In March 2020, the COVID-19 pandemic swept the world causing physical, emotional, economic, and social upheaval in every part of the globe. It also catalyzed a renewed interrogation, by music education faculty in higher education, of philosophies and practices that had long gone unexamined.
Music Education on the Verge: Stories of Pandemic Teaching and Transformative Change is a collection of narratives by music teacher-educators describing how they responded to the disruption of the COVID-19 pandemic with, and for, their students. Through these stories, the authors step back and reflect on the events, challenges, triumphs, and innovations discovered as they prepared the next generation of music educators in this time of crisis. They tell stories of reexamining old frameworks, discovering new affordances of technologies, humanizing pedagogy, deepening culturally responsive and sustaining experiences, and creating space for democratic practices. Each chapter offers examples of innovative music pedagogy that can be adapted and applied by music educators and music teacher educators with their students. Collectively, they paint a picture of possibilities, challenging music teacher-educators— and educators in all fields— to seek out openings and pursue pedagogies of change as we move forward into a post-pandemic world.
Judy Lewis is assistant professor of music education at the Crane School of Music, SUNY Potsdam.
Andrea Maas is coordinator of music education and director of choirs at the University of Vermont.
List of Figures
Randall Everett Allsup
Judy Lewis and Andrea Maas
Part I: Flint Stones and Foundational Frameworks
Chapter One: Reflecting on Pandemic Teaching and Technology
Emmett James O’Leary
Chapter Two: A Thriving Form of Communication: Understanding Chat Within an Online Discussion-based Course
Chapter Three: Discovering Potential in a Pandemic: Performing, Responding, Connecting, and Creating in Instrumental Music Teaching
Jonathan G. Schaller
Chapter Four: The Digital Audio Workstation in the Aural Skills Classroom: Using Reason as a Tool for Dictation Practice
Chapter Five: Sound Learning: The Pedagogical Pivots of Teaching Artists
Michelle Amosu Thomas, Michelle Mercier-De Shon, Patrick K. Freer, and Luiz Barcellos
In Dialogue: Letters Across the Pond
Marsha Baxter and Marie Louise Bowe
Part II: Culture, Care, and Community Hearths
Chapter Six: Reclaiming the Musical Kauhale: Kanikapila and Mo’Olelo a Choral Curriculum
Jace Kaholokula Saplan
Chapter Seven: The Playlist Project: Exploring Culturally Responsive Practices Through Online Learning
Tamara T. Thies
Chapter Eight: Learning to Be Human: The Art of Care, Compassion, and Empathy in Music Education
Nicholas Ryan McBride
Chapter Nine: From Wide Roots to Connected Branches: Perspectives on Early Childhood Music Education Across Brazil During the Pandemic.
Tiago Madalozzo, Vivian Agnolo Madalozzo, Angelita Vander Broock, Regiana Blank Wille
In Dialogue: The Courage to Change—A Dialogue of Experience
William L. Lake Jr. and Albert R. Lee
Part III: Democracy and Dumpster Fires
Chapter Ten: Remodeling Choral Experiences: Historic Preservation or Gut-Job Renovation?
Chapter Eleven: Curating Open Spaces: Digital Learning and Democratic Pedagogy
Chapter Twelve: Choir Disrupted
Epilogue: Transformative Change and Music Teacher Education
Andrea Maas and Judy Lewis
About the Contributors
In this deeply complicated and emotionally charged discipline of music teaching and learning, once in a while a book comes along that touches the very soul of what we do. Maas and Lewis have expertly edited and contributed to a collection of reflections about what really matters. Sad that it took a world pandemic to prompt these kinds of meaningful perspectives and stories of bravery and creativeness but thrilling to know how our profession responded. This book provides the chance to, indeed, imagine spaces becoming wider, new paths emerging, and a set of achievements that mark a new era for music and its meaning in our lives.
Music Education During Crisis is a testament to music educators' dedication to supporting students and the ability to adapt in the context of a global pandemic. The specific pedagogical and curricular approaches that authors share are valuable in and of themselves, yet it is the intimacy of witnessing our colleagues' journeys, challenges, and processes of transforming curriculum and practice that invites us to pause and reflect on possibilities in our own contexts. These stories of pivots in technology, community, and roles as learners and educators are not just lessons learned through finding ways of being and teaching during COVID-19 but catalysts to reconsider what music learning and teaching might be as we move now and in the future.