty.NewYork,NY:AbramsBooks.Barrett,M.(1994).Singtothestars.LittleBrown&Company.Canada.Dillon,L.,&DillonD.(2002).Rapataptap:Here’sBojangles-thinkofthat.NewYork,

NY:BlueSkyPress.Giovanni,N.(2008).Hip-hopspeakstochildren:Acelebrationofpoetrywithabeat.

Naperville,IL:Sourcebooks.Hill,L.(2013).Whenthebeatwasborn:DJKoolHercandthecreationofhiphop.New

York,NY:RoaringBookPress.Pahahi,H.L.(2005).Bebopexpress.NewYork,NY:LauraGreingerBooks.Ransome,L.,&Ransome,J.(2011).BeforetherewasMozart:ThestoryofJospeh

Boulonge,ChevalierdeSaintGeorge.NewYork,NY:Schwartz&WadeBooks.Raschka,C.(1992).CharlieParkerplayedbepbop.NewYork,NY:OrchardBooks.Raschka,C.(2010).Hip-hopdog.NewYork,NY:HarperCollinsChildrensBooks.Siegelson,K.(2003).Dancingtheringshout.NewYork,NY:HyperionBooksfor

Children.Smith,C.(2002).Perfectharmony:AmusicaljourneywiththeBoysChoirofHarlem.

NewYork,NY:HyperionBooksforChildren.Walter,P.(1980).Ty’sone-manband.NewYork,NY:ScholasticInc.Weinstein,M.(2008).WhenLouisArmstrongtaughtmescat.SanFrancisco,CA:

ChronicleBooks.Wood,M.(1998).Iseetherhythm.SanFrancisco,CA:Children’sBookPress.

Latino/aVoicesBallard,R.(1995).Carnival.NewYork,NY:GreenwillowBooks.Burgie,I.(1992).Caribbeancarnival:SongsoftheWestIndies.NewYork,NY:

TambourineBooks.

MulticulturalVoicesBalough,K.(1999).Listentothestoryteller:Atrioofmusicaltalesfromaroundthe

world.NewYork,NY:PenguinGroup.

SpecialNeedsVoicesRosenstock,B.(2014).Thenoisypaintbox:ThecolorsandsoundsofKandinsky’s

abstractart.NewYork,NY:RandomHouse.

WomenVoicesRusch,E.(2011).Fortheloveofmusic:TheremarkablestoryofMariaMozart.New

York,NY:TricyclePress.


Russell-Brown,K.(2014).LittleMelbaandherbigtrombone.NewYork,NY:Lee&LowBooks,Inc.


AppendixDExampleofStudentWork

“SoGood,TheBostonSong”GroupMappingActivity


AppendixEExamplesofStudentWork

“WonderfulWorld”Reflections

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AppendixF

5thGradeSpecialLesson:DeathofaPresident(mid-November)5thGradeSpecialLesson:DeathofaPresidentNovember13,2013 RobinsonClassObjective:Studentswillbeabletoidentify,discuss,andsharehowmusiccanplayaroleinmonumentalmoments.Standards Procedure TimeMusicStandards8b:Identifywaysinwhichtheprinciplesandsubjectmatteroftheotherdisciplinestaughtinschoolareinterrelatedwiththoseofmusic.9a:Identify,bygenre,style,auralexamplesofmusicfromvarioushistoricalperiodsandculture.9c:Identifyvarioususesofmusicintheirdailyexperiencesanddescribecharacteristicssuitableforeachuse.

I.IntroductionQuestionstobeasked:- Raiseyourhandifyouhaveexperienced

atragedy- Raiseyouhandifyouhavelostsomeone

thatisveryclosetoyou- DoesanyoneknowwhyNovember22,

1963isaverysaddayinAmericanHistory?

TellthestudentsthatonNovember22,1963,rightattheSymphonyHallinBoston,theBostonSymphonyOrchestrawasgivingaconcertandthisiswhathappened:II.PlaytherecordingPlaytheaudiorecordingofwhattheconductorsaidattheconcert.https://www.youtube.com/watch?v=IVNKNz-lc6kQuestionstobeasked:- IfyouweresittinginSymphonyHallon

thatday,howwouldyoureact?- Howwouldyoudescribethefirstgaspof

theaudience?- Howwouldyoudescribethesecond

grasp?TellthestudentsthatconductorEnrichLeinsdorfwasspeakingofPresidentJohnF.Kennedy.ShowapictureofPresidentKennedyTellthestudentsthatonthisdayin1963,whilePresidentKennedywasridinginhismotorcadeinDallas,Texas,agunmanbythenameofLeeHarveyOswaldshotPresidentKennedyinthehead.Alsotellthestudentsthattherearedifferentconspiracytheoriesorideasastowhoandwhythepresidentwasassassinated.Taketimetofieldquestionsifstudentshaveany.(Continuedonnextpage.)

10minutes

10minutes

https://www.youtube.com/watch?v=IVNKNz-lc6kdescribe




MAELAFrameworkStandardsAnchor:SpeakingandListening

Standard:ComprehensionandCollaboration1. Prepareforand

participateeffectivelyinarangeofconversationsandcollaborationswithdiversepartners,buildingonothers’ideasandexpressingtheirownclearlyandpersuasively.

Integrateandevaluateinformationpresentedinadiversemediaformats,includingvisually,quantitatively,andorally.

III. ASilentConversationwithMusic:BeethovenFuneralMarchExplaintothestudentsthatonthatdayinSymphonyHall,theconductordecidedthathewasgoingtohavetheorchestraplayBeethoven’sFuneralMarch,Iwasremindedof…”

Tellstudentsthateachstudentwillgettwostickynotes.OnthePINKstickynote,thestudentsshouldidentifywhatthemusicremindedthemof.Oncestudentshaveidentifiedthememory,theyaretoplacethestickyontheboard.TheYELLOWstickynoteisforstudentstorespondtosomeoneelse’smemory.

Reinforcethatthisisasilentconversationandthatstudentsshouldletwhatotherswriteandthemusicguidetheirthoughts.

Questionstobeasked:- Whatdidyouhearinthemusicthat

informedyourreflections?- Didyoufindithardtothoughtfully

respondtoanotherstudent’spointofview?Ifso,whatexactlydidyoufindhardaboutit?

- DoyouthinkthemusicwassuccessfulinmakingtheaudiencefeelbetteraboutthedeathofPresidentKennedy?

10minutes

Exampleofstudentworkfromthisproject.

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