What might pre-service music teachers learn by stepping outside the formal curriculum? In between semesters student teaching in New York City, I investigated music education practices in the Vezo fishing village of Andavadoaka, Madagascar. By investigating how this community practices advanced musicianship learned primarily outside the classroom,…

General creativity and, more specifically, creative thinking in music are valuable qualities that should be fostered in music education for personal, professional, and societal reasons. In order for band directors to successfully integrate musical creativity into their classroom curriculum and serve as resources for other content area teachers…

This paper presents a broad-reaching effort to interrogate enduring colonial legacies as experienced by Native American youth in the United States of America and Black Portuguese youth of Cape Verdean origin in Portugal. As part of its methodological approach, it uses hip-hop--a cultural movement composed of four elements including rap music--to…

This book introduces the reader to evidence-based non-formal and informal science learning considerations (including technological and pedagogical innovations) that have emerged in and empowered the information and communications technology (ICT) era. The contributions come from diverse countries and contexts (such as hackerspaces, museums,…

English practice activities can be a great medium for positive youth development. Worldwide, young people are aware of the increased opportunities available to those with English language skills, creating a high demand for quality English education. As a result, Youth in Development Peace Corps Volunteers (PCVs) are often asked to teach English.…

The concept of non-formal learning, which falls outside the categories of informal and formal learning, has not been as widely discussed, especially in the music education literature. In order to bridge this gap and to provide supplementary framework to the discussion of informal and formal learning, therefore, this paper will first summarize…

In this keynote, the author discusses dichotomies having to do with: (1) technology/digital proponents versus non-technology/analogue proponents; (2) a formal/formalist position versus an informal/informalist position; and (3) educator/teacher views versus artist/musician views. The author often wonders what the essence of these dichotomies are,…

This report focuses on rhythmic meters characteristic of Bulgarian folk music. Folk instruments, attire, music history, and methods of learning the folk traditional music and dances are presented. Students prepare a lecture/recital to showcase their learning of this unit. The project is intended for use in an undergraduate music history course for…

During the 1920s, Walker Calhoun learned traditional songs and dances from his uncle, Will West Long, spiritual leader of the Big Cove Cherokees. Nine years ago, Calhoun began teaching them to his grandchildren and other young people. Calhoun has received numerous honors for his work to preserve Cherokee culture. (LP)

In this interview, Professor Harald Gaski, a Sami from Arctic Norway, notes similarities and differences in Sami and American-Indian cultures related to forced boarding schools for assimilation purposes, traditional education, religion, "yoiking" (singing) and music, connection to nature, and tribal schools. He advocates the…

This guide provides history, format, contact names, addresses, and phone numbers of some African dance and African American marching units in Philadelphia (Pennsylvania). The working papers are divided into two categories. "Part One: Movements of African Dance in Philadelphia" begins with a sensitive, detailed explanation of the…