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Disability and Accessibility in the Music Classroom
Disability and Accessibility in the Music Classroom provides college music history instructors with a concise guide on how to create an accessible and inclusive classroom environment. In addition to providing a concise overview of disability studies, highlighting definitions, theories, and national and international policies related to disability, this book offers practical applications for implementing accessibility measures in the music history classroom. The latter half of this text provides case studies of well-known disabled composers and musicians from the Western Art Music canon from the Middle Ages to the Twentieth Century as well as popular music genres, such as the blues, jazz, R&B, pop, country, and hip hop. These examples provide opportunities to integrate discussions of disability into a standard music history curriculum.
At the Crossroads of Music and Social Justice
Music is powerful and transformational, but can it spur actual social change? A strong collection of essays, At the Crossroads of Music and Social Justice studies the meaning of music within a community to investigate the intersections of sound and race, ethnicity, religion, gender, sexual orientation, and differing abilities. Ethnographic work from a range of theoretical frameworks uncovers and analyzes the successes and limitations of music's efficacies in resolving conflicts, easing tensions, reconciling groups, promoting unity, and healing communities. This volume is rooted in the Crossroads Section for Difference and Representation of the Society for Ethnomusicology, whose mandate is to address issues of diversity, difference, and underrepresentation in the society and its members' professional spheres. Activist scholars who contribute to this volume illuminate possible pathways and directions to support musical diversity and representation. At the Crossroads of Music and Social Justice is an excellent resource for readers interested in real-world examples of how folklore, ethnomusicology, and activism can, together, create a more just and inclusive world.
Speaking for Ourselves
The musical talents and affinities of autistic people are widely recognized, but few have thought to ask autistic people themselves about how they make and experience music, and why it matters them that they do. Speaking for Ourselves does just that, bringing autistic voices to the center of the conversation.
Teaching Music History with Cases
Teaching Music History with Cases introduces a pedagogical approach to music history instruction in university coursework. What constitutes a music-historical "case?" How do we use them in the classroom? In business and the hard sciences, cases are problems that need solutions. In a field like music history, a case is not always a problem, but often an exploration of a context or concept that inspires deep inquiry. Such cases are narratives of rich, complex moments in music history that inspire questions of similar or related moments. This book guides instructors through the process of designing a curriculum based on case studies, finding and writing case studies, and guiding class discussions of cases.
Navigating Stylistic Boundaries in the Music History Classroom
At a time of transformation in the music history classroom and amid increasing calls to teach a global music history, Navigating Stylistic Boundaries in the Music History Classroom adds nuance to the teaching of varied musical traditions by examining the places where they intersect and the issues of musical exchange and appropriation that these intersections raise. Troubling traditional boundaries of genre and style, this collection of essays helps instructors to denaturalize the framework of Western art music and invite students to engage with other traditions—vernacular, popular, and non-Western—on their own terms. The book draws together contributions by a wide range of active scholar...
Music and Autism
Since the advent of autism as a diagnosed condition in the 1940s, the importance of music in the lives of autistic people has been widely observed and studied. Articles on musical savants, extraordinary feats of musical memory, unusually high rates of absolute or "perfect" pitch, and the effectiveness of music-based therapies abound in the autism literature. Meanwhile, music scholars and historians have posited autism-centered explanatory models to account for the unique musical artistry of everyone from Béla Bartók and Glenn Gould to "Blind Tom" Wiggins. Given the great deal of attention paid to music and autism, it is surprising to discover that autistic people have rarely been asked to ...
