1

 ‌

 ‌
Culturally‌‌Responsive‌‌Teaching‌‌   ‌
in‌‌High‌‌School‌‌Chorus‌  ‌
Appendices‌  ‌
 ‌
 ‌
 ‌

 ‌
 ‌
 ‌
 ‌
Holden‌‌Maiorana‌  ‌
Ithaca‌‌College‌  ‌
Summer‌‌2021‌  ‌
 ‌
 2
 ‌

Table‌o
‌ f‌C
‌ ontents‌  ‌
 ‌
Outline‌o
‌ f‌P
‌ resentation……………………………………………………………………………………………..……………….2‌  ‌
Appendix‌A
‌ ‌(‌ Presentation‌S‌ lides)…………………………………………………………………………………...…………..3‌  ‌
Appendix‌B
‌ ‌(‌ Philosophy‌o
‌ f‌M
‌ usic‌E‌ ducation)………………………………………………………………………….…..7‌  ‌
Appendix‌C
‌ ‌(‌ History‌o
‌ f‌C
‌ horal‌M
‌ usic‌i‌n‌A
‌ merica)……………………………………………………………….…….10‌  ‌
Appendix‌D
‌ ‌(‌ Project‌R
‌ ubric)………………………………………………………………………………………………...…..11‌  ‌
Appendix‌E‌ ‌(‌ Repertoire‌C
‌ onsiderations)……………………………………………………………………………...…...12‌  ‌
Appendix‌F‌ ‌(‌ References)……………………………………………………………………………………………..…………...15‌  ‌
 ‌
 ‌
Outline‌o
‌ f‌P
‌ resentation‌  ‌
 ‌
I. My‌B
‌ ackground‌  ‌
A. Personal‌u
‌ pbringing‌  ‌
B. Current‌T‌ eaching‌S‌ ituation‌  ‌
II. Culturally‌R
‌ esponsive‌T‌ eaching‌  ‌
A. Origins‌i‌n‌S‌ tudent-Centered‌T‌ eaching‌  ‌
B. Modern‌C
‌ ulturally‌R
‌ esponsive‌T‌ eaching‌  ‌
III. Application‌a‌ nd‌A
‌ rtifacts‌  ‌
A. 2020-2021‌S‌ chool‌Y‌ ear‌C
‌ ontext‌  ‌
B. TikTok‌T‌ rends‌P
‌ roject‌A
‌ rtifacts‌  ‌
IV. Looking‌F‌ orward‌  ‌
A. Future‌A
‌ pplications‌  ‌
V. Conclusion‌  ‌
 ‌
 ‌
 3
Appendix A
Presenta(on Slides

Culturally Responsive Teaching Outline of Presentation

I. My Background
in High School Chorus II.
III.
Culturally Responsive Teaching
Application and Artifacts
IV. Looking Forward
V. Conclusion
Holden Maiorana
Ithaca College 2021

Culturally Responsive Teaching in High School Chorus

I.
My Background

My Background ● Home District: Gananda Central Schools

○
○
Suburb of Rochester, NY
Band (grades 5-12)
○ Chorus (grades 4-12)
● Current District: Spackenkill UFSD
○ Suburb of Poughkeepsie, NY
○ HS Chorus (ensembles and lessons)
○ HS Drama Program
○ 8th Grade Chorus

Holden Maiorana as Horton in “Seussical”, ca. 2007

Culturally Responsive Teaching in High School Chorus

II.

History of Culturally Student-Centered Teaching

● Quintilian - joy in learning, importance of home life

Responsive Teaching ●
●
Comenius - learn by doing
Pestalozzi - education acquired through senses, discovery
learning
● G. Stanley Hall - music should be relevant to student
interest
● John Dewey - learning should be relevant and meaningful
to students John Dewey, ca. 1945

Culturally Responsive Teaching in High School Chorus

 4

Culturally Responsive Teaching Elements of Culturally Responsive Teaching

1. Teacher as facilitator (Bruner)
● Term introduced by Gloria Ladson-Billings in 1994
2. Learning within the context of culture (Lave & Wenger)
● Approach utilizes “the cultural characteristics,
experiences, and perspectives of students as conduits for 3. Student-centered instruction (Quintilian, Comenius)
teaching them more effectively” (Gay, 2002) (Ladson-Billings, 1995)
● Builds upon students knowledge and strengths while also
broadening their intellectual, cultural, and musical 4. Build relationships (Maslow)
horizons. (Shaw, 2019) 5. Encourage students to leverage their cultural capital
● Roots in constructivism (Vgotsky) and humanism (Rogers)
(Burnham, 2021)
Gloria Ladson-Billings, ca. 2014

Culturally Responsive Teaching in High School Chorus Culturally Responsive Teaching in High School Chorus

III.

Application Context - The 2020/2021 School Year

and
● Pandemic drastically shifted our school schedule
● Constant change in guidance and school policy
made traditional rehearsals nearly impossible

Artifacts
● Each student had a personal computer and
access to internet
● Provided a unique opportunity for instruction
(top to bottom) HS Chorus
virtual class (2020), myself
playing guitar on tennis
courts for hybrid teaching
(2020), students performing
on the football field (2021)

Culturally Responsive Teaching in High School Chorus

“
TikTok Trends Project
Culturally responsive teaching in music “ ● Live music ceased, music was only accessible to
students virtually
education attempts to center music that ● Popularity of TikTok rises
● TikTok trends come and go, each showcasing
speaks to youth’s realities and interests. various genres of music that students gravitate to
● Each trend has musical value, whether the
students realize this or not
- Hess (2015)

Culturally Responsive Teaching in High School Chorus Culturally Responsive Teaching in High School Chorus
 5

“
Caitlin, Sophomore
Popular music education...functions ● “Cup Song” Variation
○ Student can choose any song and
to serve and affirm our students and
“ ➢
develop a rhythm routine with it
Skills developed: vocal technique
their individual and collective (Pr), repertoire selection (Cn),
steady beat/rhythm skills (Pr),
cultures. composition (Cr)

- Clauhs, Powell, and Clements (2021)

Culturally Responsive Teaching in High School Chorus Culturally Responsive Teaching in High School Chorus

Alex D., Sophomore Alex G., Freshman

● “ Mister Snowman” Challenge Macy, Senior
○ Student will sing a specific phrase from Sia’s “Mister
● Harmony Duet
Snowman” on one breath
○ Create a harmony or find a TikToker singing harmony to a
song you know and duet singing melody.

➢ Skills developed: breath control (Pr), vocal technique ➢ Skills developed: intonation (Pr), arranging (Cr),
(Pr), stylistic consideration (Pr) stylistic considerations (Pr), emotional context (Re)

Culturally Responsive Teaching in High School Chorus Culturally Responsive Teaching in High School Chorus

IV.
Key Takeaways
★

★
Students were able to collaborate while apart

Only assignment all year that every single student submitted

Looking Forward
★ Students exceeded beyond requirements of project

★ Student feedback was overwhelming positive

★ Aligned with National Standards for Music

Culturally Responsive Teaching in High School Chorus

 6

V.
Future Applications
● Success of this project leads me to attempt future endeavors in
○
○
Popular music education
Project based learning
Conclusion
○ Opportunities for student choice
○ Small group ensembles and collaborations
● Traditional ensemble model modifications
● Acknowledging race and ethnic background as catalyst for culturally responsive
pedagogy

Culturally Responsive Teaching in High School Chorus

Conclusion Selected Resources

Burnham, K. (2021). Culturally Responsive Teaching: 5 Strategies for Educators. Northeastern University Graduate Programs.
● First endeavour into CRT was a highlight of the entire https://www.northeastern.edu/graduate/culturally-responsive-teaching-strategies/

year, hope to elaborate in the future Clauhs, M., Powell, B., & Clements, A. C. (2021). Popular music pedagogies : a practical guide for music teachers . Routledge.

● My traditional ensemble model may need Gay, G. (2002). Preparing for Culturally Responsive Teaching. Journal of Teacher Education, 53(2), 106–116. https://doi.org/10.1177/0022487102053002003

modifications to best fit the needs and interests of my Hess, J. (2019). The Bloomsbury handbook of popular music education : perspectives and practices . Bloomsbury Academic.

students Ladson-Billings, G. (2014). Culturally Relevant Pedagogy 2.0: a.k.a. the Remix. Harvard Educational Review, 84(1), 74-84,135.

● These ideas were formed during my time at the Ladson-Billings, G. (1995). Toward a Theory of Culturally Relevant Pedagogy. American Educational Research Journal, 32(3), 465–491.
The Year 3 cohort enjoying eachothers’ https://doi.org/10.2307/1163320
Ithaca College graduate program company at a restaurant.
Shaw, J. T. (2020). Culturally responsive choral music education : what teachers can learn from nine students’ experiences in three choirs . Routledge.

Villegas, A. M., & Lucas, T. (2002). Preparing Culturally Responsive Teachers: Rethinking the Curriculum. Journal of Teacher Education, 53(1), 20–32.
https://doi.org/10.1177/0022487102053001003

Culturally Responsive Teaching in High School Chorus Culturally Responsive Teaching in High School Chorus
 7

Appendix B

Philosophy of Music Education (abr.)

Throughout my journey as a music student, pre-service music educator, full time

teacher, and now graduate student, my teaching philosophy has been altered and molded by
the experiences that I’ve had both in the classroom and out. That said, it is the Ithaca College
graduate program that has fostered many of my beliefs about the function, components, and
outcomes of a prosperous music program. A successful music program is one that is accessible
to all students and provides its students with opportunities to experience music in a way that is
meaningful to them as individuals.
Music itself is an unparalleled experience. It is found within all cultures and is cultivated
and enjoyed by the masses. Music has the power to express that which cannot be put into
words; it gives depth to life (Madsen, 2000). Experiences in music allow for aesthetic
experiences in school; and it is these aesthetic experiences that help to create compassionate
beings. Music education also allows for students to connect with one another through shared
musical experiences and become more in tune with their emotions. Looking towards the future
of our country and our world, it is my belief that what we need more than anything else is a
generation of compassionate people, who are emotionally intelligent about themselves and
about those who they interact with.
Students have the right to music education because it provides them with a skillset and
opportunities for growth that can only be experienced through music (Levitin, 2020). It allows
for play in the classroom and aids spatial development all while building compassion within
students and providing them with unique opportunities for shared musical experiences. It is
because of this unique skillet and growth opportunities that every child should have access to a
music education. Music teaches the whole student (Boardman, 2001). It challenges their brain
to think critically, while acknowledging and validating their feelings and emotions. It is the only
subject to contain elements of every other subject within it. Music molds the minds of students
to become sensitive, creative, and emotionally intelligent. Music is imaginative: it allows for
students to see things how they could be instead of how they are. It is intimate, allowing for
students to share their feelings about a piece of music and react to the same music in different
ways. This, when paired with frequent opportunities to create original music through
composition or improvisation, is the best way for students to discover their creative voice
(Beitler, 2010). Music produces individuals. If it is the goal of schools to produce free-thinking,
compassionate human beings who enact positive change in the world, the best way to achieve
this is affording their students access to a music education.
There are many things to consider when structuring a music education program. Perhaps
the clearest and most succinct structure provided to music teachers are the National Standards
of Music. By these measures, students should be creating, responding, performing, and
connecting to music. Students come to know music through a connection to the music they
perform combined with a practical understanding of how the music works. It is through these
standards that we must approach our assessment. Music should not be graded by a student's
ability to perform, but instead by the evidence that they are creating, responding, performing,
and connecting to music in a way that is meaningful to them as an individual.
 8

The benefits of music cannot be overstated, and because of this, it is crucial that our
students participate in a lifelong learning and enjoyment. To achieve this, music classes should
allow students to explore music that is of interest to them, provide them with aesthetic
experiences so powerful that they cannot imagine a future without participating in music
(Lehman, 2002), and instruct students on how to find or create music making opportunities
outside of school. The best tool to achieve this objective is repertoire that represents a vast
array of musical styles and is authentic to the style being portrayed. Exposure to the diverse and
ever-expanding repertoire that exists is crucial to allowing students to find their musical tastes.
Once their tastes are refined, they can begin making more complex musical decisions that allow
for fulfilling music making experiences.
Music instruction should emphasize that the emotions that a student feels about music
are valid, and that music has the power to affect the way we feel. Aside from these
intrapersonal skills, for a student to understand music on a deeper level, they should be
instructed in the basic elements of music as well as standard music notation. To accomplish this,
a music teacher should provide their students with opportunities to perform in a concert
setting. These performances allow for shared experiences, though it should be acknowledged
that shared musical experiences can also take place in the classroom during school. A teacher
should also afford their students opportunities to move with music. Connecting one’s body to
music can be a wonderfully freeing experience that can amplify the joy that music brings us
(Sacks, 2018). Students should have the opportunity to create music, be it through formal
notation or composition through the use of technology and digital audio workstations. They
may be more inclined to create music through improvisation, but as long as students are making
music that was previously unheard to the world, they are sharing their musical voice. Lastly, a
teacher should plan activities and authentic repertoire that foster an awareness of music in
other cultures and that bring awareness to current events. Music touches the lives of many,
and it is important for students to explore how music is experienced by other people, and how
it is used in our culture in modern times.
A successful music program has a combination of the aforementioned components, but
these components may manifest in an assortment of ways. For some like myself, properly
structuring traditional ensembles with an array of activities, projects, and performances can be
an effective way to enact all the components of a successful music program. For others, it may
be necessary to restructure their program into non-traditional ensembles or general music
classes that provide access points to students of all ages.
When it comes to music education as a concept, perhaps the thing that I feel most
strongly about is that a music program is for everyone. If I did not believe this, what is the
purpose of becoming a music teacher? I teach music because I wish to show the power of music
to as many students as possible so that they can go forth and share their voice. Upon recent
reflection, I have come to believe that a school music program is not only for its students, but
also the community and the school faculty (Ernst, 2001). Music brings out the best in us, and I
would not be doing my job if I were to keep its benefits away from the entire school and
community.
To ensure that every student has access to a music program, it is crucial that K-5 general
music instruction is available and beyond that, there are entry points for any student interested
in exploring the benefits that music can offer them. This includes traditional ensembles as well
 9

as classes outside of the traditional model such as piano/guitar, music technology, or music
industry classes. Within these classes, students should participate in an array of performances,
creative projects/endeavors, and listening experiences (Isbell, 2015). Music is not one skill, it is a
myriad of skills, and students should be exposed to various music making opportunities to
illuminate their unique abilities.
When a student studies music, they gain an understanding of themself. When students
are given the opportunity to interpret music, they learn about the way they think, develop their
unique taste, and come to know why music is special to them as an individual. This knowledge
of self is a crucial and fruitful byproduct of music study, and pairs well with the development of
concrete musical skills in a student. When a student refines the technical ability to perform
music at higher levels, it opens the door to access and perform more difficult repertoire which
in turn can allow for even more exalted musical experiences. This progress is evident within the
student, and recognizing this progress fuels students’ further engagement in music.
When students graduate from a music program, they should walk away with knowledge
of music from all cultures, an understanding of basic elements of music to help aid their further
music study, and an intimate knowledge of the power of music and what it means to them. I
want my students to recognize that music is everywhere, and it has the power to change our
state of being. There are so few natural things on this earth that wield that power. Music
teaches skills such as discipline, emotional intelligence, and listening that can be applied to all
other aspects of life, and therefore it is essential.
A successful music program is one that is accessible to all students and provides its
students with opportunities to experience music in a way that is meaningful to them as
individuals. For many students, the traditional music program model is not working. Music is
essential for the development of each student, but also for the development of society at large.
We as educators cannot be afraid to change our programs. In fact, it is crucial that we are
constantly assessing our own programs and asking: is my program accessible to all students,
faculty, and community members? Are my students being given opportunities to experience
music in ways that are meaningful to them? I am so fortunate to be able to devote my life to the
pursuit of teaching children about music. It is my ultimate goal that the generation of students I
teach will make the world a better place through the skills that they learned while in my music
class.
 10

Appendix C

History of Choral Music in America

● 1640 - Bay Psalm Book published in Cambridge, MA

○ First book to be printed in what would later become the USA
○ Book of hymns to be sung in church
● 1717 - First Singing School established in Boston
○ Originated to improve the singing of congregation
○ Singing master - led to modern day choral directors
○ Rehearsal setting remains largely the same (semicircle with singing master in the
center of the rehearsal space)
○ Emphasis on music literacy
● 1815 - Singing Societies develop
○ Orpheus Club - Philadelphia, PA
○ St. Cecilia Society - Charleston, SC
● 1838 - Lowell Mason becomes first superintendent of music
○ “Any child who can read can sing.”
○ Influenced by Singing Schools
○ Introduced music curriculum to public schools
● Late 1800s - first HS Chorus is formed
● 1920s - Chorus becomes an elective
○ Halts growth of chorus in America as students opt not to perform in ensembles
● 1967 - Tanglewood Symposium
○ Purpose: discuss and define the role of music education in contemporary society
○ Determined all music to be worthy of study
● 1999 - Housewright Symposium
○ Produces Vision 2020 (provides a goal as to where music education should be by
the year 2020)

Typical Components of Modern Chorus

➢ 2-3 concerts per year

➢ NYSSMA Majors/competitions
➢ Large emphasis on performance standard
11

Appendix D
Project Rubric
TikTok Chorus Project
Complete the TikTok music challenges and trends and record yourself on video doing so. Each video is worth a certain amount of
points. You can do each challenge as many times as you’d like (in different iterations), unless it says “can only do once”. Remember,
videos should be less than 60 seconds. If there is a trend that involves musical skills that is not listed and you’d like to try it, let Mr. M
know and he will approve it/assign a point value to it.
You must earn at least: 15 POINTS
4 POINTS 3 POINTS 1 POINT
➔ ORIGINAL SONG ➔ HARMONY DUET ➔ RHYTHM CHALLENGE #1
◆ Write and record yourself singing an ◆ Find a TikToker singing harmony to a ◆ Complete the following rhythm
original song. song you know and duet singing melody. challenge.
➔ FREESTYLE RAP ➔ SNOWMAN CHALLENGE ● Can only do once.
◆ Find or create a beat and write a rap ◆ Sing Sia’s “Snowman” for as long as you ➔ RHYTHM CHALLENGE #2
over it. can in one breath. ◆ Complete the following rhythm
➔ ORIGINAL TIKTOK MUSICAL ● Can only do once. challenge.
◆ Write a song that would be featured in ➔ POPCORN DUET ● Can only do once.
an original TikTok Musical (like ◆ Perform a popcorn duet (singing every ➔ RHYTHM CHALLENGE #3
Ratatouille) other word). ◆ Complete the following rhythm
➔ LAYERING CHALLENGE ➔ PLAY AN INSTRUMENT challenge.
◆ Record yourself layering your voice ◆ Play a song on an instrument. ● Can only do once.
using Soundtrap/GarageBand. ➔ SING A COVER ➔ RHYTHM CHALLENGE #4
➔ GENRE SWITCHING COVER ◆ Sing a song you like either a cappella, ◆ Complete the following rhythm
◆ Take a song you love, switch the genre of with a karaoke track, or with live challenge.
it, and record yourself singing a cover. instruments. Put your own spin on it! ● Can only do once.
➔ ALTERNATE PERSPECTIVE COVER ➔ 60 SECOND MUSIC THEORY LESSON ➔ RHYTHM CHALLENGE #5
◆ Take a popular tune and rewrite it from ◆ Explain any music theory concept in 60 ◆ Complete the following rhythm
a different perspective. Can be silly or seconds (rhythm notes, note names, challenge.
serious. scales, solfege, etc.) ● Can only do once.
➔ SONG PARODY COVER ➔ RHYTHM DOTS CHALLENGE
◆ Take an existing song and write a ◆ Complete the following rhythm
parody of it. challenge.
➔ “CUP SONG” VARIATION ● Can only do once.
◆ Student can choose any song and ➔ CONDUCTING CHALLENGE
develop a rhythm routine with it ◆ Complete the following conducting
challenge.
● Can only do once.
➔ 60 SECOND ALBUM/MUSICAL REVIEW
◆ Review an album or musical in 60
seconds. Discuss what you like and what
could use improvement.
 12
Appendix E
Choral Repertoire Considerations
HIGH SCHOOL CHORUS: Arranger: Huff
Title: The Awakening Voicing: SATB
Composer: Martin Genre/Period classification: Pop
Voicing: SATB (div) Ensemble type: HS Chorus
Genre/Period classification: Contemporary
Ensemble type: HS Chorus Title: Sanctus (from Requiem)
Composer: Faure
Title: O Sifuni Mungu Voicing: SATB
Arranger: Emerson Genre/Period classification: Romantic
Voicing: SATB Ensemble type: HS Chorus
Genre/Period classification: Pop/fusion
Ensemble type: HS Chorus Title: Este Momento en Punto
Composer: Sosa
Title: An die Musik (Schubert) Voicing: SATB
Arranger: Stetseko Genre/Period classification: Latin
Voicing: SATB Ensemble type: HS Chorus
Genre/Period classification: Romantic
Ensemble type: HS Chorus Title: Sisi Ni Moja
Composer: Narverud
Title: Take Me to the Water Voicing: SATB
Arranger: Dilworth Genre/Period classification: Fusion
Voicing: SATB Ensemble type: HS Chorus
Genre/Period classification: Spiritual
Ensemble type: HS Chorus Title: Lacrymosa (from Requiem)
Composer: Mozart
Title: The First Nowell Voicing: SATB
Arranger: Wilberg Genre/Period classification: Classical
Voicing: SATB Ensemble type: HS Chorus (with string
Genre/Period classification: Holiday quartet)
Ensemble type: HS Chorus (with orchestra)
Title: Ain’t That A-Rockin’
Title: Ain’a That Good News Composer: Gibbs
Composer: Dawson Voicing: SATB (div)
Voicing: SATB (div) Genre/Period classification: Holiday
Genre/Period classification: Spiritual Ensemble type: HS Chorus
Ensemble type: HS Chorus
Title: Lo V’Chayil
Title: Imbakwa Arranger: Levine
Composer: Papoulis Voicing: SATB (div)
Voicing: SATB (div) Genre/Period classification: Holiday
Genre/Period classification: Fusion Ensemble type: HS Chorus
Ensemble type: HS Chorus
Title: Christmas (Baby Please Come Home)
Title: Stand by Me Arranger: Shaw
 13
Appendix E
Choral Repertoire Considerations
Voicing: SATB Ensemble type: HS Chorus
Genre/Period classification: Holiday
Ensemble type: HS Chorus Title: All I Want for Christmas is You
Arranger: Huff
Title: We Can Mend the Sky Voicing: SATB
Arranger: Runestad Genre/Period classification: Holiday/Pop
Voicing: SATB (div) Ensemble type: HS Chorus
Genre/Period classification: Contemporary
Ensemble type: HS Chorus Title: Oye
Composer: Papoulis
Title: Gloria in Excelsis Deo (from Gloria) Voicing: SATB
Arranger: Vivaldi Genre/Period classification: Fusion
Voicing: SATB Ensemble type: HS Chorus
Genre/Period classification: Baroque
Ensemble type: HS Chorus Title: Seize the Day
Arranger: Emerson
Title: The Road Home Voicing: SATB
Arranger: Paulus Genre/Period classification: Musical theatre
Voicing: SATB (div) Ensemble type: HS Chorus
Genre/Period classification: Contemporary
Ensemble type: HS Chorus MIDDLE SCHOOL CHORUS:
Title: South African Suite (Tshotsholoza,
Title: Sililiza Siyahamba)
Composer: Papoulis Arranger: Leck
Voicing: SATB (div) Voicing: SAB
Genre/Period classification: Fusion Genre/Period classification: Protest
Ensemble type: Ensemble type: 7/8 Chorus

Title: He’ll Make A Way Title: All Through the Night

Arranger: Smith Arranger: Kauffman
Voicing: SATB (div) Voicing: SAB (div)
Genre/Period classification: Gospel Genre/Period classification: Traditional
Ensemble type: HS Chorus Ensemble type: 7/8 Chorus

Title: Good Night, Dear Heart Title: Africa

Arranger: Forrest Arranger: Snyder
Voicing: SATB (div) Voicing: SAB
Genre/Period classification: Contemporary Genre/Period classification: Pop/Rock
Ensemble type: HS Chorus Ensemble type: 7/8 Chorus

Title: I Sing Because I’m Happy Title: I Lived

Arranger: Dilworth Arranger: Narverud
Voicing: SATB Voicing: SAB
Genre/Period classification: Gospel Genre/Period classification: Pop
 14
Appendix E
Choral Repertoire Considerations
Ensemble type: 7/8 Chorus Voicing: 2-part
Genre/Period classification: Popular
Title: Shenandoah Ensemble type: 4th and 5th Grade Chorus
Arranger: Spevacek
Voicing: SAB Title: O Lux Beatissima
Genre/Period classification: American Arranger: Burrows
traditional Voicing: 2-part
Ensemble type: 7/8 Chorus Genre/Period classification: Contemporary
Ensemble type: 4th and 5th Grade Chorus
Title: Home
Arranger: Emerson
Voicing: SAB Title: Gonna Rise Up Singing
Genre/Period classification: Pop Arranger: Besig
Ensemble type: 7/8 Chorus Voicing: 2-part
Genre/Period classification: Uptempo
Title: Ich Will Den Herrn Loben Ensemble type: 4th and 5th Grade Chorus
Arranger: Maiorana
Voicing: SAB
Genre/Period classification: German Title: Shake the Papaya Down
traditional Arranger: Dwyer
Ensemble type: 7/8 Chorus Voicing: 3-part
Genre/Period classification: World
Title: Haida Ensemble type: 4th and 5th Grade Chorus
Arranger: Maiorana
Voicing: SAB
Genre/Period classification: Traditional Title: Hot Chocolate
Chassidic Arranger: Beck
Ensemble type: 7/8 Chorus Voicing: 2-part
Genre/Period classification: Holiday
Title: I’ll Be Home for Christmas Ensemble type: 4th and 5th Grade Chorus
Arranger: Maiorana
Voicing: SAB
Genre/Period classification: Holiday
Ensemble type: 7/8 Chorus

Title: Count on Me
Arranger: Day
Voicing: SAB
Genre/Period classification: Pop
Ensemble type: 7/8 Chorus

ELEMENTARY CHORUS:
Title: Blue Skies
Arranger: Emerson
 15

Appendix F
References

Burnham, K. (2021). Culturally Responsive Teaching: 5 Strategies for Educators. Northeastern

University Graduate Programs.
https://www.northeastern.edu/graduate/culturally-responsive-teaching-strategies/

Clauhs, M., Powell, B., & Clements, A. C. (2021). Popular music pedagogies : a practical guide for
music teachers . Routledge.

Gay, G. (2002). Preparing for Culturally Responsive Teaching. Journal of Teacher Education,
53(2), 106–116. https://doi.org/10.1177/0022487102053002003

Hess, J. (2019). The Bloomsbury handbook of popular music education : perspectives and
practices . Bloomsbury Academic.

Ladson-Billings, G. (2014). Culturally Relevant Pedagogy 2.0: a.k.a. the Remix. Harvard
Educational Review, 84(1), 74-84,135.

Ladson-Billings, G. (1995). Toward a Theory of Culturally Relevant Pedagogy. American

Educational Research Journal, 32(3), 465–491. https://doi.org/10.2307/1163320

Shaw, J. T. (2020). Culturally responsive choral music education : what teachers can learn from
nine students’ experiences in three choirs . Routledge.

Villegas, A. M., & Lucas, T. (2002). Preparing Culturally Responsive Teachers: Rethinking the
Curriculum. Journal of Teacher Education, 53(1), 20–32.
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