- The Oxford Handbook of Social Justice in Music Education
- Section I Understanding Social Justice in Music Education Conceptually, Historically, and Politically
- Intersecting Social Justices and Music Education
- Understanding Social Justice from the Perspective of Music Education History
- The Ethics of Policy: Why a Social Justice Vision of Music Education Requires a Commitment to Policy Thought
- Facing the Music: Pursuing Social Justice Through Music Education in a Neoliberal World
- Educational Policy Reforms and the Politics of Music Teacher Education
- The Promotion of Multiple Citizenships in China’s Music Education
- What Did You Learn in School Today? Music Education, Democracy, and Social Justice
- Section II Reclaiming Difference in Music Education
- Disjunctured Feminisms: Emerging Feminisms in Music Education
- A Jazz Funeral in Music Education
- The Space Between Worlds: Music Education and Latino Children
- Music, Social Justice, and Social Inclusion: The Role of Collaborative Music Activities in Supporting Young Refugees and Newly Arrived Immigrants in Australia
- Hidden in Plain Sight: Race and Racism in Music Education
- Ableism and Social Justice: Rethinking Disability in Music Education
- Gender and Sexual Diversity Challenges (for Socially Just) Music Education
- Beyond Toleration—Facing the Other
- Section III Epistemological Shifts and Just Practices
- What Do We <i>Think</i> We Know?
- Multiculturalism and Social Justice: Complementary Movements for Education in and Through Music
- Music Education, Social Justice, and the “Student Voice”: Addressing Student Alienation Through a Dialogical Conception of Music Education
- Informal Learning as a Catalyst for Social Justice in Music Education
- Musical Creativity and “the Police”: Troubling Core Music Education Certainties
- Music Education and Social Reproduction: Breaking Cycles of Injustice
- The Imperative of Diverse and Distinctive Musical Creativities as Practices of Social Justice
- Music Teachers’ Repertoire Choices and the Quest for Solidarity: Opening Arenas for the Art of Living with Difference
- Youth Empowerment and Transformative Music Engagement
- You Gotta Fight the Power: The Place of Music in Social Justice Education
- Section IV Toward Social Justice Pedagogy
- Social Justice in the English Secondary Music Classroom
- Hospitable Music Making: Community Music as a Site for Social Justice
- Social Justice and Urban Music Education
- Social Justice and Music Technology in Education
- Music First and Last: Developing a Socially Just Pedagogical Approach to Music Education with Technology
- Rescuing Choral Music from the Realm of the Elite: Models for Twenty-First-Century Music Making—Two Case Illustrations
- Music Education Assessment and Social Justice: Resisting Hegemony Through Formative Assessment
- Critical Reflection for Social Justice and Inclusion in Music Education
- Can Music Teaching Be a Powerful Tool for Social Justice?
- Section V Social Justice in Practice
- Behind Different Walls: Restorative Justice, Transformative Justice, and Their Relationship to Music Education
- Relationship, Rescue, and Culture: How El Sistema Might Work
- Negotiating Gender, Popular Culture, and Social Justice in Music Education
- Music Education and the Invisible Youth: A Summary of Research and Practices of Music Education for Youth in Detention Centers
- Music: An Alternative Education in the South African Freedom Struggle
- New Faces in Old Spaces: Mexican American Musical Expressions and Music Equity within the Music Curriculum
- The Intersection of Music Teacher Education and Social Justice: Where Are We Now?
- Striving for Justice with Determination and Hope: An Epilogue
Abstract and Keywords
Social justice, with its emphasis on identifying and rectifying inequalities that exist in society, is a concept that in many ways parallels multiculturalism. This chapter argues that multiculturalizing the curriculum is an essential means by which to move toward more socially just educational experiences. It turns to the work of pioneering educationist James Banks, applying his Levels of Curriculum Reform to learning experiences in music education. These tiered levels—contributions, additive, transformative, and social action—provide a sequential pathway by which educators unversed in working with multicultural content can create curricula that lead to a more multicultural and socially just educational enterprise.
University of Washington
J. Christopher Roberts received his Ph.D. from the University of Washington. His scholarly and instructional interests include children’s songs and singing style, world music pedagogy, and music teacher education.
Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.
If you have purchased a print title that contains an access token, please see the token for information about how to register your code.