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Multicultural Music in the Elementary Classroom

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on 30 October 2014

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Transcript of Multicultural Music in the Elementary Classroom

Multicultural Music in the Elementary Classroom
Multicultural Education in the Elementary Classroom:
Typical manifestations:
Foods and Festivals
What should Multicultural Education Look like?
Did Jen Holladay's TED Talk change your mind?

Three goals of Multicultural Education:
It must be rigorous in terms of content and instruction.
Some aspect of the lesson must address students' pro-social capacities--think "walking a mile in someone's shoes."
It must address social justice. In other words, some component must address critical thinking skills.
Integration Overview
Four levels of Integration:
Subservient Integration
Most common
Using the arts to teach to facilitate a concept.
Social Integration
Using the arts to facilitate social interaction
Affective Integration
Change of Mood
Establishes the arts and other curricula on a level playing field
Teaches arts and other concepts co-equally during the same lesson
(Bresler, 1995).
Multicultural Music: A History
"If music consists in a diversity of musical cultures, then music is inherently multicultural. And if music is inherently multicultural, then music education ought to be multicultural in essence” (Elliott, 1995).
Multicultural Education:
Build acceptance of other cultures.
Eliminate discrimination.
Teach different cultural perspectives.
Teach students (and adults!) to view their world from differing frames of reference.
(Kelly, 2009)
Multicultural Music Lesson Plan Requirements:
Lesson plans must follow all criteria set forth in the Microteaching Lesson Plan Guide.
It must follow the lesson plan template.
It must co-equally teach a music concept and a concept from another subject area--this one will more than likely be social studies.
It must be substantiated with both KCAS and NMS.
Music must be selected using the guidelines established in this Prezi.
Use the rubric and your textbook (specifically chapters 9-11) to assist you in the development of your lesson (Anderson and Lawrence, 2009).
Be as creative as possible; however, please be sure to culturally aware at all times.
Interview with Dr. James A. Banks,
the father of Multicultural Education
The previous manifestations aren't bad; however, proper multicultural instruction takes those folktales and celebrations and integrates them within the parameters of the three goals.
America is a musically pluralistic society.
The music classroom was vital in assimilating immigrants when they entered the country.
Music education was meant to bring the lower class' taste level to that of European classical music.
This all changed in the 1950s and 1960s with the Civil Rights Movement.
This is the intersection of Ethnomusicology and the music education classroom.
Multicultural music was now a goal for the music education classroom and this paradigm shift in the way music is presented is still evolving.
(Mark, 1998)
What does this mean for you?
Music is one of the best representations of culture--it is an easy access point for you and your students.
Music has the ability to be relevant for all situations.
Music is contextual and must be experienced as such.
Music can serve as a point of reference for your students so they can make connections to material.
Here are some tips for you to consider when you think about using multicultural music in your future classroom:
“Those inner workings are themselves the project of cultural systems, so they must be revealed in their contexts, historical, cultural, and political, in order to be grasped appropriately; that is, ‘knowing about’ becomes an essential ingredient of artistry and of listening” (Reimer, 2002).
• Expand your understanding of multiculturalism to include differences in gender, social class, religion, language, geography, and age, in addition to the more traditional focus on race and ethnicity.
• Be open to a wide range of musical styles.
• Lean the names of current artists that your students are listening to.
• Observe student’s reactions to various musical styles, and ask them to talk about their musical preference.
• Interview people in the community to learn what genres are important to students.
• Focus on knowing the genre rather than keeping up with the latest hits.
• Accept the fact that your students have more expertise in a particular genre than you do; make this a positive by turning learning into a collaborative effort and learning as much as you can from your students.
• Invest in currently available resources.
• Because pop music is constantly changing as new forms are created, keep in mind that your knowledge of music must continue to evolve.
• Remember that even though your own musical preferences may not mirror those of your students, by including their music in the curriculum, you are modeling the kind of respect for and tolerance of other people’s music preferences that you hope to instill in your students (Kelly & Van Weelden, 2004).

Thinking about using Multicultural Music in your classroom? Some things to think about...
Validity, Authenticity, and Bias, Oh my!
• A cultural insider should attest to the authenticity of the experience and any accompanying recordings.
• Sacred and secular materials should be presented appropriately and with sensitivity.
• The music should be experienced in terms of its cultural connections and its geographical origination.
• Songs are to be presented in their original languages, accompanied with pronunciation guides, translations, explanations of unique aspects of the vocal style, and transcriptions of the notation.
• Games and dances should have clear directions.
• High-quality visuals should be used.
• Teaching strategies should involve active experiences with the music.
• Presenting multicultural music through integration with other disciplines may lead to more meaningful experiences for students.
• Cultures are dynamic and evolving; therefore, contemporary as well as traditional music should be presented. (Belz, 2006)

Publication does not equal valid music. Explore the source of your publication before you teach your students.

Lyrics should be studied before teachings students. This not only prevents "no no" words, but has another function as well. Bias and musical stereotypes can pass from culture to culture, teacher to student, or student to student. Music that contains low bias with high cultural validity should be heavily considered when selecting multicultural music to instruct your students (Abril, 2006).
Ways to Integrate!
1. Use Multicultural Music as part of a course study.
2. Use Holidays/Celebrations as a vehicle for Multicultural Music instruction.
3. Use thematic material as a segue into various works from other cultures.
4. Use instruments as an introduction to multicultural music.
5. Use Multicultural Music to teach musical concepts that coincide with National Music Standards (Goodkin, 1994).
6. Project-based learning units (Hoffman, 2012).

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