Group 4's Videos
Positionality
Where you come from is important not just in the physical sense, but also in the biases, privilege, worldview, and truths that you hold to yourself. It is always important to be aware of and address those elements before engaging with any kind of self-exploration. Here you'll find our best attempts at understanding who we are and how we approach the material of inclusion and education.
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Article Poetry
To approach the issues we were dissecting, we were asked to create poetry from passages we found meaningful in a variety of articles. We encourage you to take your time listening and re-listening to each of these to try and grapple with what spoke to us. We have also shared analysis in the next section to clarify our thinking.
Holiday, R. (2017, December 01). The Real Reason We Need to Stop Trying to Protect Everyone's Feelings. Retrieved July 01, 2020, from https://observer.com/2015/09/the-real-reason-we-need-to-stop-trying-to-protect-everyones-feelings/
Young, C. (2016, February 08). The Totalitarian Doctrine of 'Social Justice Warriors'. Retrieved July 01, 2020, from https://observer.com/2016/02/the-totalitarian-doctrine-of-social-justice-warriors/
Young, C. (2016, January 15). The Pecking Disorder: Social Justice Warriors Gone Wild. Retrieved July 01, 2020, from https://observer.com/2015/06/the-pecking-disorder-social-justice-warriors-gone-wild/
Holiday, R. (2017, December 01). The Real Reason We Need to Stop Trying to Protect Everyone's Feelings. Retrieved July 01, 2020, from https://observer.com/2015/09/the-real-reason-we-need-to-stop-trying-to-protect-everyones-feelings/
Young, C. (2016, February 08). The Totalitarian Doctrine of 'Social Justice Warriors'. Retrieved July 01, 2020, from https://observer.com/2016/02/the-totalitarian-doctrine-of-social-justice-warriors/
Young, C. (2016, January 15). The Pecking Disorder: Social Justice Warriors Gone Wild. Retrieved July 01, 2020, from https://observer.com/2015/06/the-pecking-disorder-social-justice-warriors-gone-wild/
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Poetry Analysis
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Individual Dialogue Recordings
All of the recordings listed here are attempts to engage in a dialogue of understanding with issues surrounding inclusion in the context of music education. We were able to practice the skill of meaningful questioning with our friends/guests.
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Group "Composition" and Reflections
As a "community music" project we created a short composition with the following instructions:
-at least one music technology app
-at least one traditional instrument used in a non-conventional way
-at least one non-traditional instrument
After our performance follows a brief reflection on the process.
-at least one music technology app
-at least one traditional instrument used in a non-conventional way
-at least one non-traditional instrument
After our performance follows a brief reflection on the process.
"Calling this 'composition' brings up all sorts of interesting ideas around how we maybe don't view improvisation as being the same level of legitimacy as 'writing music'. Trying to make music that excites and interests me from completely random parts is an interesting challenge to confront. I love the spontaneous energy that results!" - Ben
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"Music can be more than acquiring traditional skill set. Flexibility in a teacher's ear and the use of instruments in a non conventional way offers a creative approach to all students. It opens an opportunity for everyone to take part in collaborative musicking" - Johnny T
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"Using technology rather than traditional instruments can open up new doors into creativity. Allowing music to happen instead of trying to force it into a structure or something that 'makes sense' is a new process for me, but an exciting one!"
-Jasmine |
"Finding new ways to adapt instruments is always such a fun thing - as a percussionist, it's a bit built into my thought process (I've had to create a few wacky sounds in my day - think "fluttering wings" on a piece of sheet music) so I love this part of the job. Hearing my group's ideas and having such support with them through this process made it so much fun." - Marlee
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"Doing this semi-improvisation composition with team members provided me with a chance to step out of my comfort zone. It's interesting to move away from the standard of perfection and to embrace the uncertainty, stay concentrate at the moment and try new ideas."- Shihfan
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Group Dialogue Recordings
Part of engaging with the readings for this course includes expressing our ideas through dialogue. In these videos we practice thoughtful questioning to help work through these texts more carefully. The recordings are arranged in roughly chronological order, and it might be interesting to view the progress by going from left to right, top to bottom to explore how the thought processes change throughout our coursework.
Ansdell, Gary. (2002). Community Music Therapy & The Winds of Change. Voices, 2(2), np.
Baldwin, A. (2017). Community music-making for everyone via performing ensembles: here are five groups that make an inclusive, musical difference in their communities.(Lectern). Teaching Music, 24(3).
Mitchell, Elizabeth. (2019). Community Music Therapy and Participatory Performance. Voices, 19(1).
Treweek, C., Wood, C., Martin, J., & Freeth, M. (2019). Autistic people’s perspectives on stereotypes: An interpretative phenomenological analysis. Autism, 23(3), 759–769.
Ansdell, Gary. (2002). Community Music Therapy & The Winds of Change. Voices, 2(2), np.
Baldwin, A. (2017). Community music-making for everyone via performing ensembles: here are five groups that make an inclusive, musical difference in their communities.(Lectern). Teaching Music, 24(3).
Mitchell, Elizabeth. (2019). Community Music Therapy and Participatory Performance. Voices, 19(1).
Treweek, C., Wood, C., Martin, J., & Freeth, M. (2019). Autistic people’s perspectives on stereotypes: An interpretative phenomenological analysis. Autism, 23(3), 759–769.
Group Dialogue #1 part 1
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Group Dialogue #1 part 2
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Gender
Allsup, R. (2016). Fractured (fairy) Tales: In Search of Transformational Spaces in Music Education. Bulletin of the Council for Research in Music Education, (207-208).
Nichols, J. (2013). Rie’s Story, Ryan’s Journey: Music in the Life of a Transgender Student. Journal of Research in Music Education, 61(3), 262–279.
Palkki, J., & Caldwell, P. (2018). “We are often invisible”: A survey on safe space for LGBTQ students in secondary school choral programs. Research Studies in Music Education, 40(1), 28–49.
Allsup, R. (2016). Fractured (fairy) Tales: In Search of Transformational Spaces in Music Education. Bulletin of the Council for Research in Music Education, (207-208).
Nichols, J. (2013). Rie’s Story, Ryan’s Journey: Music in the Life of a Transgender Student. Journal of Research in Music Education, 61(3), 262–279.
Palkki, J., & Caldwell, P. (2018). “We are often invisible”: A survey on safe space for LGBTQ students in secondary school choral programs. Research Studies in Music Education, 40(1), 28–49.
Group Dialogue #2A Johnny, Marlee, Shih-Fan
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Group Dialogue #2B Jasmine, Ben
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Decolonizing
Bradley, D. (2012). Good for What, Good for Whom?: Decolonizing Music Education Philosophies. In The Oxford Handbook of Philosophy in Music Education.
Stanton, B. (2018). Musicking in the Borders: Toward Decolonizing Methodologies. Philosophy of Music Education Review, 26(1), 4–23.
Chávez, L., & Skelchy, R. P. (2019). Decolonization for Ethnomusicology and Music Studies in Higher Education. Action, Criticism & Theory for Music Education, 18(3).
Bradley, D. (2012). Good for What, Good for Whom?: Decolonizing Music Education Philosophies. In The Oxford Handbook of Philosophy in Music Education.
Stanton, B. (2018). Musicking in the Borders: Toward Decolonizing Methodologies. Philosophy of Music Education Review, 26(1), 4–23.
Chávez, L., & Skelchy, R. P. (2019). Decolonization for Ethnomusicology and Music Studies in Higher Education. Action, Criticism & Theory for Music Education, 18(3).
Group 4 Dialogue #3A - Johnny, Jasmine, Ben
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Group 4 Dialogue #3B - Marlee, Shih-Fan
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Final Reflections
As our course comes to an end, we engaged in a final group reflection as well as individual reflections. We consider the learning we have done, the ways we have grown and what we are continuing to work towards.
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