Date

10-14-2026

Department

School of Music

Degree

Doctor of Music Education (DME)

Chair

Thomas P. Goddard

Keywords

Culturally Responsive Education, Music Education, Elementary Music Education, Culturally Responsive Teaching, Culturally Responsive Approaches, Inclusion, Inclusive Music Education

Disciplines

Education | Music

Abstract

While programs such as the Diversity, Equity, and Inclusion Act (DEI) and the practice of Culturally Responsive Education (CRE) existed for much of the last decade, representation of marginalized and intersectional identities in traditional music education is often limited to world culture units, rather than being consistently integrated throughout the curriculum. The social understanding of CRE and DEI often limits their purpose to racial diversity; however, these philosophies affirm people from any marginalized class, including those based on gender, disability, race, culture, community, orientation, socioeconomics, or simply bringing one’s lived experiences into a valued perspective. The lack of integration happens regardless of the cultural makeup of the community a teacher serves. This study explores phenomenology to examine culturally responsive music education (CRME) in music teachers’ educational experience and how they address representation within their programs. This study employed a phenomenological approach to analyzing music teachers’ experiences with diversity and inclusion in music education. The findings of this study may provide insights into how music educators navigate representation within their programs. Clarity and intentional application of CRE in music classes may better support student development. Ultimately, this study may bridge the concept of CRE to what teachers have naturally done in their classes, contribute to the ongoing dialogue about the importance of inclusive curricula, and offer strategies for intentional practices within the field.

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