Journal•ISSN: 1048-3713
General Music Today
SAGE Publishing
About: General Music Today is an academic journal published by SAGE Publishing. The journal publishes majorly in the area(s): Music education & Singing. It has an ISSN identifier of 1048-3713. Over the lifetime, 596 publications have been published receiving 3564 citations. The journal is also known as: JGME.
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TL;DR: In this article, the authors recognize that there is more than one way to teach a musical objective and understand that a specific approach may be more appropriate than another in a given setting.
Abstract: Effective music educators often recognize that there is more than one way to teach a musical objective and understand that a specific approach may be more appropriate than another in a given settin...
282 citations
TL;DR: The Every Student Succeeds Act (ESSA) as discussed by the authors (P.L. 114-95) is the first federal law that requires reporting from schools about the capabilities of their students.
Abstract: On December 10, 2015, President Obama signed the Every Student Succeeds Act (ESSA) (P.L. 114-95), legislation which reauthorizes the Elementary and Secondary Education Act of 1965, and replaces the widely criticized No Child Left Behind Act. After various versions were offered, rejected, or revised, the ESSA ultimately passed both chambers of Congress with strong bipartisan support. The general consensus, from special educators, is the new federal law, which grants significantly more power to states while continuing to require reporting from schools about the capabilities of their students, is a step in the right direction for all students, including those with disabilities. Music educators have celebrated the law for its specification of music as part of a “well-rounded education.” The purpose of this article is to provide background on ESSA and to discuss implications of this law for students with disabilities and music educators.
171 citations
TL;DR: A Computer-Aided Instruction (CAI) software and a little creative t h ink ing can give students musical experiences they never thought possible as discussed by the authors. But many music teachers have little money, time, or knowledge.
Abstract: A re you an elementary general music teacher who shies away f rom us ing computers in your classroom because of a lack of money, time, or knowledge? Fortunately, there are ways to use the power of technology that do not requ i re large e x p e n d i t u r e s of money, an extensive knowledge of compute rs or, most importantly, a great deal of t ime. By using Computer-Aided Instruction (CAI) software and a little creative t h ink ing , the general music teacher can give students musical experiences they never thought possible. I first became interes ted in CAI software as a way to get my students to compose. According to the National Standards for Music Education (1994) , students should be able to compose a n d i m p r o v i s e . C o m p o s i t i o n allows students to think musically and d e m o n s t r a t e mus i ca l l ea rn ing in u n i q u e ways. But many music teachers have little
159 citations
TL;DR: In this paper, the authors consider students with disabilities as a cultural group within any main culture are subgroups differentiated by status or factors that functionally unify the group, and they understand how students from these cultures differ from one another.
Abstract: To be culturally responsive teachers, we must first have an understanding of other cultures and how students from these cultures differ from one another. As we consider the many cultures represented in our classrooms, we might also consider students with disabilities as a cultural group. Within any main culture are subgroups differentiated by status or factors that functionally unify the group. Culturally responsive teachers understand that students with disabilities may represent a subculture within the classroom—and consequently follow certain guidelines that facilitate their inclusion.
119 citations
TL;DR: In this article, the authors characterize culturally responsive teaching and consider how it differs from other pedagogical approaches in music education informed by culture, such as multicultural music education; and offer ideas for making the general music classroom more culturally responsive.
Abstract: This article seeks to characterize culturally responsive teaching; consider how it differs from other pedagogical approaches in music education informed by culture, such as multicultural music education; and offer ideas for making the general music classroom more culturally responsive.
63 citations