Culturally Responsive Teaching in Music Education: From Understanding to Application

by Constance L McKoy, Vicki R. Lind

Culturally Responsive Teaching in Music From Understanding to Application, Second Edition, presents teaching methods that are responsive to how different culturally specific knowledge bases impact learning. It offers a pedagogy that recognizes the importance of including students’ cultural references in all aspects of learning. Designed as a resource for teachers of undergraduate and graduate music education courses, the book provides examples in the context of music education, with theories presented in Part I and a review of teaching applications in Part II. Culturally Responsive Teaching in Music Education is an effort to answer the How can I teach music to my students in a way that is culturally responsive? This book serves several purposes,

Providing practical examples of transferring theory into practice in music education. Illustrating culturally responsive pedagogy within the classroom. Demonstrating the connection of culturally responsive teaching to the school and larger community. This Second Edition has been updated and revised to incorporate recent research on teaching music from a culturally responsive lens, new data on demographics, and scholarship on calls for change in the music curriculum. It also incorporates an array of new perspectives from music educators, administrators, and pre-service teachers—drawn from different geographic regions—while addressing the impact of the Covid-19 pandemic and the 2020 social justice protests.

189 pages, Kindle Edition

Published November 15, 2022

Reviews

[Annamarie Ogunmola · Rating 3 out of 5]

I read this for a course and wanted to find it helpful. Unfortunately, even the authors admit in the book that the ideas presented are vague and idealistic. I appreciate the awareness that our model of music education chases away many minorities and that can be minimized by more creativity and a nod to student knowledge. A lot of this is being addressed in the elementary music classroom and my course gave me a few ways to concretely implement these ideals. If you teach secondary, I don't feel this book gives you a way forward. Some of the community involvement pieces were inspired, while others sounded like a quick way to get fired. The biggest positive I have for this book is confidence in some practices I've been trying to institute, like less of a concentration on notation and drawing on student interest. I am inspired to try and bring in some vetted community music groups that show "amateur" musicianship in adulthood.