PROMPT QUESTIONS FROM COURSE READINGS
Articles - July 7, 2020
Sensoy, O., & DiAngelo, R. (2017). Is everyone really equal?: An introduction to key concepts in social justice education / Özlem Sensoy and Robin DiAngelo. (Second edition.). Teachers College Press.
Davis, L. (2017). The disability studies reader / Lennard J. Davis [electronic resource] (Fifth edition.). Routledge.
Question 1: From an organizational perspective, how do we transition from school music programs to community based programs that allow for students of varying age and ability levels? Where does one find training to facilitate these opportunities?
Question 2: What specific strategies/techniques can one use to break down negative stereotypes and build relationships with members of the autistic community?
Question 3: If doctors are reluctant to diagnose, or parents are reluctant to share a diagnosis with their child, how can these students find success in the classroom if they are held to the same level of expectation as their peers despite these impairments?
Articles - July 8, 2020
Ansdell, G. (2002). Community Music Therapy & The Winds of Change. Voices: A World Forum for Music Therapy, 2(2). https://doi.org/10.15845/voices.v2i2.83
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
Question 1: What is her position on community music therapy vs. traditional music therapy?
Question 2: What challenges did they meet in organizing the 'Coffee House'?
Question 3: How can we borrow the approach of community music therapy in our school class context? and What formal accreditation do you need to be a community music therapist?
Sensoy, O., & DiAngelo, R. (2017). Is everyone really equal?: An introduction to key concepts in social justice education / Özlem Sensoy and Robin DiAngelo. (Second edition.). Teachers College Press.
Davis, L. (2017). The disability studies reader / Lennard J. Davis [electronic resource] (Fifth edition.). Routledge.
Question 1: From an organizational perspective, how do we transition from school music programs to community based programs that allow for students of varying age and ability levels? Where does one find training to facilitate these opportunities?
Question 2: What specific strategies/techniques can one use to break down negative stereotypes and build relationships with members of the autistic community?
Question 3: If doctors are reluctant to diagnose, or parents are reluctant to share a diagnosis with their child, how can these students find success in the classroom if they are held to the same level of expectation as their peers despite these impairments?
Articles - July 8, 2020
Ansdell, G. (2002). Community Music Therapy & The Winds of Change. Voices: A World Forum for Music Therapy, 2(2). https://doi.org/10.15845/voices.v2i2.83
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
Question 1: What is her position on community music therapy vs. traditional music therapy?
Question 2: What challenges did they meet in organizing the 'Coffee House'?
Question 3: How can we borrow the approach of community music therapy in our school class context? and What formal accreditation do you need to be a community music therapist?
Article - July 12, 2020
Devito, D., Telles, T., Hidalgo, B (2020). Culturally responsive research projects in a Title 1 elementary center for fine arts. Visions of Research in Music Education, 35. Retrieved from http://www.rider.edu/~vrme
Question 1:
According to Devito et al. (2020), "the overarching goal is to ascertain if documenting this integrative, whole language approach of music and music education combined with international and comparative education will directly improve test scores and enhance overall relevancy in school culture" (p.9).
What are your thoughts on the role of music in this study serving a secondary function to standardized test scores? Are we devaluing our subject when it becomes a means to an end?
Question 2:
Devito et al. (2020) found that "the assessment methods of critique based learning, journaling, reading comprehension exercises, and end-of-year course exams combine to create individual student profiles of cultural identity through music and general eduction instruction (STEM and STEAM)" (p.24).
How do you fairly assess a student's cultural identity given the subjectivity of their cultural perceptions?
Question 3:
What were the challenges faced in the organization and execution of the Skype lessons, both for the students, guest lecturers and facilitators?
Article - July 14, 2020
Bradley, D. (2012). Good for What, Good for Whom?: Decolonizing Music Education Philosophies. In The Oxford Handbook of Philosophy in Music Education.
Question 1: What is your definition of cultural appropriation? What strategies could we use to teach non-Western music in a culturally appropriate way within the constraints of our time and financial budgets?
Question 2: What are some practical strategies that we can use to decolonize our music classroom?
Question 3: What practical suggestions can you give to bridge the gap between formal and informal learning? How can teachers within academic environments create space for those students who often feel compelled to pursue music in an independent manner as a response to the exclusion that is created by our colonial foundations?
Article - July 15, 2020
Benedict (2021). Educating for Belief and Nonbelief.
(Note: this is a chapter out of a forthcoming book: Music and Social Justice: A Guide for Elementary Educators)
Questions 1: In dialogue, how do we address each other's ideas while maintaining our core beliefs. ex. dialogue between Abrahamic faiths (monotheistic) with other spiritualistic faiths (Indigenous)
Question 2: What is the process to acquire permissions to share Indigenous resources with my students? How do I develop this understanding of the process of sharing Indigenous resources with Admin/Ministry of Education at the policy level?
Question 3: How do you think the relationship between politics and religious faiths works? Why does the reigning government fail to have dialogue with indigenous people?
Question 4: How do young people (students and teachers) develop values and beliefs when they don’t have a religious background?
Devito, D., Telles, T., Hidalgo, B (2020). Culturally responsive research projects in a Title 1 elementary center for fine arts. Visions of Research in Music Education, 35. Retrieved from http://www.rider.edu/~vrme
Question 1:
According to Devito et al. (2020), "the overarching goal is to ascertain if documenting this integrative, whole language approach of music and music education combined with international and comparative education will directly improve test scores and enhance overall relevancy in school culture" (p.9).
What are your thoughts on the role of music in this study serving a secondary function to standardized test scores? Are we devaluing our subject when it becomes a means to an end?
Question 2:
Devito et al. (2020) found that "the assessment methods of critique based learning, journaling, reading comprehension exercises, and end-of-year course exams combine to create individual student profiles of cultural identity through music and general eduction instruction (STEM and STEAM)" (p.24).
How do you fairly assess a student's cultural identity given the subjectivity of their cultural perceptions?
Question 3:
What were the challenges faced in the organization and execution of the Skype lessons, both for the students, guest lecturers and facilitators?
Article - July 14, 2020
Bradley, D. (2012). Good for What, Good for Whom?: Decolonizing Music Education Philosophies. In The Oxford Handbook of Philosophy in Music Education.
Question 1: What is your definition of cultural appropriation? What strategies could we use to teach non-Western music in a culturally appropriate way within the constraints of our time and financial budgets?
Question 2: What are some practical strategies that we can use to decolonize our music classroom?
Question 3: What practical suggestions can you give to bridge the gap between formal and informal learning? How can teachers within academic environments create space for those students who often feel compelled to pursue music in an independent manner as a response to the exclusion that is created by our colonial foundations?
Article - July 15, 2020
Benedict (2021). Educating for Belief and Nonbelief.
(Note: this is a chapter out of a forthcoming book: Music and Social Justice: A Guide for Elementary Educators)
Questions 1: In dialogue, how do we address each other's ideas while maintaining our core beliefs. ex. dialogue between Abrahamic faiths (monotheistic) with other spiritualistic faiths (Indigenous)
Question 2: What is the process to acquire permissions to share Indigenous resources with my students? How do I develop this understanding of the process of sharing Indigenous resources with Admin/Ministry of Education at the policy level?
Question 3: How do you think the relationship between politics and religious faiths works? Why does the reigning government fail to have dialogue with indigenous people?
Question 4: How do young people (students and teachers) develop values and beliefs when they don’t have a religious background?