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Through a randomised controlled experimental design, the purpose of this study was to determine whether the gender of a music teacher educator influenced student perceptions of professional and interpersonal teaching skills. Participants (N = 146) completed a student evaluation questionnaire after viewing five-minute teaching videos of a professor leading a lecture and mentoring a student teacher. The teaching videos were scripted and directed by the researchers. The female professor in this experiment scored significantly higher than the male professor on interpersonal measures (p < 0.001), however there was no significant difference between the male and female professor on professional quantitative measures. The male professor received a greater proportion of positive comments in the open response section of the questionnaire (p < 0.05) and significantly more positive comments related to professional traits (p < 0.05) than the female professor. These results suggest students may perceive professional and interpersonal teaching qualities differently in male and female music teacher educators.

Previous scholarship has provided a broad overview of demographic trends in secondary school music enrolment across the United States. However, there exists a gap in the literature in how students with disabilities are represented in school music, and the demographics of students enrolled in experiences outside of band, orchestra, and choir. Therefore, the purpose of this study was to examine demographic trends in music courses across New York, which has implemented a variety of course offerings that exist outside of band, orchestra, and choir. Using data obtained from the State Department of Education's Student Information Repository System (SIRS), this article provides a profile of school music in the state. Results demonstrate how students with disabilities are underrepresented in school music programmes and differences in participation by race, gender, socioeconomic status, and native language across a variety of traditional and non-traditional school music experiences. Specific music experiences, such as Guitar and Piano, help to balance the demographic profile of school music programmes with disproportionately White and more affluent large ensemble courses.

The purpose of this study was to examine the attitudes, values, and beliefs of New York music teachers towards the inclusion of popular music in the classroom. This research was guided by the following questions: (1) To what extent are K-12 teachers interested in teaching a variety of popular music instruments and styles?; (2) What attitudes and beliefs do music teachers express about popular music education?; (3) What popular music approaches are used most frequently by music teachers?; and (4) What are the opportunities or barriers associated with popular music classes and ensembles in school settings? Survey respondents (N = 120), all of whom were members of the New York State School Music Association in the United States, showed strong support for the inclusion of popular music education in school programmes, with approximately 75 per cent of respondents agreeing or strongly agreeing that popular music instruments and repertoire should be included in K-12 schools.

The National Coalition for Core Arts Standards released standards for music education in 2014. These standards are guided by artistic processes and measured by performance standards specific to content areas and grade levels. As school districts in the United States adopt the Core Arts Standards for their music programs, it is imperative that modern band teachers demonstrate how their curriculum aligns with this new framework. Modern band is one approach to popular music education that is particularly well suited to address this new framework; the emphases of songwriting, improvising, critical listening, and group work in a learner-centered modern band class/ensemble are associated with a wide variety of standards. This article explores connections between popular music pedagogies and each of the processes in the Core Arts Standards and examines which standards may be most appropriate for modern band contexts.

Recognizing that music teachers may struggle to implement songwriting activities in a classroom, and that iconic notation provides an opportunity to increase access to school music for all students, the purpose of this article is to share one model of songwriting activities in a music technology class using chord diagrams, beat grids, and keyboard charts. The article outlines specific steps to the creation of drum grooves, simple chord progressions, bass lines, and melodies, using forms of notation that are appropriate for popular music instruments and styles.

The purpose of this research was to explore how five White preservice teachers described working with predominantly Black student populations in city school music classrooms. Participants with prior K-12 school music experience in primarily White public and private school settings were assigned to student teaching placements in a city school district in the United States. Using critical race theory as a framework, this study focused on three research questions: (1) How do participants' life experiences influence the way they think about teaching racialised student populations? (2) How do participants' student teaching experiences with racialized populations shape their views of music education? and (3) How do participants' student teaching experiences influence their desire to teach in city schools? Findings suggest the participants had a limited understanding of White privilege and did not recognise racial inequalities in American public-school education. And while participants felt better prepared to teach in a city school classroom with a predominantly Black student population, none expressed a strong desire to work in these settings after completing their student teaching experience.

The purpose of this case study was to examine the perspectives of three Black instrumental music students related to their experiences attending a predominantly white summer music camp for high school students in the United States. Analysed through a conceptual model of culturally responsive teaching in music, data sources included semi-structured interviews with individual participants, a focus group session with all participants, and researcher field notes. Participant stories revealed contrasting home and summer camp environments, racial identity development, and a desire for broader experiences beyond the European classical tradition. Findings explore a variety of barriers and supports for music learning for underserved student populations that may be transferable to similar high school music camp settings.

Students often enter secondary schools with increased autonomy over course selection and how they meet graduation requirements. Those who once participated in school music may discontinue music studies for a variety of reasons. Music teachers should be mindful of factors that may affect a student's ability or desire to participate in school music. This article discusses these factors and suggests practices to increase access to music education for all students. By examining practices and considering ways they can be altered or expanded to provide more options and be more inclusive, music educators may be able to provide more opportunities for all students.

Decades of federal economic policies that have concentrated poverty into isolated communities have devastated urban education, and expose youth and families to high stress and trauma. Disproportionately negative outcomes for students of color and those who are economically disadvantaged can be understood as manifestations of negative racial school climate and inadequate responsiveness to students' trauma. As part of a school-university partnership to inform culturally responsive trauma-informed pedagogy, this study assessed the climate of a racially diverse high-poverty elementary school. Findings explored the application of the trauma-informed Sanctuary Model to address students' trauma and a social justice response for urban education.

Recent advances in music technology include practical tools for sound recording and production in school music classrooms. Secondary school music production classes allow students to make meaningful connections between school music and the music in their own lives. We offer several projects for teaching music production and sound recording; provide examples of authentic, performance-based assessments; and identify opportunities for collaboration through digital means. These projects are particularly well aligned with the United States' Core Arts Standards related to creating music and may widen the door for students who are less interested--or less able to participate--in traditional bands, orchestras, and choirs or music appreciation electives.

While observing exemplary in-service teachers is important, researchers suggest there may be benefits to observing peers as well. Much of the peer observation literature is focused on the process of peers observing peers in the same institution. The authors of this study brought together undergraduate music education peers from two separate institutions to observe and discuss music teaching and learning via videoconferencing software. Using qualitative analysis techniques, we identified three emergent themes: (a) technology as a tool for diverse experiences, (b) self-reflection and questioning assumptions, and (c) evolving issues of identity. Participants believed the experience was uniquely valuable when compared with traditional observations of peers within their own institutions. While all participants reported growth in self-awareness and ability to question assumptions, those who were observed developed stronger teacher identities and those who were observing learned vicariously through peers they wished to emulate.

Approaches to teaching music notation and instrumental technique have been standardized and codified in the United States with great success in beginning instrumental programs. While these skills are important, we do a disservice to students if we do not equally develop comprehensive musicianship and creative thinking at a young age. Creating music is one of the four "Artistic Processes" that guide our instruction in the new National Core Arts Standards framework. It is also a process that many instrumental music teachers struggle to implement, especially in early stages of instruction when note-reading and technique seem to be the highest priority. Drawing on examples from an elementary school band program that shifted away from music notation in the rehearsal room and group lesson space, I examine how instrumental music teachers can move students beyond the music stand into a deeper and more creative understanding of the elements of music.

This article examines ways in which music education advocacy efforts have become disconnected from the unified visions and declarations of music educators espoused in the Tanglewood and Housewright declarations and are thus reifying the disconnect between what we value and what we say we value. We first analyze the policies posited by the recently formed Music Education Policy Roundtable and consider several counterarguments. Second, we suggest new directions in music education advocacy by discussing ways to make our programs more culturally relevant and valuable to our schools and communities. Finally, we conclude with a call for our professional organization to take a leadership role in situating the arts as an important element of American public school education by reigniting national aims discussions that lead to liberal and humanistic education policies.

Urban schools, and the students and teachers within, are often characterized by a metanarrative of deficit and crisis, causing the complex realities of urban education to remain unclear behind a wall of assumptions and stereotypes. Within music education, urban schools have received limited but increasing attention from researchers. However, voices from practitioners are often missing from this dialogue, and the extant scholarly dialogue has had a very limited effect on music teacher education. In this article, five music educators with a combined thirty years of experience in urban schools examine aspects of their experiences in the light of critical pedagogy in an attempt to disrupt the metanarrative of deficit, crisis, and decline that continues to surround urban music education. By promoting the lived-stories of successful urban music students, teachers, and programs, the authors hope to situate urban music education as a site of renewal, reform, and meaningful learning. This paper emerged from a panel discussion regarding promising practices in secondary general music with urban youth that took place at the New Directions in Music Education conference held at Michigan State University in October of 2011. [ABSTRACT FROM AUTHOR]