# data[].attributes.headline
From the following quotes, choose at least one that you affirm [Thumbs Up] and at least one that you challenge, or would like to further clarify [Thumbs Down]. Please add comments under as many of these as you can.

# data[].attributes.subject
From the following quotes, choose at least one that you affirm [Thumbs Up] and at least one that you challenge, or would like to further clarify [Thumbs Down]. Please add comments under as many of these as you can.

# data[].attributes.headline
1. If symbols, institutions, and other components of human societies are part of one’s culture, then teachers must consider other characteristics of people such as gender… age, generation, and so on as a part of one’s culture. (Dissinger, 2019; p. 11)

# data[].attributes.subject
1. If symbols, institutions, and other components of human societies are part of one’s culture, then teachers must consider other characteristics of people such as gender… age, generation, and so on as a part of one’s culture. (Dissinger, 2019; p. 11)

# data[].attributes.headline
2. ...teachers who are culturally responsive have a deep knowledge of their students. (Dissinger, 2019; p. 11)

# data[].attributes.subject
2. ...teachers who are culturally responsive have a deep knowledge of their students. (Dissinger, 2019; p. 11)

# data[].attributes.headline
3. Gay (2002) defines culturally responsive teaching as the use of cultural characteristics, experiences, and perspectives of ethnically diverse students as conduits for teaching them more effectively. (Dissinger, 2019; p. 16)

# data[].attributes.subject
3. Gay (2002) defines culturally responsive teaching as the use of cultural characteristics, experiences, and perspectives of ethnically diverse students as conduits for teaching them more effectively. (Dissinger, 2019; p. 16)

# data[].attributes.headline
4. The underlying assertion of CRT [Culturally Responsive Teaching] is that students bring funds of knowledge, strength, and contribution to their education which should be recognized by their teacher. (Dissinger, 2019; p. 16)

# data[].attributes.subject
4. The underlying assertion of CRT [Culturally Responsive Teaching] is that students bring funds of knowledge, strength, and contribution to their education which should be recognized by their teacher. (Dissinger, 2019; p. 16)

# data[].attributes.headline
5. Culturally responsive suggests a symbiotic relationship between home and community culture, whereas earlier terms perpetuated the idea of manipulating student cultures to fit the mainstream (Ladson-Billings, 1995). (Dissinger, 2019; p. 17)

# data[].attributes.subject
5. Culturally responsive suggests a symbiotic relationship between home and community culture, whereas earlier terms perpetuated the idea of manipulating student cultures to fit the mainstream (Ladson-Billings, 1995). (Dissinger, 2019; p. 17)

# data[].attributes.headline
6. Lind and McKoy (2016) suggest several positive impacts culturally responsive teaching may have on music programs, beginning with the intrinsic value of music. (Dissinger, 2019; p. 22)

# data[].attributes.subject
6. Lind and McKoy (2016) suggest several positive impacts culturally responsive teaching may have on music programs, beginning with the intrinsic value of music. (Dissinger, 2019; p. 22)

# data[].attributes.headline
7. Lind and McKoy (2016) reference other benefits of culturally responsive teaching in music including increased enrollment of students who are typically marginalized in music classes, more opportunities for creating (composing, improvising, arranging, etc.) because the material is more familiar and interesting to students, and the potential increase of typically under-represented cultures within the profession.” (Dissinger, 2019; p. 22, emphasis added)

# data[].attributes.subject
7. Lind and McKoy (2016) reference other benefits of culturally responsive teaching in music including increased enrollment of students who are typically marginalized in music classes, more opportunities for creating (composing, improvising, arranging, etc.) because the material is more familiar and interesting to students, and the potential increase of typically under-represented cultures within the profession.” (Dissinger, 2019; p. 22, emphasis added)

# data[].attributes.headline
8. Programming music in order to provide a multicultural experience is not the same as programming music in response to student interests and culture, pointing out the difference between “multicultural music education” and culturally responsive teaching. (Dissinger, 2019; p. 26)

# data[].attributes.subject
8. Programming music in order to provide a multicultural experience is not the same as programming music in response to student interests and culture, pointing out the difference between “multicultural music education” and culturally responsive teaching. (Dissinger, 2019; p. 26)

# data[].attributes.headline
9. Music content should not be compromised when incorporating multicultural music education… It is the educator’s responsibility to form a hybrid learning approach in which students are developing knowledge of musical elements in addition to a sociocultural understanding of musics from around the world. (Dissinger, 2019; p. 27)

# data[].attributes.subject
9. Music content should not be compromised when incorporating multicultural music education… It is the educator’s responsibility to form a hybrid learning approach in which students are developing knowledge of musical elements in addition to a sociocultural understanding of musics from around the world. (Dissinger, 2019; p. 27)

# data[].attributes.headline
10. Teachers are reminded to carefully select repertoire and curricula that is truly representative of the students based on their identities, not on teachers’ perceptions. (Dissinger, 2019; p. 28)

# data[].attributes.subject
10. Teachers are reminded to carefully select repertoire and curricula that is truly representative of the students based on their identities, not on teachers’ perceptions. (Dissinger, 2019; p. 28)

# data[].attributes.headline
11. Lind and McKoy (2016) suggest three ideas for becoming culturally responsive: 1) getting to know your students; 2) creating a supportive classroom; 3) creating a program and curriculum that is culturally responsive. (Dissinger, 2019; p. 31)

# data[].attributes.subject
11. Lind and McKoy (2016) suggest three ideas for becoming culturally responsive: 1) getting to know your students; 2) creating a supportive classroom; 3) creating a program and curriculum that is culturally responsive. (Dissinger, 2019; p. 31)

# data[].attributes.headline
12. Engaging with musics written by many [types of] musicians potentially allows children and youth to see the world from different perspectives. (Hess, 2021; p. 277)

# data[].attributes.subject
12. Engaging with musics written by many [types of] musicians potentially allows children and youth to see the world from different perspectives. (Hess, 2021; p. 277)

# data[].attributes.headline
13. When youth encounter musics that resonate with their experiences, these interactions may lead them to ‘name their world’ (Freire 2000/1970), and perhaps more importantly, imagine alternatives. (Hess, 2021; p. 277)

# data[].attributes.subject
13. When youth encounter musics that resonate with their experiences, these interactions may lead them to ‘name their world’ (Freire 2000/1970), and perhaps more importantly, imagine alternatives. (Hess, 2021; p. 277)

# data[].attributes.headline
14. Consider musics beyond the canon that feature contemporary voices grappling with ideas, identities, and feelings relevant to students… This window offers a closeness that creates openings to purposefully engage the imagination. (Hess, 2021; p. 278)

# data[].attributes.subject
14. Consider musics beyond the canon that feature contemporary voices grappling with ideas, identities, and feelings relevant to students… This window offers a closeness that creates openings to purposefully engage the imagination. (Hess, 2021; p. 278)