The language of diversity, equity and inclusion has come to occupy a central place in contem- porary discourse in music education. Earlier book and media review columns included social justice, bullying and music education, and ru- ral music education, topics that are rooted in the urgent need to address social and cultural diver- sity in the classroom and move toward the cre- ation of more democratic learning spaces. In the present column, Abby Butler and Karen Salva- dor contribute to the conversation on diversity, equity and inclusion with reviews of two im- portant books: Kate Fitzpatrick-Harnish’s book, Urban Music Education: A Practical Guide for Teachers (2015), and Vicki Lind and Constance McKoy’s book, Culturally Responsive Teach- ing in Music Education: From Understanding to Application (2016). One of the compelling features of both books is their relevance to the professional practice of music educators across all educational levels, from prekindergarten to college. The authors build strong conceptual frameworks while also providing teachers with abundant ideas and strategies for transforming classroom practice. -Marie McCarthy


Fitzpatrick-Harnish, K. (2015). Urban music education: A practical guide for teachers. New York: Oxford University Press. $19.95 (paperback), 136 pages. ISBN-13 978-0199778577.


Reviewed by Abby Butler, Associate Professor of Music, Wayne State University


When I got to Northland, I saw immedi- ately that the population of my new school differed greatly from my own experiences. I was White and from a predominantly White,


suburban, upper-middle-class


background. The 1,058 students at North- land at that time were predominantly Black (72.9%), and the proportion of the student body that was designated as being “eco- nomically disadvantaged” was over 71% (Ohio Department of Education, 2005). Only two of my students took private les- sons, and most of them required the use of a school-owned instrument. When I asked about our music program budget, I was told that we didn’t have one, and that every penny we hoped to spend on music, instru-


33


ments, repairs, and supplies needed to be fundraised. The only thing that I knew for sure was that I had a lot of learning to do. (Fitzpatrick-Harnish, 2015, p. xiv).


Kate Fitzpatrick-Harnish’s book, Urban Music Education: A Practical Guide for Teachers, lives up to its title and then some. This thoughtfully crafted publication offers down to earth advice for teachers working in urban settings, as well as those teaching in districts where student pop- ulations are diverse and resources are stretched thin. If this describes the context in which you teach, pick up a copy and read it. You’ll be glad you did. In her book, Fitzpatrick-Harnish shares both knowledge and experiences gleaned from sixteen years as a music teacher, teacher edu- cator and researcher committed to urban music education. Specifically, she identifies disposi- tional characteristics of exemplary urban music teachers, describes the content and process of culturally relevant pedagogy within this setting, and shares valuable strategies for redefining and achieving success in urban schools. Of particu- lar value is her explanation of the opportunity gap between urban students and their peers in other schools and how it sets the stage for subse- quent educational and economic disparities that play out in our educational systems. Throughout the 136 pages, Fitzpatrick-Harnish’s prose com- municates with a clarity and consistency readers will appreciate. While grounded in theory, the book is written with the teaching practitioner firmly in mind.


Teaching Context: Urban, Suburban, Rural


A word about the label “urban” is necessary in order to understand the potential usefulness of this book. Fitzpatrick-Harnish uses the term “urban” to refer to school location with the un- derstanding that it may also encompass the so- ciocultural characteristics of the students and surrounding community. However, she repeat- edly points out that sociocultural characteris- tics can vary widely among urban schools and points out the dangers of associating stereotypes with the “urban” label. While she does not aban- don the term, it is after all the title of her book, she qualifies its use as


… helpful only as it helps music teachers identify, share resources, and form com- munity with others who teach and learn in educational contexts similar to ours. Be-


Books & Media


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