World Music Pedagogy, Volume III: Secondary School Innovations provides a rationale and a resource for the implementation of World Music Pedagogy in middle and high school music classes, grades 7–12 (ages 13–18). Such classes include secondary general music, piano, guitar, songwriting, composition/improvisation, popular music, world music, music technology, music production, music history, and music theory courses. This book is not a depository of ready-made lesson plans but rather a tool to help middle and high school teachers to think globally in the music classroom. Strategies and techniques of World Music Pedagogy are promoted by discussions of a multicultural music education, descriptive vignettes of realistic teaching environments, conversations with culture-bearers/pedagogues, and prompts for self-reflection. This volume approaches important issues of multicultural education and social justice that are often neglected in music education texts—proving to be a valuable resource for both nascent music educators and veteran practitioners alike.

World Music Pedagogy, Volume II: Elementary Music Education delves into the theory and practices of World Music Pedagogy with children in grades 1-6 (ages 6-12). It specifically addresses how World Music Pedagogy applies to the characteristic learning needs of elementary school children: this stage of a child’s development—when minds are opening up to broader perspectives on the world—presents opportunities to develop meaningful multicultural understanding alongside musical knowledge and skills that can last a lifetime. This book is not simply a collection of case studies but rather one that offers theory and practical ideas for teaching world music to children. Classroom scenarios, along with teaching and learning experiences, are presented within the frame of World Music Pedagogy. Ethnomusicological issues of authenticity, representation, and context are addressed and illustrated, supporting the ultimate goal of helping children better understand their world through music.

World Music Pedagogy, Volume VI: School-Community Intersections provides students with a resource for delving into the meaning of "world music" across a broad array of community contexts and develops the multiple meanings of community relative to teaching and learning music of global and local cultures. It clarifies the critical need for teachers to work in tandem with community musicians and artists in order to bridge the unnecessary gulf that often separates school music from the music of the world beyond school and to consider the potential for genuine collaborations across this gulf. The five-layered features of World Music Pedagogy are specifically addressed in various school-community intersections, with attention to the collaboration of teachers with local community artist-musicians and with community musicians-at-a-distance who are available virtually. The authors acknowledge the multiple routes teachers are taking to enable and encourage music learning in community contexts, such as their work in after-school academies, museums and libraries, eldercare centers, places of worship, parks and recreation centers, and other venues in which adults and children gather to learn music, make music, and become convivial through music This volume suggests that the world’s musical cultures may be found locally, can be tapped virtually, and are important in considerations of music teaching and learning in schools and community contexts. Authors describe working artists and teachers, scenarios, vignettes, and teaching and learning experiences that happen in communities and that embrace the role of community musicians in schools, all of which will be presented with supporting theoretical frameworks.

World Music Pedagogy, Volume V: Choral Music Education explores specific applications of the World Music Pedagogy process to choral music education in elementary, middle, and high school contexts, as well as within community settings. The text provides clear and accessible information to help choral music educators select, rehearse, and perform a diverse global repertoire. It also guides directors in creating a rich cultural context for learners, emphasizing listening, moving, and playing activities as meaningful music-making experiences. Commentary on quality, commercially available world music repertoire bridges the gap between the philosophy of World Music Pedagogy and the realities of the performance-based choral classroom. All chapters open with a series of vignettes that illuminate the variety of possibilities within multiple K-12 contexts, providing the reader with a sense of how the ideas presented might look "on the ground." Ready-to-integrate activities serve as concrete and pedagogically sound examples to guide directors as they develop their own instructional materials according to the needs of their choir. Content features choral and vocal music-making traditions from South and West Africa; Latin America; Southeast, East, and South Asia; the Pacific Islands; Australia; New Zealand; Scandinavia; and the Baltics.

World Music Pedagogy, Volume IV: Instrumental Music Education provides the perspectives and resources to help music educators craft world-inclusive instrumental music programs in their teaching practices. Given that school instrumental music programs—concert bands, symphony orchestras, and related ensembles—have borne musical traditions that broadly reflect Western art music and military bands, instructors are often educated within the European conservatory framework. Yet a culturally diverse and inclusive music pedagogy can enrich, expand, and transform these instrumental music programs to great effect. Drawing from years of experience as practicing music educators and band and orchestra leaders, the authors present a vision characterized by both real-world applicability and a great depth of perspective. Lesson plans, rehearsal strategies, and vignettes from practicing teachers constitute valuable resources. With carefully tuned ears to intellectual currents throughout the broader music education community, World Music Pedagogy, Volume IV provides readers with practical approaches and strategies for creating world-inclusive instrumental music programs.

World Music Pedagogy, Volume I: Early Childhood Education is a resource for music educators to explore the intersection of early childhood music pedagogy and music in cultural contexts across the world. Focusing on the musical lives of children in preschool, kindergarten, and grade 1 (ages birth to 7 years), this volume provides an overview of age-appropriate world music teaching and learning encounters that include informal versus formal teaching approaches and a selection of musical learning aids and materials. It implements multimodal approaches encompassing singing, listening, movement, storytelling, and instrumental performance. As young children are enculturated into their first family and neighborhood environments, they can also grow into ever-widening concentric circles of cultural communities through child-centered encounters in music and the related arts, which can serve as a vehicle for children to know themselves and others more deeply. Centered around playful engagement and principles of informal instruction, the chapters reveal techniques and strategies for developing a child’s musical and cultural knowledge and skills, with attention to music’s place in the development of young children. This volume explores children’s perspectives and capacities through meaningful (and fun!) engagement with music.

World Music Pedagogy, Volume VII: Teaching World Music in Higher Education addresses a pedagogical pathway of varied strategies for teaching world music in higher education, offering concrete means for diversifying undergraduate studies through world music culture courses. While the first six volumes in this series have detailed theoretical and applied principles of World Music Pedagogy within K-12 public schools and broader communities, this seventh volume is chiefly concerned with infusing culture-rich musical experiences through world music courses at the tertiary level, presenting a compelling argument for the growing need for such perspectives and approaches. These chapters include discussions of the logical trajectories of the framework into world music courses, through which the authors seek to challenge the status quo of lecture-only academic courses in some college and university music programs. Unique to this series, each of these chapters illustrates practical procedures for incorporating the WMP framework into sample classes. However, this volume (like the rest of the series) is not a prescriptive "recipe book" of lesson plans. Rather, it seeks to enrich the conversation surrounding cultural diversity in music through philosophically-rooted, social justice-conscious, and practice-oriented perspectives.

In recent decades, world music styles have been making increasing inroads into Western popular music, music theater, choral concerts, and even concert hall performances. So You Want to Sing World Music is an essential compendium of these genres and provides technical approaches to singing non-Western styles. Matthew Hoch gathers a cohort of expert performers and teachers to address singing styles from across the globe, including Tuvan throat singing, Celtic pop and traditional Irish singing, South African choral singing, Brazilian popular music genres, Hindustani classical singing, Native American vocal music, Mexican mariachi, Lithuanian sutartinės, Georgian polyphony, Egyptian vocal music, Persian āvāz, and Peking opera. Additional chapters offer resources for soloists and choral directors as well as primers on voice science, vocal health, and audio enhancement technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing World Music features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

Expand your music learning and musicianship skills with this comprehensive guide to music instruction. Whether you're a self-taught music enthusiast, a dedicated music student, or an experienced music teacher, this book is your helpful companion. Inside, you'll find a harmonious blend of practical insights and theoretical foundations. Unlike traditional music books, this guide embraces the Kodály philosophy of 'learning by making.' It means you'll dive straight into music practice from the very first chapter, gradually weaving in essential theory. As you embark on your musical journey, remember that the heart of music lies in enjoyment, celebration, and sharing! Using years of musical experience and a deep passion for teaching, the authors present a personal perspective on music education enriched by insights from the acclaimed Kodály approach to pedagogy. As a result, the book travels through singing (with lots of helpful tips and how-to-improve advice), vocal improvisation, hand signs, and many other tools and exercises to develop musicianship skills. You've got this because you've got this book and you've got the music in you. By design and intelligent execution, _I Got Music_ will help you immensely! The great thing about this book is it's designed to be great for musicians teaching themselves more about "really getting" music, but to prove equally terrific for instructors assigned to teaching music. While centered on sharing the Kodály way of instruction,it's been carefully engineered to help musicians “get in the groove” and sing and improvise intuitively. It is planned to serve also as a first resource for instructors suddenly assigned to teach music to elementary students. We are sure it will be exceptionally useful, in particular, for instructors who can’t obtain expensive textbooks about the Kodály way but wish to utilize it. It is written to help anyone assigned to teach music as an extra subject on top of their other classroom duties. It’s even designed for anyone who admires the Kodály method with its emphasis on working respectfully with local cultures and traditions by using a carefully gathered folk-music repertoire to instruct students through movement and singing, and often in chorale settings. So if you missed out on the advantages of learning the Kodály method in early childhood, it isn't too late to get all the benefits and share them with others. While centered on sharing the Kodály way, given its enduring popularity and the extensive documentation for its effectiveness as a teaching approach, this book is compatible with most other methods of teaching and learning music. In every chapter you’ll find useful information contrasted with years of music-teaching experience, and with a respectful eye to the other excellent teaching methods, such as Orff-Schulwerk, Dalcroze Eurhythmics, and the Suzuki Method, to name just a few. Music books usually go from theory to eventually making music, but here you'll find real-life practice comes first. Thus, we explain practice and complement it with theory. Almost immediately you'll be “learning by making” as the Kodály method urges. So even if you have zero experience in this field, you’ll find guides and fresh practices that fit your case. As the book goes on, we keep bouncing between theory and practice, considering many aspects of music instruction and sharing the most essential instruction. You should likewise feel free to bounce from one aspect to another and skip any chapter or part about things that you've long-since mastered. So enjoy the process! Don’t pretend to be a blank canvas, awaiting someone’s paint brushes. In the end, music is about having fun, enjoying life, and sharing with others. So relax! You’ve got the music in you, as everyone does, and with this book's sharing of practice and guidance, you can let it out!

Through this book, the author examines the role of music education within the larger global education movement. Specifically, the author argues music education has unique potential to foster positive global identity and to promote higher levels of intercultural sensitivity during adolescence. Music educators can use the framework in this book to craft lessons that will help their adolescent students develop positive global identities as they progress towards higher levels of intercultural sensitivity within the context of musical learning experiences. The book also offers a framework that can help practicing and pre-service music educators to engage in the type of cultural and musical self-reflection needed to resist deeply engrained hegemonic tendencies. As such, more students have access to an inclusive, flexible, and meaningful musical education. Within the final two chapters, the author proposes - and provides concrete examples of - a new curricular planning strategy for music educators which synthesizes the information presented in the preceding chapters and provides a concrete vision for (re)imagining music education as global education.