To avoid cultural appropriation, music educators need to take the time to explore the source culture and approach the traditions of others in a respectful manner so the people and musics studied are neither demeaned nor exploited. Students can be part of this exploration and share what they learn from their research with the class.

A priority of music educators across the globe continues to be the incorporation of music from various cultures into the classroom. In this article, the term "authenticity" is introduced as it applies to music education. Authentic music teaching experiences for use in the classroom from the West African Ewe music, Cuban cha-cha-chá, and…

The ongoing work by educators responding to calls for equity, diversity, and inclusion in music education shows the breadth of difficult work that has been accomplished as well as the challenging work that lies ahead. Our work explores efforts to rethink music education--for all--from the ground up, which requires disrupting many of the norms…

Although it is not their intent, conventional curricula may place some students at a disadvantage in school music classrooms. This article offers a practical planning strategy that music educators can use to confront and resist some of these curricular tendencies in subtle yet important ways. By reimagining long-standing norms related to content,…

Multicultural choral music has distinct characteristics in that indigenous folk elements are frequently incorporated into a Western European tonal system. Because of this, multicultural choral music is often taught using Western styles (e.g., "bel canto") rather than through traditional singing techniques from their cultures of origin.…

The Connecting Parents with Learning Project (CPLP) is an attempt to involve parents in learning standards-based content along with their children. The CPLP can be especially effective in connecting with parents of different cultures because the children teach the parents. Furthermore, it removes the mystery of what the students are studying by…

In this article, an ethnocentric view of the improvisatory music of Korea is presented in terms of what Korean musicians think of improvisation as opposed to fixed composition and how improvisation operates as a performance practice. Musical scores and selected recordings are listed. (Author/KC)

African musical traditions are as diverse as its cultures, and the author learned that music education was compounded by that diversity. (RK)

Contends that music educators have not identified how the multicultural education movement will affect the music curriculum. Argues that two positions can be identified: (1) cultural pluralism; and (2) cultural particularism. Discusses the strengths and weaknesses of each position and provides examples of how each might be exemplified through…

Asserts that music teachers increasingly are interested in music that originates outside the Western European tradition. Presents an interview with David P. McAllester on world music, the musical culture of the Navajo people, and how it should be taught in music classrooms. (CFR)

Maintains that effectively presenting another culture in the classroom is one of the most fundamental problems facing teachers using a multicultural curriculum. Discusses the role of music and the arts in Native American culture. Provides suggestions for presenting traditional Native American music in Western classrooms. (CFR)

Compares music education programs in England and the United States. Outlines differences in curriculum development, preservice and inservice teacher education, and the impact of the English National Curriculum. Discusses implication for U.S. music education. (CFR)