FOSTERING INCLUSIVE DIALOGUE
GETTING STARTED
Prior to the beginning of the course, Dr. Benedict asked students to engage in two contrasting styles of dialogue with colleagues outside of class. The following videos document both the conversations themselves and a reflection on how these styles promote or deter meaningful discourse.
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GROUP COMPOSITIONS
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This clip captures the collaborative efforts of our group as we tried to compose, perform and record over Zoom. An integral component of this task was the post-recording debrief as members of the group unpacked the working dynamics that are involved in group composition. |
COMMUNITY MUSIC MAKING
References
Ansdell, G. (2014). Revisiting “Community music therapy and the winds of change” (2002): An original article and a retrospective evaluation. International Journal of Community Music, 7(1), 11–45. https://doi.org/10.1386/ijcm.7.1.11_1
Baldwin, A. (2017). Community music-making for everyone via performing ensembles: here are five groups that make an inclusive, musical difference in their communities. Teaching Music, 24(3), 18–.
Mitchell, E. (2019). Community Music Therapy and Participatory Performance. Voices : a World Forum for Music Therapy, 19(1). https://doi.org/10.15845/voices.v19i1.2701
Treweek, C., Wood, C., Martin, J., & Freeth, M. (2018). Autistic people’s perspectives on stereotypes: An interpretative phenomenological analysis. Autism : the International Journal of Research and Practice, 23(3), 759–769. https://doi.org/10.1177/1362361318778286
Ansdell, G. (2014). Revisiting “Community music therapy and the winds of change” (2002): An original article and a retrospective evaluation. International Journal of Community Music, 7(1), 11–45. https://doi.org/10.1386/ijcm.7.1.11_1
Baldwin, A. (2017). Community music-making for everyone via performing ensembles: here are five groups that make an inclusive, musical difference in their communities. Teaching Music, 24(3), 18–.
Mitchell, E. (2019). Community Music Therapy and Participatory Performance. Voices : a World Forum for Music Therapy, 19(1). https://doi.org/10.15845/voices.v19i1.2701
Treweek, C., Wood, C., Martin, J., & Freeth, M. (2018). Autistic people’s perspectives on stereotypes: An interpretative phenomenological analysis. Autism : the International Journal of Research and Practice, 23(3), 759–769. https://doi.org/10.1177/1362361318778286
GENDER INCLUSIVITY
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References
Allsup, R. E. (2016). Fractured (fairy) Tales: In Search of Transformational Spaces in Music Education. Bulletin of the Council for Research in Music Education, 207-208, 49–61. https://doi.org/10.5406/bulcouresmusedu.207-208.0049
Nichols, J. (2013). Rie’s Story, Ryan’s Journey: Music in the Life of a Transgender Student. Journal of Research in Music Education, 61(3), 262–279. https://doi.org/10.1177/0022429413498259
Palkki, J., & Caldwell, P. (2018). “We are often invisible”: A survey on safe space for LGBTQ students in secondary school choral programs. Research Studies in Music Education, 40(1), 28–49. https://doi.org/10.1177/1321103X17734973
Allsup, R. E. (2016). Fractured (fairy) Tales: In Search of Transformational Spaces in Music Education. Bulletin of the Council for Research in Music Education, 207-208, 49–61. https://doi.org/10.5406/bulcouresmusedu.207-208.0049
Nichols, J. (2013). Rie’s Story, Ryan’s Journey: Music in the Life of a Transgender Student. Journal of Research in Music Education, 61(3), 262–279. https://doi.org/10.1177/0022429413498259
Palkki, J., & Caldwell, P. (2018). “We are often invisible”: A survey on safe space for LGBTQ students in secondary school choral programs. Research Studies in Music Education, 40(1), 28–49. https://doi.org/10.1177/1321103X17734973
DECOLONIZING MUSIC EDUCATION
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References
Bradley, D. (2012). Good for What, Good for Whom?: Decolonizing Music Education Philosophies (Vol. 1). Oxford University Press. https://doi.org/10.1093/oxfordhb/9780195394733.013.0022
Chávez, L., & Skelchy, R. (2019). Decolonization for Ethnomusicology and Music Studies in Higher Education. Action, Criticism, & Theory for Music Education, 18(3), 115–143. https://doi.org/10.22176/act18.3.115
Stanton, B. (2018). Musicking in the Borders toward Decolonizing Methodologies. Philosophy of Music Education Review, 26(1), 4–23. https://doi.org/10.2979/philmusieducrevi.26.1.02
Bradley, D. (2012). Good for What, Good for Whom?: Decolonizing Music Education Philosophies (Vol. 1). Oxford University Press. https://doi.org/10.1093/oxfordhb/9780195394733.013.0022
Chávez, L., & Skelchy, R. (2019). Decolonization for Ethnomusicology and Music Studies in Higher Education. Action, Criticism, & Theory for Music Education, 18(3), 115–143. https://doi.org/10.22176/act18.3.115
Stanton, B. (2018). Musicking in the Borders toward Decolonizing Methodologies. Philosophy of Music Education Review, 26(1), 4–23. https://doi.org/10.2979/philmusieducrevi.26.1.02
FINAL REFLECTION GROUP VIDEO
The following video discussion served as an opportunity for the group to reconvene and collect their thoughts, reflections and ideas on what was learned in this course and how they can serve as momentum towards meaningful change within our own educational settings.