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David Treece Guns and Roses Bossa Nova and Brazil s Music of Popular Protest 1958-68

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David Treece Guns and Roses Bossa Nova and Brazil s Music of Popular Protest 1958-68

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Irna Priore and Chris Stover - The Subversive Songs of Bossa Nova Tom Jobim in the Era of Censorship.

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Irna Priore and Chris Stover - The Subversive Songs of Bossa Nova Tom Jobim in the Era of Censorship.

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Irna Priore and Chris Stover - The Subversive Songs of Bossa Nova Tom Jobim in the Era of Censorship.pdf

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Promoting Equity: Developing an Antiracist Music Theory Classroom

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Promoting Equity: Developing an Antiracist Music Theory Classroom

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Making Whiteness Visible in the (Music) Classroom
"Teaching Inequality: Problems with Traditional Music Theory Pedagogy" described how the near exclusive and yet unnecessary reliance on Western art music, institutionalized as white and as male, upholds white supremacy within the music theory classroom. In "Promoting Equity," we present strategies on how to begin disrupting this normalization of whiteness, starting with making it visible. We should think of this disruption as a process rather than a product-antiracist describes actions, not states of being. To supplement the ideas presented here, we'll also suggest additional resources in the conclusion that might help you in your own practice.

Naming: A Way to Begin (some reflections from Dave Molk)

As a white man, speaking of whiteness in the effort to de-center it runs the seemingly paradoxical risk of re-centering whiteness. Even in the midst of calling out unearned privilege, I reap its benefits-the presumed authority associated with this aspect of my identity ensures that my voice sounds louder and carries further than the majority of those who do not share it.

And yet, the problem of not speaking up is a form of complicity in the face of ongoing oppression. Calling attention to an injustice forces a decision from those who practice willful ignorance: a decision between confrontation and conscious evasion. Naming is a way to begin, a way to make perceptible something that so often goes unrecognized. As whiteness becomes noticeable, it becomes noteworthy, and we can recognize its ubiquity as unnatural and intentional.

The problem of not speaking up is a form of complicity in the face of ongoing oppression.

White people are overrepresented as faculty in the college classroom. The belief that race is a non-white problem, something that affects "others," is itself a white problem with a disproportionate and negative impact on people of color. Whites are responsible both for this ignorance and for redressing it-claimed neutrality only masks our ongoing racism. There is no opt-out.

An antiracist approach must be intersectional-meaning that race, gender, class, sexuality, and other aspects of one's identity where oppression exists are inextricable from one another. An antiracist approach names these forms of oppression and their manifestations inside and outside the classroom.

When I talk with my students about white supremacy in higher education, I name my whiteness. When I talk with my students about sexism in higher education, I name my gender. I acknowledge that I receive unearned privileges because I am an able cisgendered white heterosexual man and I name some of these privileges. I name the pressures I feel to stay silent and the perils in doing so. If I'm not willing to do this in front of my students, I can't expect them to be willing to do it during the course of their lives, either.
Questioning the Curriculum
The process of developing an antiracist music theory classroom begins with reflecting critically on what we are doing in the classroom and why. What exactly are we teaching, both in terms of the immediate material and the underlying messages? Why are we including this particular material on the syllabus and why are we teaching it in this particular way? Whose goals does this actually serve, and what exactly are those goals? What disciplinary habits are we unquestioningly reproducing in our syllabi, teaching, and assessment methods? What role does whiteness play in our pedagogy? What role does sexism play? Who and what is missing, and why? Ask these and similar questions at the start of each semester and continue to revisit them as the semester unfolds.

What role does whiteness play in our pedagogy? What role does sexism play? Who and what is missing, and why?
Developing an Antiracist Music Theory Classroom I. Centering the Student
To develop an antiracist music theory classroom, we should begin by acknowledging that the classroom is not a neutral space and that each of our students is a complex individual whose background knowledge, social identity, and relationship to music and music education is unique. Being able to connect with students from different backgrounds requires a flexibility in approach, an awareness of privilege and of power dynamics, and the understanding that these things matter. We can empower our students and encourage them to be active participants in their own education when we validate their musical experiences.

During our first meeting, I explain to students that I am not the sole source of knowledge for the course and that our work together will be more successful once we all realize that everyone has something valuable to contribute to our learning community. I state that there are no guilty pleasures in the classroom and that we will not self-deprecate. Hearing these messages said aloud helps students to understand that different musical backgrounds are a source of strength and that our class will work best when everyone feels comfortable contributing.

Questions to ask:

Why do we presuppose that challenging our students is mutually exclusive with validating and empowering them?

What is the relationship between the work we do in the classroom and the lives that our students and we lead outside it?

What is actually necessary in what we teach? How are we defining necessary and who are we considering when we do this? What do our students actually do with this knowledge?

Strategies to incorporate:

Create the syllabus with intention and invite feedback from a trusted colleague. Discuss pedagogical choices with students.

Continue to ask who is included and who is not.

Invite students to situate themselves in relation to the course material. Create opportunities for them to tell us what they need. Listen. Respond.

Build trust and community by allowing ourselves to be vulnerable. We can't expect students to be open if we are not open ourselves. Acknowledge the hard conversations. Empathize.

In Practice: Big-picture conversations
The classroom is not a neutral space.

To help students recognize that music is, in addition to "the notes," a social and cultural product, I devote the majority of three classes each semester to a round-table discussion of big-picture ideas. I explain that, while I will facilitate as necessary, students should engage in dialogue with each other and not with me. These topics become reference points as we continue through the semester, and we keep these conversations going via online postings and explicit connections during lectures. The final paper asks students to continue realizing the political in the personal by situating themselves more deeply within these big-picture issues.

These discussions provide a way to begin uncovering pervasive biases and various forms of systemic oppression that influence our ways of thinking and modes of interaction. Even when I provide readings ahead of time to help students begin to think about these issues, I deliberately leave space in how to interpret the prompts. This allows students to approach the material from their own experiences and allows the class to learn how these big-picture issues can manifest in different ways. My role is to push us below surface-level engagement, to make visible the underlying assumptions. Teaching only the notes is a political decision with real consequences-in the absence of interruption, injustice replicates. The following are prompts that I use:

What makes music good?

What exactly is "the music itself"?

What is authenticity in music?

Disparities faced by women in music.

Connections between music, race, and racism.

The efficacy of protest music.

II. The Polystylistic Approach
A polystylistic approach uses the particular strengths of many different styles of music to create a sophisticated working knowledge of how music can be put together. Through a polystylistic approach, we also gain ways to talk about the social and cultural issues that are inseparable from music. Using examples from other genres within a pedagogic framework that still prioritizes Western art music is not the answer-inclusivity becomes tokenism when we reinforce a stylistic hierarchy. While including "everything" is neither possible nor productive, we must be clear that the decision not to include a particular style is not a dismissal of that style.

Inclusivity becomes tokenism when we reinforce a stylistic hierarchy.

If we restrict ourselves to a single genre, then we develop a monochromatic music theory. We forsake the opportunity to speak well about some musical phenomena and the ability to speak at all about others. Our understanding of what music is and what music can be will necessarily be limited by the aesthetics of the single style that we study, and we miss our chance to make music theory more relevant to more students.

Questions to ask:

What is truly foundational knowledge and what is style-specific? How do we justify the inclusion of style-specific material in a basic theory curriculum? What is the explicit purpose of this style-specific material, is it warranted, and are we going about teaching it in the best way?

If our students turned on the radio to a random station, could they engage with the music as a result of our pedagogy? Would they, as a result of our pedagogy, be dismissive of certain styles? Does our pedagogy disrupt such dismissive attitudes or reinforce them?

If we require most/all majors and minors to take music theory, how can we convince them that music theory has value for what they do and who they are?

Strategies to incorporate:

Be explicit about why we are teaching a polystylistic curriculum. Explain to students the traditional model and name its problems.

Solicit suggestions from students for material to incorporate. Get to know what they're into and help them to articulate reasons why they like it. Use the familiar to open doors to the new.

Use moments when theory terminology breaks down to point out the shortcomings of theory, then work with students to create better ways to talk about the musical phenomena in question.

Attend to inclusivity both in terms of genre and practitioners within genre.

In Practice: Sampling
To create the two-semester basic theory sequence I used at Georgetown University, I drew primarily from electronic dance music, hip-hop, jazz, pop, rock, and Western art music. These were styles I had formal training in or had devoted significant time and effort to research. When developing a polystylistic approach, the point isn't to arrive at the optimum mix of styles, but to use a plurality of style to decenter whiteness, to make the material more relevant to more students, to give students a more realistic idea of how music works, what music is, and what music can be, and to provide an entry point for talking about the social and cultural issues imbedded in the music.

To make space in the syllabus to include a segment on sampling, during which I recreate Daft Punk's " One More Time" from Eddie Johns's " More Spell on You," I don't teach voice leading of the classical style. Sampling lets us talk about a number of important musical topics that don't come up in traditional pedagogy, including studio production techniques, sequencing, DAWs, riddims, breaks, royalties, and questions of legality, authorship, and ethics. These are more immediate and meaningful to my students than the voice leading norms of a particular style. They're also more applicable to their careers, and are therefore more important for me to teach.

To make space in the syllabus to include a segment on sampling, I don't teach voice leading of the classical style.

I use the following guiding principles to contextualize our theory classroom, stating them during our first class and returning to them throughout the semester in order to emphasize their importance. Although we may find these truths obvious, we should still name them for our students-actually saying these out loud underscores the degree to which these points matter.

Music theory is descriptive, not prescriptive.

The tools we use guide our interactions and shape our interpretations.

We don't have a sophisticated way to talk about a lot of musical phenomena. These shortcomings belong to the tools we use and not to the material.

Putting It Together: The Blues
Willie Dixon's composition, "," offers a number of intellectually rigorous ways to engage with both the musical elements that work within it and the social and cultural forces that work upon it. What musical elements tend to be foregrounded in "Spoonful," and how do they function? How about a tune like "Blues for Alice"-what elements tend to be foregrounded and how do they function? What are the advantages to calling both "Spoonful" and "Blues for Alice" a blues? Is it possible to identify a prevailing blues aesthetic? How might we describe it? Define it? What do we learn about the blues specifically and about the concept of genre generally as a result of this process?

We might compare and contrast Howlin' Wolf's rendition of "" with 's. We might talk about differences in instrumentation, in the use of space, in guitar technique and tone, in the timbres of the drums, the organization, the energy, and eventually realize we're not even beginning to scratch the surface of the musically important material presented in these two versions of the tune. We might wonder why this type of deep and engaged critical listening isn't what we talk about when we talk about ear training. We might wonder about biases in traditional ear training and about ways to overhaul that component of traditional music theory pedagogy.

The blues lets us engage with issues of appropriation in ways more immediate and more relevant to students than would be possible using Western art music. In light of these two versions of "Spoonful," we might ask our students, who can sing the blues, and why? Who should sing the blues, and why? Who gets to determine this? Again, why? What does it mean that Eric Clapton built his career on the back of black music even as he espoused racist vitriol? Is this something we can reconcile? Something we should? What does it mean to separate the art from the artist? Is it actually possible to do so? By allotting time and space within the classroom for students to wrestle with these issues in a musical context, we prepare them to recognize how these issues can manifest more generally.

Talking about the blues in the music theory classroom provides an organic way to bring big-picture ideas into the conversation. Angela Davis develops a constructive framework for thinking about classism, sexism, and racism in Blues Legacies and Black Feminism as she traces the development of black social protest through the music of the classic blues era and into jazz. Sharing with students the lyrics to " Prove It On Me Blues," " Poor Man's Blues," and " Strange Fruit," encourages them to understand the work of Gertrude 'Ma' Rainey, Bessie Smith, and Billie Holiday as simultaneously musical, social, and cultural. An introduction to this history lets students re-contextualize social protest as it manifests in other, more recent styles of music in the United States, both inside and outside black communities. We can, of course, talk about form, chords, scales, improvisation, and other elements that we tend to find in a music theory classroom when we talk about the blues. Indeed, we must-but we must also push these conversations further.
Concluding Thoughts
As educators, our failure to engage the potential of our classrooms to be sites of antiracist learning and practice is not only a question of social injustice. When we omit, overlook, or unknowingly disregard the work of musicians of color, we commit disciplinary injustice, and do a disservice not only to the students in our classroom, but to our discipline writ large. It isn't enough to study how music is put together-we should also study why it is put together in the way that it is.

It isn't enough to study how music is put together-we should also study why it is put together in the way that it is.

We should ask how our pedagogy supports the development of critical thinking and engaging with difference, and how we might better incorporate this into our coursework. We should ask how social and cultural forces shape what we study in the classroom, how we study it, and how these forces impact our lives. We should ask how our coursework aligns with the goals of higher education, and why we remain complacent when it doesn't.

We are all racialized within this society-conservatory and non-conservatory alike. When we abdicate our responsibility as educators to do this work in these spaces, in spite of significant institutional barriers, we ensure the ascendancy of injustice. The ability to step away is itself a mark of privilege that should be brought to bear on fixing the problem, not perpetuating it. We can all advocate within our spheres of influence to advance the cause of justice. The suggestions offered here are possible starting points for critical reflection about the work we do in the classroom and the reasons we do it. All work must have a beginning-may this be yours.
Suggested Resources
Sara Ahmed's On Being Included: Racism and Diversity in Institutional Life.

Sara Ahmed's "Declarations of Whiteness: The Non-Performativity of Anti-Racism."

James Baldwin's "A Talk to Teachers," The Fire Next Time.

Eduardo Bonilla-Silva's Racism Without Racists.

The Combahee River Collective Statement (see also Keeanga-Yamahtta Taylor's book, How We Get Free).

Kimberlé Crenshaw's "Mapping the Margins: Intersectionality, Identity Politics, and Violence Against Women of Color."

Angela Davis's Blues Legacies and Black Feminism: Gertrude "Ma" Rainey, Bessie Smith, and Billie Holiday.

Robin DiAngelo's White Fragility (original article)

Engaging Students
Philip Ewell's "Music Theory's White Racial Frame."

Paulo Freire's Pedagogy of the Oppressed.

's work on pedagogy, including "Toward a Better Music Theory" and "Teaching Whiteness in Music Class."

bell hooks's Teaching to Transgress: Education as the Practice of Freedom.

Lauren Michelle Jackson's "What's Missing From 'White Fragility'" and everything she links to.

Adrienne Keene's Introduction to Critical Race Theory course page.

Ibram Kendi's Stamped From the Beginning and How to Be an Antiracist.

Gloria Ladson-Billings' contributions to the concept of culturally relevant pedagogy.

Audre Lorde's Sister Outsider.

Ijeoma Oluo's So You Want to Talk About Race?

The Oxford Handbook of Social Justice in Music Education is a valuable starting point for finding important conversations, contributors, and resources for bringing social justice into the classroom.

Beverly Daniel Tatum's Why Are All the Black Kids Sitting Together in the Cafeteria?

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Promoting Equity: Developing an Antiracist Music Theory Classroom - New Music USA

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We present strategies on how to begin disrupting the normalization of whiteness in the music theory classroom, starting with making it visible. We should think of this disruption as a process rather than a product-antiracist describes actions, not states of being.

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Teaching Inequality: Consequences of Traditional Music Theory Pedagogy

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Teaching Inequality: Consequences of Traditional Music Theory Pedagogy

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New Music USA - Supporting the sounds of tomorrow. We envision a thriving, connected, and equitable ecosystem for new music across the United States.

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Teaching Inequality: Consequences of Traditional Music Theory Pedagogy - New Music USA

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Western art music is not a universal language. It does some things well, other things not as well, and many things not at all. What biases do we create in our students when we declare Western art music to be mandatory knowledge for anyone pursuing formal music studies?

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Crip It, Flip It, and Reverse It: Implementing Accommodation and Accessibility in the Music Classroom

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Crip It, Flip It, and Reverse It: Implementing Accommodation and Accessibility in the Music Classroom

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Within higher education the terms "accessibility" and "accommodation" are often presented within a narrow framework that mandates institutional compliance to legal statutes such as the Americans with Disabilities Act of 1990 (ADA), the Americans with Disabilities Act Amendments Act of 2008 (ADAAA), and Section 504 and Section 508 of the Rehabilitation Act of 1973. Coupled with an historically ableist culture that equates accessibility with compliance, it is no wonder that many of the people working in higher education have a limited understanding of what constitutes accessibility and accommodation. While this could be said of most academic fields, it is especially pertinent to music history, a discipline that has historically privileged hearing-centric engagement with sound and has centered the white, middle-class, Euro-American, heteronormative, ablebodied and able-minded, and male experience as normative.

So what can music instructors do to challenge these narratives that mandate adherence to established normativity and create accessible environments for all students? In this blog post, we would like to share some recommendations from the forthcoming book, Disability and Accessibility in the Music Classroom: A Teacher's Guide, by Alexandria Carrico and Katie Grennell,that address practical applications for implementing accessibility measures in the music history classroom. We use the word "crip" in the title of this blog post to acknowledge disability as both a traditionally excluded history and community by bringing it front and center in our efforts and commitment to building an accessible music classroom. Though still viewed as offensive when used in derogatory contexts, many disability activists have reclaimed the term crip as a positive identity, as do we. Perhaps the most notable example of this occurred through the Netflix documentary Crip Camp: A Disability Revolution (2020).

Image sourced from Purcell, "Crip Camp: A Documentary that Celebrates the Disability Revolution," Disability Horizons, https://disabilityhorizons.com/2020/03/crip-camp-a-documentary-that-celebrates-a-disability-revolution/.

We begin by defining and expanding the terms "accessibility" and "accommodation" relative to disability and intersectional identities. We then offer strategies for implementing Universal Design for Learning (UDL) in music history curricula and course design in terms of course overview, learning outcomes, listening examples, and accessibility support and student accommodations. Ultimately, we argue that instructors play a valuable role in expanding accessibility measures for students by engendering inclusion as an essential facet of classroom culture rather than mere adherence to institutional policy.

Accessibility, Accommodation, and Universal Design for Learning

In the context of higher education, accessibility is generally discussed in terms of access to buildings, dorms, resources, and, of course, learning resources and classrooms. While these are invaluable aspects of creating inclusive spaces, they are limited in scope. Therefore, we define accessibility as the ability for all people to equitably engage with spaces, technologies, services, devices, or environments regardless of race, class, disability, gender, or sexuality. It is important to note that many factors can limit one's access to learning resources, spaces, and opportunities. In addition to physical barriers, many students face financial obstacles to educational opportunities and additional burdens of working and caring for a family. These barriers and concerns can be further compounded by experiences of marginalization. UDL is intended to provide a more equitable learning environment for all students by offering a holistic approach to cultivating diverse pedagogical practices that take all of these factors into account.

UDL is a framework that divides learning into three different principles, each corresponding to a different portion of the brain that impacts learning: Engagement (the "why" of learning), representation (the "what" of learning), and action and expression (the "how" of learning). Embedded within each of these categories are checkpoints ("access," "build," and "internalize") that provide additional information and recommendations specific to their corresponding category (see https://udlguidelines.cast.org/).

CAST (2018). Universal Design for Learning Guidelines version 2.2. Retrieved from http://udlguidelines.cast.org.

These guidelines provide instructors with the necessary tools to prepare and design an equitable and accessible learning environment from the very beginning. Rather than retrofitting existing content and materials (assignments, activities, lectures, and readings) to accommodate particular students' needs, UDL ensures that the curriculum is accessible from the onset.

Implementing UDL in the Music Classroom

We approach course design as an opportunity to cultivate an inclusive and accessible learning environment from the very inception of a course. This approach is grounded in UDL, which is designed to be implemented during the beginning phases of course design and planning. In this next section we discuss how instructors can implement UDL in music course design in the following specific areas: syllabus, learning outcomes, listening examples, required readings, and accommodations.
Syllabus
Seeing as the syllabus is one of the first interactions students have with a course, it presents an opportunity to demonstrate that accessibility and inclusion are intrinsic parts of your classroom. The following recommendations are specific to the syllabus. Several of these recommendations are part of the Decolonizing the Syllabus movement (see "Decolonizing the Music Curriculum with Andrew Dell'Antonio at the Big XII Teaching and Learning Conference" https://thinkudl.org/episodes/decolonizing-the-music-curriculum-with-andrew-dellantonio-at-the-big-xii-teaching-and-learning-conference). While this has been mostly framed in relation to ethnicity and race, we acknowledge the intersectional identities of our students by extending it to disability.

Classroom Community Statement: Include a statement in your syllabus that describes the classroom community you are committed to creating and sustaining. The following is an example statement used by Katie Grennell in her classes, and has been included here for instructors to use as they wish.

In this course, each voice in the classroom has something of value to contribute. I affirm that this class is a safe space for individuals with any and all identities. I strive to make all of my classes inclusive celebrations of diversity. Any suggestions you have on how to improve the inclusiveness of this course are encouraged and appreciated. Any concerns you have about anything related to the classroom community, inclusive practices, or anything else, I am always here to listen, reflect, and adapt.

Accessibility Statement: To effectively demonstrate your commitment to an accessible classroom environment, we suggest providing the following pieces of information in your accessibility statement:

1. Contact information for the Student Accessibility Resource Center at your institution.

2. Your promise to uphold an accessible learning environment.

3. An open invitation to students to approach you with any questions or concerns, even if they have not gone through the official accommodations process.

While this topic is explored in greater depth below, the following is a sample statement used by Katie Grennell in her classes, which can be used by instructors as they wish:

I am devoted to creating a learning environment that is inclusive by design. If there are any barriers to your success, involvement, and engagement in this class, please contact me so that together we can explore creative solutions. Individuals with disabilities may also wish to contact the Student Accessibility Services Office ([ insert contact information here]) to discuss accommodations. If you have already been granted accommodations, please contact me so that we can work together to develop a plan that works for you and your learning style.

Avoid Punitive Language: When feasible, avoid describing policies about plagiarism or student conduct punitively. Frame these policies as an opportunity for students to learn and grow by offering options for redoing an assignment or inviting students to come to office hours to look over an assignment before they turn it in. Additionally, you could use a sliding scale approach to grades that tracks progress at various levels (i.e., beginning, emerging, or proficient). Some institutions require instructors to include policies and their specific verbiage, so be sure to check on this prior to finalizing your syllabus.

Communication and Access: Provide multiple ways your students can contact you with flexible times to accommodate their schedules. Consider hosting virtual office hours spread throughout the week, using the communication features of your learning management system (LMS; discussion boards, etc.), Google Hangouts, Slack, and social media. It can also be helpful to be transparent with your students about the frequency you check your email messages, as this can set expectations regarding communication.

Fostering a Sense of Belonging: Empowering your students by validating their identities and unique perspectives through engagement and inclusivity is critical for generating a sense of belonging for Black, indigenous, and people of color (BIPOC) students. Take the time to learn your students' names, their preferred pronouns, and anything else about themselves that they care to communicate as one of their core values. Additionally, a crucial aspect of creating a sense of belonging in the classroom involves fostering a sense of student agency and ownership in the learning process. One way to accomplish this is to acknowledge that each student enters the course with something to contribute based on their own life experiences and perspectives. This helps break down traditional teacher-student hierarchies and creates a learning environment in which everyone is a vital contributor to knowledge production.

Learning Outcomes
Including clear and measurable learning outcomes can guide the trajectory of your class and provide students with the Why, What, and How of learning (the three principles of UDL). Many institutions have their own institutional, departmental, and student learning outcomes that instructors are required to include in their syllabi. Oftentimes, these outcomes are either too broad in scope or are not measurable. If you have space in your syllabus, consider writing your own unique outcomes for your course in addition to those you are required to include. It can also be beneficial for students to know the outcomes for each of their assignments and how they will help them meet the larger learning outcomes for the course. These outcomes can be included in guidelines you write for assignments or can be shared with the class through email or your LMS. Regardless of the context of your outcomes (either for your entire course or for an individual assignment), limit the number of outcomes to three to five at most and avoid vague action verbs like "understand" or "know," as they are not measurable. You can find action verbs associated with the different categories in learning taxonomies by visiting the following links: Fink's Taxonomy of Significant Learning and Bloom's Taxonomy of Learning.
Required Reading
Selecting a diverse body ofrequired reading can reaffirm your commitment to an inclusive and accessible learning environment. Use the following questions and considerations to guide your choices when cultivating your required reading list:

How diverse is the body of literature you are including? Be intentional in selecting authors who identify as disabled, BIPOC, or other historically marginalized groups.

How accessible is the language? Is there too much academic jargon?

Are there digital and audio versions of the readings? This is not only about compliance and ensuring disabled students have access to required course materials, it is also about embracing UDL and keeping in mind that the learning needs and styles of students are unique, whether or not they identify as disabled.

Seek out publishers that provide digital copies of their texts in addition to tangible copies.

Be sure to place your book orders as soon as possible to allow students enough time to seek alternate formats if needed (i.e. Braille, large print, etc). To help make your course materials more affordable for students, see if there are used copies of required texts available for purchase through the bookstore.

Turn to your institution's librarian for help on selecting diverse and accessible readings. Librarians are excellent, if under-utilized, resources on campus and can help you diversify your readings in both authorship and medium.

Is the cost prohibitive?

Request instructor editions of required books and place them in the library for students to access.

Open Educational Resources (OER): OERs are publicly free and accessible educational resources, such as lesson plans and textbooks, organized by discipline. Many libraries and teaching centers provide support, training, and guidance on using OERs. To search for OERs for your class, visit https://www.oercommons.org/.

Listening Examples
As teachers and lovers of music, we want our students to experience all of the gifts music has to offer. But in order to do that, the listening examples we include must be accessible both in medium and diversity. The following suggestions and best practices are specific to the technology most commonly used in music history classes (and those of other disciplines) and also include considerations for how to play and select music in an accessible and inclusive manner.

Select high quality recordings/music samples.MP3 or MP4 files are typically the strongest. All audio files should be downloadable, explicitly and clearly labeled, and compatible across platforms.

Provide sheet music, musical notation, and lyrics(if appropriate) for selected samples. If meeting face-to-face, bring copies and/or have the links projected on the screen for students.

If you include music directly in your slides, provide students with verbal and visual instructions on how to access it.

Allow students to record lectures or class sessions.

Considering the diverse listening habits of people, a UDL framework would incorporate making noise canceling headphones available to those that need or prefer to block out all competing sounds to focus more carefully on the music being played. Find out if your department or any other office on campus has noise canceling headphones that students can borrow, or approach your chair to see if this is something that could be budgeted and then shared with other instructors in your department.

Share music ahead of time. Prior to each class session, provide all music (including transcripts, lyrics, closed captions, etc.) that will be played. Make sure musical examples are downloadable, clearly labeled, and preferably formatted as either MP3 or MP4 files for optimal effect (Francis, Troop, & Accino 2018).

Foster active listening. Consider assigning tasks to students as they listen to the music samples you have selected to promote active listening and increase retention of the material. For example, provide a handout or worksheet for students to complete while listening to the assigned music, asking them to identify the structure of the example, such as a sonata or the 12-bar blues (Lowe 2012, p. 46).

Consider creating an accessible playlist through a commercial vendor: Most institutions subscribe to recorded sound platforms like Naxos Music Library or Classical Music Library, which offers the option of making playlists for students. For any commercially-based playlist you create, including those on YouTube and Spotify, be sure you know and communicate their limitations.

Example of Naxos Music Library playlist, shared with permission from James Deaville.

Accommodations
Accessibility-related needs are typically relegated to an institution's Student Disability Resource Center (SDRC; often referred to as the Accessibility or Accommodations Office) that works with disabled students to provide theaccommodations and resources needed to complete their coursework. If a student needs an accommodation, it is their responsibility to work with their institution's Student Disability Resource Center, obtain proper documentation, and then share that documentation directly with their instructors (though some schools send accommodation letters to instructors on behalf of students). These offices are a necessary and vital component to providing an accessible learning environment (both physical and virtual) for students. But the process of obtaining accommodations is not always straightforward, and for many students, disclosing their impairments can be a traumatic or anxiety-ridden experience that could deter them from doing it at all. This is especially true for students with invisible disabilities who are more likely to be subjected to scrutiny over the extent (and veracity) of their impairments. Each time a student requests accommodations, they re-engage in the process of "coming out" as disabled, which requires them to continuously justify their identity.

Image sourced from "This is What Disabled Looks Like": The Sometimes Hard-to-See Line Between Visible and Invisible Disabilities.

Additionally, there may be costs associated with obtaining medical documentation required by SDRCs in order to gain access to official classroom accommodations. Thus, while SDRCs are very important resources for both students and instructors, their services are often limited to students who choose to disclose (or have the ability to disclose) their disabilities. One way instructors can increase access for their students is to create a classroom culture in which accommodation is built into the course. If we think of accommodations more like setting up a culture of accessibility in the classroom-as opposed to policies-then this changes the understanding of what accommodations means by opening them up to students who do not identify as disabled. In other words, this culture of accessibility can benefit all students, per UDL, not just those who choose to disclose their identity.

Though these practical applications in the classroom may seem like smaller measures, they can contribute to a larger cultural shift in which accessibility and accommodation become an innate aspect of our pedagogy rather than a forced institutional mandate. In all of this we need to remember that disability takes many forms that may or may not be readily evident to us as instructors. Taken as a whole, however, the measures described above can ameliorate the classroom experience for a wide range of students regardless of ability and disability. Most of us entered musicology because of our love for music, and if we can effectively share that passion with as many of our students as possible we will have given them something that transcends the bounds of a course or program of study.

By Alexandria Carrico, Katherine Grennell, and James Deaville

Alexandria Carrico, acarrico@mailbox.sc.edu

Katherine Grennell, katherine.grennell@gmail.com

James Deaville, jdeavill@gmail.com

Additional References and Resources

Arielle, Zipporah. "'This is What Disabled Looks Like': The Sometimes Hard-To-See Line Between Visible and Invisible Disabilities." Medium. Accessed June 9, 2022. https://medium.com/@coffeespoonie/the-sometimes-hard-to-see-line-between-visible-and-invisible-disabilities-this-is-what-disabled-eb6dec41bdf6.

CAST (2018). Universal Design for Learning Guidelines version 2.2. Retrieved from http://udlguidelines.cast.org.

Francis, Kimberly, Meagan Troop, and Michael Accino. "Six Easy Ways to Foster an Accessible and Inclusive Music History Classroom." 2018. American Musicology NOW. Accessed October 18, 2021. https://musicologynow.org/six-easy-ways-to-foster-an-accessible-and-inclusive-music-history-classroom/.

Lowe, Melanie. "Listening in the Classroom." In The Music History Classroom, edited by James A. Davis. London: Routledge, 2012.

Purcell, Emma. "Crip Camp: A Documentary that Celebrates the Disability Revolution." Disability Horizons. March 27, 2020. https://disabilityhorizons.com/2020/03/crip-camp-a-documentary-that-celebrates-a-disability-revolution/.

Think UDL. "Decolonizing the Music Curriculum with Andrew Dell'Antonio at the Big XII Teaching and Learning Conference." Accessed May 6, 2022. https://thinkudl.org/episodes/decolonizing-the-music-curriculum-with-andrew-dellantonio-at-the-big-xii-teaching-and-learning-conference.

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Crip It, Flip It, and Reverse It: Implementing Accommodation and Accessibility in the Music Classroom

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By Alexandria Carrico, Katherine Grennell, and James Deaville

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These undergraduate syllabi are the winners of the SMT's Diversity Course Design award and together serve as a model for other instructors of music theory in implementing an inclusive music theory curriculum.

About the award

Diversity, inclusion, belonging, and social justice are important goals of the Society for Music Theory. These goals cannot simply be proclaimed; we must all work toward them. There is no better starting point than in our undergraduate classrooms. It is for this reason that the SMT introduces the Award for Diversity Course Design.

This annual award will honor an outstanding undergraduate syllabus that promotes diversity in music theory. The award underscores our commitment to these goals in practical ways: the winning entry (as well as any honorable mentions chosen by the committee) will be posted on the SMT website to serve as a model. Over the years, a range of best practices will emerge that can change what we teach and how we teach it.
Learn more about the award, including the application and award process

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These undergraduate syllabi are the winners of the SMT's Diversity Course Design award and together serve as a model for other instructors of music theory in implementing an inclusive music theory curriculum. Diversity, inclusion, belonging, and social justice are important goals of the Society for Music Theory.

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Six Easy Ways to Immediately Address Racial and Gender Diversity in Your Music History Classroom

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Six Easy Ways to Immediately Address Racial and Gender Diversity in Your Music History Classroom

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Many of us have probably had "the talk." No, not the birds and the bees, the talk on how to bring women and people of color into the overwhelmingly white, male world of the art music history survey class that is the bedrock of so many music curriculums in the United States.* During breaks between sessions at conferences, lunches with colleagues, departmental meetings, and over social media, what to do about survey has become a hot topic of conversation at least for the authors of this essay.

Some departments have chosen to revamp their curriculums to displace the primacy of the art music history survey, while others have found ways to undermine a strictly chronological approach that includes spaces for the study of other repertoires, or traditionally underserved areas of study. Many people who teach music history courses, however, do not have the option to completely overhaul the musicology curriculum or even an individual course. Graduate students, contingent, or pre-tenured faculty often have little power to make wholesale changes to courses, and even people with tenure have to build coalitions within their departments to support meaningful curricular alterations which is not always possible. The lack of readily accessible information on (or even research about) women and people of color in art music from the medieval period forward, as well as an already content-heavy curriculum are additional barriers to change. Clearly there are substantial challenges to making even the smallest modification to the syllabus or lectures that are generally within the purview of even the most junior instructors.

But we were surprised to learn that, until recently, there has been very little scholarly secondary literature that considers ways to diversify the western art music curriculum. Many of the sources that we found generally address genre diversity and defend adding new repertoires such as jazz or popular music to music history survey courses. While this approach might lead to the introduction of more people of color and women into the course, it does nothing to introduce these underrepresented communities into the art music survey. Instead, this approach merely confirms the narrative that art music is for white men only. People of color, the assumption remains, create "ethnic music," not western art music, and are outsiders to the world of classical music.

Leontyne Price Sings Mozart (RCA Records, 1969).

Many musicologists of course understand that this is not true, and that there is a long history of people of color in classical music and of women assuming atypical gendered roles in music (conducting, composing, etc.). But how should we present this information in the classroom? How do we overcome the difficulties that stand in the way of diversifying our music history pedagogy? One challenge facing the music history teacher, for example, concerns our archival records: there are gaps in our knowledge about the activities of people of color and women in many areas of music history that make it hard to consistently integrate them into the curriculum. And there is also the question of priorities in making our musical selections: time spent on one topic necessarily means another area must be trimmed. In a course already packed with content, it is daunting to consider adding anything else. Perhaps most vexingly, how can instructors avoid tokenism when making small changes to the curriculum?

Yet there are considerable rewards if we can overcome these challenges. The suggestions we propose are worth employing if they make our students play their part in making our world more beautiful, equitable, and just. Our classes can become places where we can effectively expose classism, racism, and sexism even when issues of identity are not the primary topic of conversation. We can support the students of color and women in our institutions who are looking for role models as they embark on the journey to understand, compose, and perform art music. For art music to grow into a richer, more inclusive space, we must start in our classrooms by showing ourselves, our colleagues, and our students that classical music has never been the preserve of white cisgender men only, and it does not have to continue to be the place of privilege and whiteness that it too often is.

Drawing from our own conversations with colleagues and students, we have devised a list of practices that we have implemented in our courses that immediately address the topic of racial and gender diversity in the classroom. The tips that we provide below are designed to be easy fixes that can be incorporated into any curriculum, to take advantage of widely available resources, and that do not to require a significant disruption or re-conceptualization of the traditional chronological approach to teaching art music.

Our six tips for quickly making music history courses more diverse, equitable, and inclusive are:

1. Be transparent.At the beginning of your class, state the obvious: the canon of western art music is dominated by European male composers. By acknowledging it, you also show your students that you plan to explore moments of the canon's construction. One way to offer transparency is to point out to your students that you will be using the pronoun, "he," frequently in class because systemic conditions favored men as composers and performers of western art music. Women were frequently denied access to musical training and elite cultural networks. Similarly, when teaching about the history of classical music in America, make sure to specify if the people in the audience or the people involved in the production of music were white or Black Americans. In being explicit about this, you make students aware of the ways in which racism functioned in histories of classical music in America. By offering these explanations to students, we make transparent that assumed racial or gender norms were actually historical processes. In making these social and cultural conditions of the past explicit to students, you encourage them to reflect on their own contemporary moment. Many often come to the realization on their own that their presences in the classroom are not serendipitous, either. Social factors determine our current academic makeup. In short: honesty is the best policy. And studies show that openly addressing the topic of race and gender diversity is better for students' development than ignoring these issues or pretending they don't exist.

2. Consider the concept vs. the composer. When considering the course units you plan to teach, figure out if the topic of the day is absolutely about a composer and his musical contributions, or if the theme for that unit is about a concept - sonata form, da capo arias, nineteenth-century art song, ostinato bass, impressionism, etc. If it's the latter, you might be simply using a composer as a vehicle to explain that idea. If the concept is actually the important topic, then consider if a musical work by a woman or a person of color would be an equally good choice as an example. In the past, Kristen used to assign several compositions by Monteverdi to show the development of the Italian repertoire, but now she includes a madrigal by Barbara Strozzi. More focused survey courses, such as classes that cover one period or one country, could provide many opportunities to switch out canonic composers for music from a marginalized community. For instance, in an American music course, you could use one of Florence Price's pieces to explore mid-century nationalism rather than (or in addition to) music by Aaron Copland. The website Music Theory Examples by Women provides scores, music, and recordings by women composers for all the basic musical forms and other fundamental music theory concepts. Anthologies of music by women or people of color are immensely helpful in providing illustrations that you could easily incorporate into your classes.

Chineke! Orchestra Plays Dvorak and Sibelius (Signum Classics, 2017).

3. Play canonical composers - but use a recording featuring a musician of color or a woman musician. You should of course feel free to keep playing clips of canonical composers. But you can empower your students of color and women students by using recordings that showcase minority talent. In addition to being a wonderful singer of Verdi, Leontyne Price loved singing Mozart. Do you plan to play Handel's "Piangero le sorte mia" in class? Consider using Kiri Te Kanawa, a Maori singer from New Zealand. When teaching Schubert's "Death and the Maiden," Kira likes to play African American contralto Marian Anderson's iconic rendition of the lied, which made her a celebrity in 1930s Austria. By showing a clip featuring a musician of color, you can suggest to students that people of many different backgrounds have historically been a part of classical music in spite of the discrimination they faced for performing western art music. Similarly, show women in atypical gender professions in music - women conducting orchestras or women on instruments that we often assume to be "masculine" (cello, percussion, trumpet, etc.). Normalize, in other words, the presence of women and people of color in classical music through your own choice of musical excerpts.

4. Let diverse voices speak.Use primary source readings where performers, composers, or critics address the issue of race and/or gender in classical music (Dvorak, Amy Beach, etc.). How did Clara Schumann understand the changing world of virtuosic piano performance in the mid-nineteenth century? How did composer Nadia Boulanger see her role in shaping young composers' musical visions in the twentieth century? What do contemporary musicians such as Afro-Latina composer Tania León or Pulitzer-prize winner Caroline Shaw say defines their own musical aesthetics today? Another approach to including more diverse voices into your assigned readings is to frame the study of a canonical composer from the point of view of an underrepresented minority. For instance, when discussing Dvorak's call for American composers to create music that incorporated African American and Native American traditions, include documents that reflect the point of view of late nineteenth-century Black critics.

5. Think local. If you teach at a conservatory or large school of music, email your school archivist or librarian and ask questions, such as the following: who were some of the first students of color to attend your institution? Who was the first woman to graduate with a degree in music? What happened to them? Integrate these biographies into a unit on the rise of classical music in America or your geographic area. For those of you teaching in a small or relatively new program or with students who won't be pursuing music professionally, think about highlighting a local musical institution that is trying to diversify its repertoire or showcasing a local composer or performer who is from an underrepresented group. Offer extra credit for attending concerts that include repertoire or performers from marginalized communities. Speaking openly and honestly about your own area's history and the ways that local musicians are (or are not) thinking about diversity will encourage your students to see the larger structures at work that have determined different people's involvement in classical music.

6. Think of the present. Build specific structures into your curriculum that will yearly remind you to include contemporary conversations on diversity in classical music. Follow along with an annual musical competition or award ceremony every year, such as the Pulitzer Prize, the Van Cliburn Competition, the Sphinx Competition for Black and Latinx instrumentalists, or the International Alliance for Women in Music's annual Search for New Music by Women Composers. Who participates in these events and how are they portrayed in the media? For a homework assignment one evening, ask students to find five album covers of different contemporary artists (both women and men, both white and non-white). How are these musicians being marketed? Might there be racial or gendered biases in their marketing?

Each of these suggestions on teaching diversity within the western canon are tried and true methods from our own courses or from colleagues and peers who have shared them with us. They help to cultivate classroom conversations about the long-standing social and historical processes that have created our world of classical music today, and they correct assumptions (even well-meaning ones) that students might have about classical music's composers, performers, and listeners. In our experience teaching at a variety of institutions, students have been warmly receptive to expanding the narratives of music history. Many are excited to learn that art music is not as much the repertoire of privilege as they thought it was, and are surprised to discover that the humanistic issues they feel passionately about are applicable to music courses.

Although the terrain of classical music's past for many marginalized peoples may have been uneven, the promising message that we wish to share is that it is not too late to change things as they are right now. It is not too late to try to create a more rich and inclusive future, one that is empowering to the many, and not just the few.

* We acknowledge that one short blog post cannot do justice to every form of exclusion. Instead we will focus this essay on methods we've used to bring cisgender women and people of color into our own courses on classical music because those are our areas of research. We believe that many of our suggestions can also be re-directed to address disability, class, sexuality, and other forms of marginalization.

Kira Thurman is an assistant professor of History and Germanic Languages and Literatures at the University of Michigan. Her research, which has appeared in the Journal of the American Musicological Society (JAMS), Opera Quarterly, German Studies Review, and the Journal of World History, examines the history of African American classical musicians in Europe. She is currently writing her first book, which is called Singing like Germans: Black Musicians in the Land of Bach, Beethoven, and Brahms.

Kristen M. Turner has taught music history courses at a variety of institutions in the Raleigh, North Carolina area for the last twenty-five years. She is currently a lecturer in the music department at North Carolina State University. Her research centers on issues of race, class, and gender in opera and popular musical theater in the United States at the turn of the twentieth century. Her work has appeared in the Journal of the Society for American Music and the Journal of Musicological Research.

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Six Easy Ways to Immediately Address Racial and Gender Diversity in Your Music History Classroom

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Many of us have probably had "the talk." No, not the birds and the bees, the talk on how to bring women and people of color into the overwhelmingly white, male world of the art music history survey class that is the bedrock of so many music curriculums in the United States.* During breaks between sessions at conferences, lunches with colleagues, departmental meetings, and over social media, what to do about survey has become a hot topic of conversation at least for the authors of this essay.

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Music Theory Examples by BIPOC Composers

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Music Theory Examples by BIPOC Composers

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Music Theory Examples by BI-POC composers

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music theory examples diversity women composers black composers composers of color indigenous BIPOC

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Explore the Database - Music By Women - Music Theory

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Music By Women envisions a musical culture where all musicians, regardless of gender identity, feel represented, valued, and empowered.

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[STUDENT'S COPY] Boulogne - Op. 1 no. 1 mvt. 5

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Madrid, Diversity, Tokenism, Non-Canonical Musics, and the Crisis of the Humanities in U.S. Academia

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04-I Don_t Give a Damn About Your Bad Reputation_ Taylor Swift_ Beyonce_ Knowles_ and Performance

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02-Love and Business_ Taylor Swift as Celebrity_ Businesswoman_ and Advocate

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01-Who Needs to Calm Down_ Taylor Swift and Rainbow Capitalism

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00-Taylor Swift and the Work of Songwriting

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#MU1000 #PopularMusic #HistoricalandContextualThinking #CreativeExpression