Civil rights advocate and law professor Kimberlé Crenshaw coined the term "intersectionality," defining it in 2020 as "a lens, a prism, for seeing the way in which various forms of inequality often operate together and exacerbate each other. We tend to talk about race inequality as separate from inequality based on gender, class,…

Open education and related terminology have not gained widespread interest within the music education community. Despite this, music educators demonstrate open practices by leveraging digital technologies to share, collaborate, and innovate their teaching practice for student engagement and achievement. This article introduces open education…

This article critically examines the prevalent belief within music education that "music is for all," highlighting the incongruence between educators' intentions and students' lived experiences. Drawing on personal positionality and scholarly orientation, the author explores how music teachers may unintentionally disaffirm students'…

Although not a new phenomenon, the prevalence of student trauma has recently garnered national attention. This ongoing public health crisis hinders learning, connection, and the well-being of entire school communities. Often on the margins of conversations surrounding student needs or unable to access educational documents, music teachers seeking…

This article offers perspectives on disrupting the typical elementary school "canon" through providing considerations and pedagogical orientations for including hip-hop. Three issues of critical importance in elementary music education are addressed: decentering Whiteness in elementary music, understanding hip-hop in relation to…

In this column, the author unpacks the history of the song "Jump Jim Crow/Joe" with particular attention paid to the exclusionary practices often found within the categorization of an American folk-music canon. "Jump Jim Crow" is an example of appropriation that makes people invisible. Yet, appropriation can also create bias…

When music educators discuss repertoire, they often discuss "what" pieces to perform and "when" in the year to perform them. In this article, I ask, "Who should choose the music for ensemble study, and "how" should it be chosen?" I share a rationale for why music educators might include students in ensemble…

The "fanga" is a dance taught throughout the United States to children in elementary music classes, students in African dance classes, teachers in multicultural workshops, and professional dancers in touring ensembles. Although the history of the fanga is a path overgrown with myth, this article offers information about the dance's…

School-university partnerships continue to be of growing interest across the United States, especially in music education. This article examines a specific case of how engagement theory was used as a framework for establishing a musical collaboration in a current school-university partnership. As a result of this collaboration, the school, the…

Songwriting is a form of composition that relates directly to adolescents' personal experience of music. This article provides a rationale for establishing courses in songwriting at the middle school and high school levels. Other topics in the article include curriculum development, instructional procedures, and assessment. The article ends with…

This address by Lilla Belle Pitts was prepared for a joint symposium session of the convention of the California-Western School Music Conference and the California Secondary School Principals, held in San Francisco, March 1937. The symposium theme was "Music Education in the Secondary Schools." Pitts said in this address that it was…

Even in states with K-12 music licensure, not all music education students take a course in elementary music methods, and even fewer take a course that specifically addresses early childhood music instruction. In this article, a music teacher educator and a self-described "band guy," who initially struggled to work with young children,…

Music education has many "elephants" in its classrooms: obvious major problems that go unmentioned and suffered silently. Two of the larger, more problematic "elephants" are identified, analyzed, and critiqued: (1) the hegemony of university schools of music on school music and the resulting focus in school music on…

The Partnership for 21st Century Skills lists among its top priorities for students the development of "learning and innovation skills," of which the first are "creativity and innovation." The third National Standard from the National Association for Music Education is "Improvising melodies, variations, and accompaniments." These guiding…

A number of initiatives in special education have occurred in the United States over the years, some mandated by amendments to the Individuals with Disabilities Education Act. Having a working knowledge of these initiatives allows music educators to have informed discussions with colleagues and parents and participate more fully in Individualized…