Resumen de Critical Discourse Analysis for Transformative Music Teaching and Learning: Method, Critique, and Globalization
Imagine yourself as a fly on the wall in an urban middle school general music classroom. During the class, a Panamanian-Puerto Rican-American-male student in 7th grade stops performing an Orff arrangement of Shenandoah. The Anglo-Albanian-American-female teacher in her first year asks the student why he has stopped participating, to which he replies, "Because this piece is gay." The teacher gets defensive because she has put much time into considering the pedagogical value of the piece she arranged. The teacher ends up responding to the student by saying, "I will remind you that in this class your grade is dependent on participation. If you don't participate, you will earn a zero for the day.If this continues, I'll be happy to have a conversation with you and your parents again about the expectations for participating in this group." The teacher begins rehearsing her piece again and the student reluctantly performs. Eventually the student loses interest again and stops performing before the cutoff. The teacher, now appearing very frustrated, confronts the student again in front of the class by saying, "Why is it so difficult for you to play with the rest of us?" To which the student immediately replies, "Because this song sucks. Why can't we play good music?"
