While the field of music education is rife with participation in methodological debates around “best systems” for learning about pitch, the authors in this article explore the possibilities of learner-centered approaches to teaching pitch among students with diverse music backgrounds. Specifically, the article highlights several challenges faced by the students with fixed pitch backgrounds in U.S. music classrooms: confusion around solfège syllables used to represent both movable and fixed pitch systems, and difficulty in transitioning between fixed and movable systems regardless of the symbolic language used. The authors offer a variety of research-based recommendations for deepening students' understandings of pitch in light of these challenges and emphasize the necessity for a learner-centered approach to pitch pedagogy in U.S. music classrooms. The purpose of this article is to (1) help practicing teachers understand more deeply and empathize with the nature of confusion students with fixed pitch backgrounds might experience in American music classrooms, and (2) develop pedagogical strategies that are sensitive to the experiences of these students while working to deepen understanding of pitch.
Students in the music classroom are more culturally and linguistically diverse than ever before. Latinx students are the fastest growing population. Often, these students are neglected through deficit-based pedagogical practices with regard to their cultural and linguistic practices; however, other research into asset-based pedagogical practices such as community cultural wealth and culturally sustaining pedagogy can allow for more equitable and just music education. Accessing community cultural wealth with regard to aspirational, navigational, social, resistant, and especially familial and linguistic capital can lead to better outcomes for students. Incorporating a Noche de Música [Night of Music] at a school allows for families to demonstrate their capacity to cocreate music-based and language-based literacies among faculty, students, and their families. This can include culturally sustaining pedagogical practices that lovingly affirm and sustain students’ language, culture, and history through folk songs, folk tales, and multimodal approaches to communication.
Increased availability of tablets at home and in classrooms provides educators access to a powerful tool for music instruction. Music production lessons on tablets offer alternate approaches to developing music literacies while teaching valuable technology skills. These activities are ideal for general music education because they align with contemporary music practices and are adaptable to a variety of learning environments (in person, remote, and hybrid). This article will present a model for tablet-based music production instruction in the general music classroom that aligns with the National Core Arts Standards and accompanying process components grounded in five essential skills: sequencing, recording, editing, effects processing, and mixing.
The purpose of this column is to explore a meaningful collaboration between a classroom music teacher and an expert from a music culture. Dr. David Aarons from Jamaica worked with a music educator and a class of 5th grade students. They explored dance traditions, steel pan performance, singing games, and stories. They also discussed sociocultural and sociohistorical meanings of the lyrics, instruments, and hybrid nature of many of the current traditions.
