<?xml version="1.0"?>
<rss version="2.0">
   <channel>
      <title>Discussion by Michael Fleischmann</title>
      <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd</link>
      <description>Guiding Question: For my students, what might representation look like based on the repertoire we choose to study?</description>
      <language>en-us</language>
      <pubDate>2021-07-12 16:08:47 UTC</pubDate>
      <lastBuildDate>2022-02-24 16:51:24 UTC</lastBuildDate>
      <webMaster>hello@padlet.com</webMaster>
      <image>
         <url></url>
      </image>
      <item>
         <title>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)</title>
         <author>Fleischmann</author>
         <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051775612</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-02-16 20:02:35 UTC</pubDate>
         <guid>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051775612</guid>
      </item>
      <item>
         <title>2. ...teachers who are culturally responsive have a deep knowledge of their students. (Dissinger, 2019; p. 11)</title>
         <author>Fleischmann</author>
         <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051775884</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-02-16 20:02:45 UTC</pubDate>
         <guid>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051775884</guid>
      </item>
      <item>
         <title>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)</title>
         <author>Fleischmann</author>
         <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051776123</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-02-16 20:02:53 UTC</pubDate>
         <guid>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051776123</guid>
      </item>
      <item>
         <title>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)</title>
         <author>Fleischmann</author>
         <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051776397</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-02-16 20:03:03 UTC</pubDate>
         <guid>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051776397</guid>
      </item>
      <item>
         <title>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)</title>
         <author>Fleischmann</author>
         <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051776656</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-02-16 20:03:11 UTC</pubDate>
         <guid>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051776656</guid>
      </item>
      <item>
         <title>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)</title>
         <author>Fleischmann</author>
         <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051776853</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-02-16 20:03:18 UTC</pubDate>
         <guid>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051776853</guid>
      </item>
      <item>
         <title>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)</title>
         <author>Fleischmann</author>
         <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051777081</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-02-16 20:03:27 UTC</pubDate>
         <guid>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051777081</guid>
      </item>
      <item>
         <title>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)</title>
         <author>Fleischmann</author>
         <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051777321</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-02-16 20:03:36 UTC</pubDate>
         <guid>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051777321</guid>
      </item>
      <item>
         <title>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)</title>
         <author>Fleischmann</author>
         <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051777554</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-02-16 20:03:45 UTC</pubDate>
         <guid>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051777554</guid>
      </item>
      <item>
         <title>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)</title>
         <author>Fleischmann</author>
         <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051777762</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-02-16 20:03:53 UTC</pubDate>
         <guid>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051777762</guid>
      </item>
      <item>
         <title>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)</title>
         <author>Fleischmann</author>
         <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051778047</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-02-16 20:04:04 UTC</pubDate>
         <guid>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051778047</guid>
      </item>
      <item>
         <title>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)</title>
         <author>Fleischmann</author>
         <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051778359</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-02-16 20:04:15 UTC</pubDate>
         <guid>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051778359</guid>
      </item>
      <item>
         <title>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)</title>
         <author>Fleischmann</author>
         <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051778607</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-02-16 20:04:25 UTC</pubDate>
         <guid>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051778607</guid>
      </item>
      <item>
         <title>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)</title>
         <author>Fleischmann</author>
         <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051778868</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-02-16 20:04:34 UTC</pubDate>
         <guid>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051778868</guid>
      </item>
      <item>
         <title>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.</title>
         <author>Fleischmann</author>
         <link>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051780736</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://img.freepik.com/free-vector/thumbs-up-like-icon-thumb-down-dislike-icons-white-neumorphism-buttons-social-notification-icons_248162-1363.jpg?w=826" />
         <pubDate>2022-02-16 20:05:20 UTC</pubDate>
         <guid>https://padlet.com/Fleischmann/mcv9bustl96gaabd/wish/2051780736</guid>
      </item>
   </channel>
</rss>
