college & university
In everything I do now in my teaching I try to ask myself, “why have I chosen this piece of music, this singing game, this as- signment? What will it tell me about my students, who they are, where they are in the world, and what is meaningful to them?” Even music that I choose because it has sustained itself over centuries can be embedded with issues of discrimination that I have never realized because I was not the victim of the microaggression that it contained. I have begun a list of songs I will no longer teach because I have been shown the injustice of sustaining them into a new generation. I have so many songs to choose from I can certainly find ones to replace them and in so doing celebrate and honor new cultural connections.
I grew up with the phrase “you can’t teach an old dog new tricks,” but I hope in this time of turmoil and changing democracy that we can all take the power of music to heart as a tool that touches the minds and souls of ourselves, our students, our fami- lies and everyone in our communities. The thing that we love the most is the glue that can bind us together. Celebrate the beauty of music from our children, https://www.
youtube.com/watch?v=8wdnOGFfb2M.6
Notes:
1. An article by Ann Small used headers like “New Wave” and “Classroom Context” to place critical thinking in music.
2. This broadcast captures both well known artists and everyday young people using music to come to grips with their frustrations. https://www.
youtube.com/watch?v=yt-4I4SQVFk
3. National Public Radio put together a timeline of protest songs from 2020 which paint a difficult audio picture.
https://www.npr.org/898709145/we- insist-a-timeline-of-protest-music- in-2020
4. The next steps from culturally relevant processes by Django Paris, (2012). “Culturally Sustaining Pedagogy: A Needed Change in Stance, Terminology and Practice.” Educational Researcher, 41, 93–97. DOI: 10.3102/0013189X12441244
Wisconsin School Musician 19
www.makemusicday.org/wi
5. Benedict, C., Schmidt, P., Spruce, G., & Woodward, P. (2018). Preface: Why Social Justice and Music Education? In C. Benedict, P. Schmidt, G Spruce & P Woodward (Eds.), The Oxford Handbook of Social Justice in Music Education. Oxford University Press.
6. “Love Is The Only River – A song for Peace & Unity” performed by Team 1rhr (One Race, Human Race), written by Ian Sloane and Trinity Rose (16-year-old songwriter).
Sheila Feay-Shaw is associate professor of music education at UW-Milwaukee. Email:
feayshaw@uwm.edu
Monday, June 21
celebrating music, all over Wisconsin
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