SKU: GI.G-1117

UPC: 785147011729.

“History is written by the victors…” In societal struggles, those who “come out on top” seem to get to choose what is taught as history. With respect to racial matters in the United States, the struggles of people of color have simply not been a significant part of historical studies in American schools. The immense failure of Reconstruction on Black people in America is the cataclysm that is most pertinent to the retelling of Easter, 1906. Lynchings were a deeply disturbing and immoral method of dominating, primarily, Black people and terrorizing them into submission. Behind these exercises in mob violence lay frequently invented claims of crimes. Easter, 1906 recounts one such event that took place in Springfield, Missouri, over Easter weekend, 1906. Poet Robert Bode has collected material from historical documents of the period and created new poems that reflect upon this tragic event. In turn, Bode’s words are here set to music by composer William Averitt for double choir, spoken narration, piano four-hands, and two percussionists. Performed by the Missouri State University Chorale, conducted by Cameron LaBarr.   A powerful work like this is important because we can easily forget events that have contributed to the lingering blatant and hidden prejudices that exist today. It is through this musical presentation that musicians and audiences can have the tough yet meaningful conversations about how we all can do and be better when relating to others. —Marques L. A. Garrett     Conductor and Composer Learn more about the story behind this project in the video below:.

SKU: GI.G-10760

ISBN 9781622776979.

Questions abound about diversity in music education. How can we engage with diverse populations, repertoire, and identities while upholding integrity and achieving equity? What are cultural appropriation, othering, tokenizing, and essentializing? How can we avoid bias in our teaching and repertoire selection? How do we create a more socially just music education? These are critical questions with accessible answers. But if we are to become better music educators, we must reflect on these questions, our own identities, and our relationships with the music and people of the world. Realizing Diversity by Karen Howard is a groundbreaking and practical resource for crafting diverse and anti-bias music education in classrooms, ensembles, and studios at all levels—from preschool to university and community settings. At the book’s core is an Anti-Bias Framework intended to help music educators gain confidence and comfort in designing music curricula that are just, equitable, and make participants feel safe and welcome. Structured around the four social justice domains of identity, diversity, justice, and action, this framework explores topics of anti-racism, gender and sexual identity, power and privilege, disabilities, economic realities, empathy, and critical consciousness. Dr. Howard also includes discussion of educational movements in United States history, the challenging “world music” label and related authenticity, the hyper-prevalence of Western Eurocentric music, inclusive repertoire selection, as well as appendices with critical practices for educators and a sample curriculum. An indispensable book for pre-service, beginning, and veteran music teachers of toddlers through adults, Realizing Diversity considers the many separate but deeply interrelated questions related to creating a more socially just music education. Karen Howard is a frequent presenter working with teachers and presenting research related to creating a more socially just world of music education. She is Associate Professor of Music at the University of St. Thomas in St. Paul, Minnesota. She teaches undergraduate and graduate courses related to children’s music, sociology of education, research methods, ethnomusicology, and matters of diversity.