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Music Education for Social Change: Constructing an Activist Music Education

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Music Education for Social Change: Constructing an Activist Music Education develops an activist music education rooted in principles of social justice and anti-oppression. Based on the interviews of 20 activist-musicians across the United States and Canada, the book explores the common themes, perceptions, and philosophies among them, positioning these activist-musicians Music Education for Social Change: Constructing an Activist Music Education develops an activist music education rooted in principles of social justice and anti-oppression. Based on the interviews of 20 activist-musicians across the United States and Canada, the book explores the common themes, perceptions, and philosophies among them, positioning these activist-musicians as catalysts for change in music education while raising the question: amidst racism and violence targeted at people who embody difference, how can music education contribute to changing the social climate? Music has long played a role in activism and resistance. By drawing upon this rich tradition, educators can position activist music education as part of a long-term response to events, as a crucial initiative to respond to ongoing oppression, and as an opportunity for youth to develop collective, expressive, and critical thinking skills. This emergent activist music education--like activism pushing toward social change--focuses on bringing people together, expressing experiences, and identifying (and challenging) oppressions. Grounded in practice with examples integrated throughout the text, Music Education for Social Change is an imperative and urgent consideration of what may be possible through music and music education.


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Music Education for Social Change: Constructing an Activist Music Education develops an activist music education rooted in principles of social justice and anti-oppression. Based on the interviews of 20 activist-musicians across the United States and Canada, the book explores the common themes, perceptions, and philosophies among them, positioning these activist-musicians Music Education for Social Change: Constructing an Activist Music Education develops an activist music education rooted in principles of social justice and anti-oppression. Based on the interviews of 20 activist-musicians across the United States and Canada, the book explores the common themes, perceptions, and philosophies among them, positioning these activist-musicians as catalysts for change in music education while raising the question: amidst racism and violence targeted at people who embody difference, how can music education contribute to changing the social climate? Music has long played a role in activism and resistance. By drawing upon this rich tradition, educators can position activist music education as part of a long-term response to events, as a crucial initiative to respond to ongoing oppression, and as an opportunity for youth to develop collective, expressive, and critical thinking skills. This emergent activist music education--like activism pushing toward social change--focuses on bringing people together, expressing experiences, and identifying (and challenging) oppressions. Grounded in practice with examples integrated throughout the text, Music Education for Social Change is an imperative and urgent consideration of what may be possible through music and music education.

38 review for Music Education for Social Change: Constructing an Activist Music Education

  1. 4 out of 5

    Xan Rooyen

    I find it tricky to rate non-fiction, but I really did get a lot out of this book hence 5 stars. While the book is US-centric, the author consistently reiterates the need to adapt the pedagogical framework to the specific place and community the educator is in. While examples were mostly North-American or tied to US political and social issues, it isn't hard to extrapolate the principles and apply these in different international contexts. What I appreciated the most about this book is its self-cr I find it tricky to rate non-fiction, but I really did get a lot out of this book hence 5 stars. While the book is US-centric, the author consistently reiterates the need to adapt the pedagogical framework to the specific place and community the educator is in. While examples were mostly North-American or tied to US political and social issues, it isn't hard to extrapolate the principles and apply these in different international contexts. What I appreciated the most about this book is its self-critique. The author does extremely well to recognize the dangers of creating an activist classroom, whereby the activist teacher simply becomes a dictator of a different kind, proselytizing despite having good intentions. I also appreciate the idea of 'remaining uncertain', that educators need to recognize that there are no solid answers and that they shouldn't even try to have those answers, but rather provide a space for students to develop their own critical thinking and find their own voice through musical activities that encourage student agency. I think this is a fantastic resource, not only for music teachers, but for all educators wanting to de-colonize their classroom and create a safe space for all students to examine their lived experiences and take action to shape their world for the better.

  2. 4 out of 5

    Abby Schmidt

    This book took some time and careful study to get through but it is well worth it. I appreciated the structure of the critical pedagogy philosophy and can see how valuable that is for my own educational philosophy. As a choir teacher I can relate to helping students “come to voice” and learn how to listen to others as well. The title of this book is a little deceptive in that the book is really about how to understand critical pedagogy and how it can be useful for music educators. I have gained This book took some time and careful study to get through but it is well worth it. I appreciated the structure of the critical pedagogy philosophy and can see how valuable that is for my own educational philosophy. As a choir teacher I can relate to helping students “come to voice” and learn how to listen to others as well. The title of this book is a little deceptive in that the book is really about how to understand critical pedagogy and how it can be useful for music educators. I have gained a lot of great ideas for how to structure my curriculum this year from this book.

  3. 5 out of 5

    Sharon Lee

    An activist pedagogy for music education presented in through songwriting. Good read for any teachers looking to incorporate more social justice into their curriculum. Really good balance between how and why this should be done and the risks (and how to hopefully avoid most of them) of an activist curriculum.

  4. 5 out of 5

    Sara Joy

  5. 4 out of 5

    Aiko

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    Kari

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    Olivia Caldwell

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    Allison Paetz

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    Carrie Nicholas

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    Tlejeune

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    Denise

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    Emily

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    Lisa Ferretti

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    MaKenzie Doyle

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    Meg Hickey

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    Cydney Gray

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    Sarah Jane

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    Jamie

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    Alaina

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    Cody

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    Drew Paulsen

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    Alison Wheaton

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    Hilen

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    Shelby Lawton

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    Molly Follweiler

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    Jacqueline Smith

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    Dustin Ragland

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    Kim Harrison

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    Noah Bossert

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    Molly Sehman

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    Nancy

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    Jennifer

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    Lila Bhattacherjee

  34. 4 out of 5

    Carmelle Pretzlaw

  35. 5 out of 5

    Jessica Jonesy

  36. 5 out of 5

    Natasha Colkett

  37. 5 out of 5

    Ben Paro

  38. 5 out of 5

    Kaele Peterson

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