Popular music is valuable in music teacher education because it can allow the considering of divergent and unique perspectives. However, viewing popular music making as a static process can constrain its values. Drawing on the work of Roland Barthes (1977), the purpose of this philosophical inquiry is to examine the limitations of current ways of…

The purpose of this follow-up study was to explore classroom management sources and content in music teacher preparation programs. K-12 music educators who self-identified as members of various professional music education organizations were the participants in this study. Similar to the initial iteration of the survey with elementary general…

This essay concerns the educational legacy of Professor Lenore (Lee) Pogonowski, who passed away in early 2022 after a long career of teaching music education at Teachers College Columbia University. In this manuscript, I discuss the instructional design model that Lee Pogonowski called the "creative music strategy." Her greatest…

Parents serve in many roles, one of which is a mentor. At an early age, I accompanied my father to school and helped sort paperwork, observed choir rehearsals, attended concerts, and watched him mentor undergraduate and graduate students. Unbeknownst to me, I entered into an apprenticeship in the music education community. The present text…

In a prior investigation I focused on the cooperating teacher's perspective during mentoring dialogues, reflecting on their role as a mentor (Munroe, 2021). Other researchers have focused on what the student teacher learns from the conversation, but not specifically on teacher identity development (Fernandez & Erbilgin, 2009; Tsui et al.,…

This article explores gender dynamics in popular music education, focusing on the perspectives of modern band teachers across the United States. Drawing from existing literature and a survey of 390 modern band educators, the study examines the extent to which modern band teachers perceive their own gender identities influence student participation…

Frank Abrahams's career in music education has been marked by a theme of advocacy for others. This article examines three areas of advocacy apparent in his work and publications: advocacy for students; advocacy for teachers; and advocacy for people historically marginalized in American society. Through books, articles, research, book chapters,…

Music education scholarship has long called for a more critical, socially just approach to teacher preparation. These include curricular opportunities to work with students from diverse contexts in practicum settings, social-justice-oriented readings and professional development, and guided reflection opportunities. However, scholars also note…

The marketization (Marchand & Orsorno Velázquez, 2016) of higher education impacts faculty through hiring practices, workload structures, and reappointment and promotion policies. Women faculty in fields such as music education need to negotiate masculine discourses and gendered constructions of innovation (Alsos et al., 2013) in a STEM…

The purpose of this study was to explore self-compassion among K-12 music educators. Our sample consisted of 139 practicing K-12 music educators across the United States. Participants completed a modified version of the Self-Compassion Scale Long Form (Neff et al., 2021), which measured both positive (self-kindness, common humanity, mindfulness)…

Countless scholars have utilized Critical Pedagogy as a philosophical frame to reorient teaching and learning as, among other things, a conversation between teacher and student. As an educator and theorist, Frank Abrahams has championed a Critical Pedagogy for Music Education that aims for the "acquisition of a critical consciousness, the…

As public high school teachers, we have independently come to the realization that we are both searching for ways that our music rooms can be spaces where everyone has a chance to sound (speak, sing, play an instrument), and students and teachers have the opportunity to hear others in the room. At the center of this realization stands the…

Lee Pogonowski's legacy lives on through the work of her students. I have found my own expression of this legacy through the EcoSonic Playground Project (ESPP), a community engaged music education program that I created at University of Massachusetts Lowell. This paper discusses how Lee's work infuses the ESPP's curriculum and program design and…

The Creative Arts Laboratory (CAL) was the embodiment of Lee Pogonowski's teaching philosophy and an outgrowth of her work with the Manhattanville Music Curriculum Project (MMCP). Through frequent workshops and weekly in-class mentoring by CAL Teaching Artists, CAL facilitated teachers' capacities to help students make connections across subject…

This study addresses how high school band directors operationalize their values for music education in their band programs. High school band directors described that their values developed from a variety of influences, namely their educator identity, and the experience of their own participation in high school and collegiate music. I employed a…