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Culturally Responsive Teaching in Music Education From Understanding to Application By: Vicki R. Lind and Constance L. McKoy 8 SCECH hours
. Read the book and answer the questions. Completion of Questions must be completed by the due date-books/questions not completed by this date cannot be carried over to another time period. All SCECH information will be submitted after the due date.
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Email address
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Your Name-Your School District-Your Pic Number for SCECHS
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Today's Date
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Preface and Intro: The purpose of this book: (fill in) Culturally responsive pedagogy involves________(fill in)
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One of the reasons that designing instruction that incorporates a variety of strategies and approaches_____ (fill in)
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Numerous researchers have acknowledged that today’s teachers____(fill in)
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Name a few facets of of human diversity.
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List and describe Hidalgo’s 3 levels of culture.
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When you encounter a culture, which level do you use in understanding that culture?
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School music in the US predominantly focused on the _________traditions.
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Some exceptions existed, notably the inclusion of _________ serving African American students and by the 1950’s ____________. (2 fill ins)
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What music historical/societal events/conferences might account for the changes that occurred in music education.
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Gay says, “Culturally responsive teaching is demonstrated through the many facets of the learning enterprise it encompasses and influences.” These areas are (list the 7 areas)
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How can culturally responsive teaching validate diverse students’ lived experiences?
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Spindler and Spindler say, “Both preservice and in-service teachers often harbor subconscious beliefs, attitudes, and misperceptions-based on (fill in)______about students from cultural background that differ from their own.
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Kelly looked specifically at music teaching and had similar findings that many preservice and in-service music teachers wanted __________________(fill in)
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Developing a true understanding of diverse cultures is hard work. Teachers must be willing to __________(fill in)
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Discuss briefly the inequalities in history for African American, Native American and Latino students.
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What are some ways that teachers can develop and incorporate culturally responsive teaching strategies?
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How were your ideas about teaching formed
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As found on page 41, discuss the differences in performance on classification tasks observed across cultures.
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What are some benefits to developing strong aural skills before attempting to read standard music notation?
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According to Lamont, musical identity in children emerges around ___ and is based on specific activities within music, as well as the __________________. (2 Fill ins)
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How does music contribute to your sense of individual identify? How would you describe your musical identity?
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How might you use some of the information regarding music preferences to enhance learners’ music experiences in your instructional environment?
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Who has been an influential person in your life and how did he or she shape your teaching?
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An adaption of Urie Bronfenbrenner, and drawing upon the construct of culturally responsive teaching, it is proposed that learning is impacted by ________________.
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________ and _______ are members of the system closet to the learner and are identified as highly influential in child development.
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There are a multitude of factors influencing racial/ethnic mintority student’s enrollment in music. These include 4 factors:______________.
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Teachers who demonstrate culturally responsive caring are concerned about the whole child. Describe or list some ways teachers can demonstrate caring.
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To truly promote a democratic classroom, teachers must________(Fill in)
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How does our political system influence music education directly and indirectly?(
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What are strategies you can employ to develop a supportive and culturally responsive classroom environment?
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Describe one “Getting To Know You” strategy that is new to you that you will try with your classes.
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In the vignette on page 88, reflect on Ms. Johnson’s actions on her “student centered” approach to teaching.
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List a new strategy for creating an instructional environment that welcomes and values diversity.
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How did Mr. Chester and Ms. Martin, in the vignette, bridge the cultural gap between school and home?
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Describe a strategy on page 98 that you will be new for you to try in your classroom.
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Think about a teacher or mentor that inspired you. How did he or she get to know you? What traits did you value in that person and why?
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School culture is influenced by____________.
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List some ways that describe a toxic or negative school culture
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What is your opinion from the vignette about Ms. McDonald regarding ways to honor students’ ideas and connecting with them in meaningful ways in regards to changing the alma mater.
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List one strategy from the list that you will try to help foster a positive change in your school culture.
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Think about the school you attended or in which you currently teach. How would you describe the school culture? What indicators contribute to your impression?
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Community engagement can include education initiatives, community and service learning projects, partnerships that involve community organizations. How can your music program participate in the community?
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What is your opinion on the use of Sacred music in schools after reading the information provided by Tim Drummond?
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There are 3 vignettes in Chapter 7. Which vignette resonates best with you and your program?
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What skills and expertise do your community members possess that would be helpful in your school music program?
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Culturally responsive teaching in music points to ____________. (Fill in)
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A culturally responsive approach to music education means______.
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List 3 or more concerns and need for change in music education.
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What are your thoughts on entrance to college/university music schools and teacher preparation programs after reading: “Disrupting the self-perpetuating cycle.”
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What is the most important information you learned and will implement?
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