Religion and Race in

Music Education
Haley, Julian, Chris, and Esther
Statistics

https://www.pewforum.org/religious-landscape-study/

American population Religious composition: (2015)

- 70% Christian
- 1.9% Jewish
- 0.9% Muslim
- 0.7% Buddhist
- 0.7% Hindu
Statistics (Cont.)

https://www.pewforum.org/religious-landscape-study/generational-cohort/

- The non Christian religions are on the rise in young adults in America
- Of the American Buddhist population: 23% are young millennials
- Of the American Muslim population: 29% are young millennials
Laws on Religion in Public Schools

1st Amendment: Congress shall make no law respecting an establishment of religion, or prohibiting the free
exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to
assemble, and to petition the Government for a redress of grievances.

2 parts of religion:

- No establishment of Religion
- No prohibition of the free exercise of any religion
Laws on Religion (cont.)

Lemon v. Kurtzman resulted in the Lemon Test; 3 pronged

- Must have a secular legislative purpose

- Primary effect must be one that neither advances nor inhibits religion
- Must not foster excessive entanglement between the government and religion
creationism vs. evolution

- Fundamentalism: a relatively recent movement within religions that believe in the absolute authority
and often literal interpretation of the sacred text
- Began with the Tennessee Butler Act of 1925: which outlawed “the teaching of any theory that
denies the story of the Divine Creation of man as taught in the Bible, and to teach instead that man
has descended from a lower order of animals.” (In favor of Tennessee)
- Ruling reversed in Epperson v. Arkansas: “Government in our democracy, state and national, must be
neutral in matters of religious theory, doctrine, 104*104 and practice. It may not be hostile to any
religion or to the advocacy of no-religion; and it may not aid, foster, or promote one religion or
religious theory against another or even against the militant opposite. The First Amendment mandates
governmental neutrality between religion and religion, and between religion and nonreligion.”
(Epperson v. Arkansas)
Creationism v Evolution (cont.)

- McLean v. Arkansas : Equal representation for ‘Creation Science’ and Evolution

- forced courts to come up with criteria for science
- … And many others (Kitzmiller v. Dover, Everson v. Board of Education,

What should I take from this??

Public school continues to be the front lines for the battle between religious fundamentalism and
secularization
Pastafarianism
A response to Kitzmiller v. Dover Area School District; a parody religion created by Bobby Henderson to
demand equal representation and to protest the inclusion of ‘Intelligent Design’ in public schools. Although
the court case ruled against the school district, the response within the non religious community included
this, the creation of Pastafarianism.

The unique thing about the church of the Flying Spaghetti Monster is that the parody is almost complete
under the religious criteria established in U.S v Meyers. These criteria are; ultimate ideas, metaphysical
beliefs, moral or ethical system, comprehensiveness of beliefs, and accoutrement of religion, which is a
founder or teacher, gathering places, important writings, keepers of knowledge, ceremonies and rituals,
holidays, structure and organization, diet, appearance and clothing, and propagation. (U.S v Meyers)
Islamophobia

Islamophobia: irrational fear of, aversion to, or discrimination against Islam or people who practice Islam.
(Merriam-Webster Dictionary)

Between the years 2007 and 2008, reported cases of Muslim discrimination within schools went from 118 to
153. (International Literacy Association; PEW)

in 2010, 38% of Americans looked unfavorably upon Islam

“In previously conducted research, the Muslim youth who shared
their stories with me in the U.S. (Zaal, Salah, & Fine, 2007) and in
the Netherlands (Zaal, 2009) had many concerns in common.
They spoke of experiencing Islamophobia in blatant and insidious
ways—being called names, being told they were oppressed by
their backward religion, and told to return to where they came
from. They reported feeling targeted at school, on the
playground, and on the bus. They did not want to be burdened
with educating others about their faith or to defend their religion
or ethnicity. They described feeling alienated when adults and
peers promoted stereotypes about Islam.” (International Literacy Association)
Who bears the brunt of Islamophobia?
Muslims (obviously)

but also…

Arab, Sikh, and South Asian American populations

- ties into racism

- but also religious stereotypes: Sikhs keep hair long and wrapped in
turban, also carry a sacred dagger
Hanukkah is not the Jewish Christmas

Rosh Hashanah and Yom Kippur are the most important Jewish holidays, and Purim in spring is the
traditional gift-giving holiday. Hanukkah is actually a minor holiday.

According to Joshua Jacobson, DCA at Northeastern University and an expert on Jewish choral music,
“Hanukkah is not the Jewish Christmas. Hanukkah is a minor holiday, and most of the Hanukkah music you’ll
find was actually created in a futile attempt to balance out Christmas concerts. There are of course eleven
other months of the year in which educators can program Jewish sacred music of high quality.”

Fun fact: “White Christmas,” “Rudolph the Red-Nosed Reindeer,” “I’ll be Home for Christmas,” and many
more were actually written by Jewish songwriters!
NAfME’s Position Statement on Sacred
Music in Schools
The National Association for Music Education’s position statement on whether music with a sacred text has
a place in public schools is stated as the following:

“It is the position of the National Association for Music Education that the study and performance of
religious music within an educational context is a vital and appropriate part of a comprehensive
music education. The omission of sacred music from the school curriculum would result in an
incomplete educational experience.”
Laws on Sacred Music in Public Schools
Florey v. Sioux Falls District (1980)

“Music, art, literature, and drama having religious themes or basis” are allowed as long as they are
presented in a “prudent and objective manner” (p. 918)

“Music without sacred music, architecture minus the cathedral, or painting without the scriptural themes
would be eccentric and incomplete, even from a secular point of view (p. 916).”

On Christmas music:

“The court found that the reasons for the selection of the music include its “inherent value . . . [and] because
Christmas music with religious content has been assimilated into our culture . . . the performance of
Christmas music with religious content does not constitute a religious activity per se” (Florey v. Sioux Falls
School District, 1980, p. 916).
Laws (cont)

Doe v. Duncanville

“McCullar also testified that 60% to 75% of “serious choral music is based on sacred themes or text” (p.
407). The court ruled that forbidding the choir to have a religious theme song would “disqualify the majority of
appropriate choral music simply because it is religious. Within the world of chorale music, such a restriction
would require hostility, not neutrality toward religion” (pp. 407–408).
 Picking Repertoire
NAFME offers the following 7 questions as a guideline to creating a religiously neutral program:

1. Is the music selected on the basis of its musical an educational value rather than its religious context?

2. Does the teaching of music with sacred text focus on musical and artistic considerations?

3. Are the traditions of different people shared and respected?

4. Is the role of sacred music one of neutrality, neither promoting nor inhibiting religious views?

5. Are all local and school policies regarding religious holidays and the use of sacred music observed?

6. Is the use of sacred music and religious symbols or scenery avoided? Is performance in devotional settings avoided?

7. Is there sensitivity to the various religious beliefs represented by the students and parents?
Picking Repertoire: Some Recommendations
1. Learn your school’s policies and follow them during concert season.

2. Have a solid educational reason for all repertoire choices and be able to articulate it.

3. Know your school and community’s traditions and expectations.

4. Educate your students about why you are studying and performing the music you have chosen.

5. Educate your audience as well.

6. Respect and embrace diversity.

How Do We Practice this Awareness?

Let’s do some scenarios!

Scenario 1

Wanting to acknowledge the diversity in her elementary classroom, a teacher asks her only Jewish student
to step to the front of the room. The student then complies with his teacher’s request to tell his classmates
why his family does not sing the Christmas songs enjoyed by the other students. Prompted by the teacher,
he describes the Hanukkah traditions celebrated in his home as all of the other elementary students quietly
listen.

What went wrong here?

Tokenization
The teacher in the previous scenario singled out a student as a representative of an entire ethnic group.
While the teacher did not have malicious intentions, she forced the student to describe the ways in which
he was different from all of his peers.

Although the teacher’s goal was to celebrate classroom diversity, she did so by pointing out the single
“other” in the classroom. The student served the teacher as a token, or representative, for a group of
people different from the dominant Christian culture.

The teacher may have been trying to empower the student by making his differences known. However, she
went about this by tokenizing the student. Empowerment doesn’t need to occur through public
acknowledgement. Students may feel empowered through the personal and confidential conversations they
have with mentors.

If the teacher wanted to educate her class or learn more about different winter holiday traditions, she could
have privately contacted parents or asked a local community member to come in and talk to the class.
Scenario 2

A bus of undergraduate choral musicians pulls away from the hotel. This group of music majors and non
majors enrolled in a public school choral ensemble spent the past day touring a small city located just a few
hours away from their university, followed by a rehearsal and performance in a historical building. Before
heading back to campus, the ethnically, racially, and socioeconomically diverse group of singers make a
scheduled stop at a church in which their choral director offered a performance by the choir as part of the
Sunday morning service.

What are the potential problems here?

Dangerous Assumptions
The choir director assumed that a church service would be a familiar and comfortable setting for all
students. The students, who are graded based on participation in ensemble performances, followed
directions but did not voice their discomfort.

While the ensemble was primarily made up of Christian students, the group also included Muslim, Hindu,
Jewish, atheist, and agnostic students. Some of these belief systems prohibit followers from participating in
religious services outside of their faith.

Many of these students may not have spoken up for fear of letting down their peers, making themselves
known as different, or suffering grade-related consequences.

The choir director could have looked for a community park or other public space for an outdoor concert,
rather than assuming all of his students would be comfortable performing in a church service.
Scenario 3

A high school band director sends the fall marching band competition schedule to all students and parents
at the beginning of the school year. Immediately, the Jewish students realize that the first competition will
take place on Rosh Hashanah, the Jewish New Year. The students inform the director of the conflict. After
discussing the situation with colleagues, the director sends out his response: “Thanks for letting me know
you have a holiday, but we need to have a competition.”

How was this situation handled?

 Sensitivity and Awareness
In the previous scenario, the high school band director put the performance goals of the ensemble above the needs
of the students. Although a sizeable portion of the band were Jewish, the director did not consider their family
needs or desires during their observance.

The high school band members were placed in an uncomfortable position: they could observe the tenets of their
religion and be with their families, or they could ensure one less hole in the formation on the field at the
competition. If they chose not to attend, they would contribute to a lower score and rating for their peers and band
director.

The band director may not have known enough about Judaism to understand why his students cannot march in
competition on Rosh Hashanah, but he had the opportunity to talk with his students individually and ask and learn
about their family beliefs and practices.

High school band teachers are afforded a lot of freedom to choose competitions to attend. Giving up one
competition date to ensure every member of the group can participate does not mean less success for the band. On
the contrary, participation by every member in the group leads to greater sense of ownership and stronger
performances.
How can you help?

- Be aware of religious practices: for example, allowing Muslim students their prayer time
- Be aware of dietary restrictions: for example, practitioners of Hinduism cannot eat beef, and those
who practice Judaism have multiple dietary restrictions
- Pick sacred songs from other religions
- Be aware of other religions’ holidays
- At the end of the day, students will remember your communication and understanding long after
everyone has forgotten the music you’ve programmed.
Race and Diversity
Race and Diversity

● Race: “a class or kind of people unified by shared interests, habits, or characteristics”

(Merriam-Webster Dictionary)

● Diversity: “the inclusion of different types of people (such as people of different races or
cultures) in a group or organization” (Merriam-Webster Dictionary)
The Role of Race in the Music Classroom

● The student body is not a monolith and we should not treat them as
such. Everyone has different social and cultural experiences that are a
valid and must be respected.
● Race can be both a communal factor and a dividing factor in social
settings.
○ I.E. Students of similar racial background tend to create communities together.
○ But also: Students unconsciously use race to differentiate themselves from others.
Who is overrepresented in the Music
Classroom?
 65.7%
The Average Percentage of Music Students who are White. (Elpus and Abril, 134)
Who is underrepresented in the Music
Classroom?
Hint: It’s probably not white people.
The Numbers

Racial Makeup of the Music Classroom Other Factors

● White: 65.7% Socio-Economic Status

● Black: 15.2%
● Hispanic: 10.2%
Family Composition (1 or 2 parent homes)
● Multiracial: 4.3%
● Asian: 3.8%
● Indigenous/Pacific Islander: 0.9% Student’s Native Language

(Elpus and Abril, 134) Parent’s Education Level

NAfME’s Stance on Diversity

A well-rounded and comprehensive music education program, as envisioned in the 2014 National
Music Standards, should exist in every American school; should be built on a curricular framework
that promotes awareness of, respect for, and responsiveness to the variety and diversity of cultures;
and should be delivered by teachers whose culturally responsive pedagogy enable them to
successfully design and implement such an inclusive curricular framework.
Diversity ≠ Inclusion

Inclusion: “ the act or practice of including and accommodating people who have historically been
excluded” (Merriam-Webster Dictionary)

Just performing diverse repertoire doesn’t mean you are giving

proper representation to underrepresented groups. Make sure
you are doing everything in your power to present a respectful
and accurate portrayal of that piece’s culture and history.
Culturally Relevant Pedagogy

● “All teachers need to be concerned with the alignment of the music curriculum and student
cultural identity by focusing increased attention to culturally relevant pedagogy - both content
and process.” (Fitzpatrick, 56)
○ Content: Teachers should strive to include repertoire that represents the cultures
represented in their classrooms.
○ Process: “We must concentrate on the interactions, discussions, questions, dialogue…
to guide students to a greater cultural awareness and acceptance.” (Fitzpatrick, 57)
Examples

● Diction
● Historical Context
● Religious Context
Scenario 1

You have programmed a spiritual in your festival set. You are conducting a
predominantly white choir (20 white students, 3 Asian students, 2 black
students, 5 mixed students) in a pretty well off neighborhood. One of your
black students reaches out to you saying that they feel like the ensemble does
not understand the meaning of the piece.

How do you go about addressing this student’s concern?

Cultural Relevance and Allyship

Be relevant to your ensemble! (duh)

If you have a diverse group, why would you program a predominantly white concert? Do you think
they’ll care about the repertoire they’ll be performing?

If you show your students that you will care, they’ll care about the music they’ll be making!
What Can I Do Now?

We will never know what it’s like to be any other background besides our own,
HOWEVER we should:

● Understand that everyone has their difficulties

● Be aware of injustices that happen
● Call out these injustices! Injustices happen when everyone is silent
● Start with yourself! No one is ever “the exception”
What can WE do? (as future teachers)

We’re in such an important position as future educators, we need to take advantage of

the fact that we can serve as a safe space and mentor for many of our students by:

● Being self-aware
● Meaning what you say, saying what you mean
● Be on their side!
Religion Bibliography

https://ila.onlinelibrary.wiley.com/doi/full/10.1002/JAAL.00066

https://constitution.findlaw.com/amendment1.html

https://www.pewforum.org/2015/05/12/americas-changing-religious-landscape/

https://www.pewforum.org/2019/10/03/religion-in-the-public-schools-2019-update/

https://journals.sagepub.com/doi/full/10.1177/8755123314540663

https://www.jstor.org/stable/43288918

https://www.jstor.org/stable/23012617

https://nafme.org/my-classroom/music-selection/sacred-music/sacred-music-in-schools-position-statement/
Race Bibliography
https://www.jstor.org/stable/41692639?seq=1&cid=pdf-reference#references_tab_contents

https://www.jstor.org/stable/3399953?seq=1&cid=pdf-reference#references_tab_contents

https://www.jstor.org/stable/10.2307/26367441?seq=1&cid=pdf- reference#references_tab_contents

Journal of Research in Music Education, Vol. 59, No. 2 (July 2011), pp. 128-145

Journal of Research in Music Education, Vol. 63, No. 2 (July 2015), pp. 198-223