Academic
Exchange Quarterly Summer
2005 ISSN 1096-1453 Volume 9,
Issue 2
To cite, use print
source rather than this on-line version which may not reflect
print copy format requirements or text lay-out and pagination.
Integrating Music in History Education
Cameron White, University of Houston, TX
Cameron
White, Ph. D. is Professor of Social Education.
Abstract
Meaningful history
education moves beyond traditional practice by suggesting the inclusion of
student and issues centered approaches to teaching and learning. Our children’s
natural desire to make sense of their world can be enhanced through the
appreciation and application of popular media as a pedagogical tool. This
article explores the possibilities of integrating music as an example of
popular media for effective history education.
Introduction
What is the role
of schools in promoting history education? How do the current practices in
teaching and learning impact history education? What is the role of popular
media in society? Does popular media have a role in the education process of
secondary students? Is there a connection between popular media and history
education? Popular media is at the center of societal controversy and debate at
present. Popular media embodies a language of both critique and possibility; a
language that allows students to locate themselves in history, find their own
voices, and establish convictions and compassion necessary for democratic civic
courage (Freire and Giroux, 1989).
History
education in our schools has suffered for some time. Issues include the ongoing
Ïculture warsÓ between
history and social studies, standardization leading to test preparation in
place of history education, and low level transmission of information, among others. As a result
history education needs rethinking and transformation (Loewen,
1995). Howard Zinn also suggests that we often decontextualize history in our schools by providing merely
the Ïwinner’sÓ perspective (2000). We must also
address the components of powerful history teaching and learning including
approaches that are meaningful, integrative, inquiry-based, challenging, and
active. The ultimate goal might be the transformation of history education to a
student-centered, problem-based, critical analysis focus (White, 2000).
We must
acknowledge that popular media is part of our lives and is very important to
our society, our citizens, and especially our children. In a society
increasingly fragmented by debate, misunderstandings, and lack of consensus, popular
media remains one of the few arenas that provides a forum for common
understandings, dialog, and communication. It is precisely in the diverse spaces
and spheres of popular media that much of education is taking place on a global
scale today (Giroux, 1994).
The overt goal
of our schools is to enhance knowledge, skills, and values development for our
children. Unfortunately these goals are more often than not top down,
authoritarian and promote passivity. These goals therefore seem to be driven by
the ultimate goal of preparing our youth for the world of work. This is a
realistic goal for schools, but should not be the driving force. Ultimately, we
must prepare students for active participation as global citizens; and this
means that we have a responsibility to teach for social efficacy, thus
empowering students to be engaged in societal issues.
What need we do
to promote meaningful history education? Meaningful history education moves
beyond traditional practice by suggesting the inclusion of student and issues
centered approaches to teaching and learning. Advocates these approaches to
history education suggest that our schools are often demeaning and
disempowering places where children are either bored into submission or where
the transmission and socialization techniques destroy any hope for critical inquiry.
A history curriculum is needed that encourages participation, inquiry, and critical
analysis (Westheimer and Kahne, 1998).
What is the
connection we all seem to have with popular media? If we are truly
interested in providing meaning to kids’ lives as we engage in teaching and
learning, why don’t we do a better job of integrating popular media into
education? Our children’s natural desire to make sense of their world can be
enhanced through the appreciation and application of popular media as a
pedagogical tool. Popular media can provide the common connections and voice
for our often disconnected youth that many of us remember as wide-eyed joy and
a sense of wonder of the world. Music and other forms of popular culture are
ideal tools for social efficacy teaching, both as a possibility for liberation
and to address social issues (Steinberg and Kincheloe,
1997).
Popular media
can counter this negative trend. If we are truly interested in students being
motivated to learn and apply this learning to the broader spectrum of social
literacy, then we must make stronger efforts at integrating meaningful
curriculum and instruction that includes real world connections. These
connections allow kids to develop the scaffolding needed to construct
knowledge. Popular media can enhance a transformative rather than transmissive history education by providing these
connections. An approach suggested within is to teach history by better
connecting the present and the past, perhaps beginning with the present and
working through common themes in history such as change, conflict, and
innovation. Music is a powerful tool that can facilitate these connections. Allowing
kids to bring in their popular culture choices as they investigate issues, make
connections, construct knowledge, and engage in sense making may very well be a
threat to the entrenched (Daspit and Weaver, 2000).
Music as a
Powerful Tool
Unfortunately,
one seldom finds music used in the teaching and learning process outside of
traditional arts instruction. Teachers
do not have enough time, music is inappropriate, it is not relevant, or there
is just a lack of knowledge; all these are excuses for the lack of music
integration in history education. However, if we are interested in contextual history
education for active participation and problem solving in society, then music
offers many possibilities. It often provides a context for connections to the
world and sense making in the world. Our students also deserve the opportunity
to engage in this discourse and inquiry for music is one area where they seem
eager to share their voice and engage in history.
The Baby Boom of
the post World War II years also contributed much to the mass audience for popular
media and therefore music; and pop music in all its categories reaped the
benefits. One could provide an interesting social history of the latter half of
the twentieth century by exploring the evolution of music. In the sixties,
music became harder edged and more serious with the exploration of social
issues, for example. In the late eighties and nineties hip hop and alternative
music continued to push the boundaries and explore harder issues as well as
entertain. Popular media and music not only serve as a reflection of the times,
but as is evidenced from the social history of the late twentieth century, can
also be very active social forces.
Despite issues in
schools such as standardization, test preparation becoming the curriculum, and
scripted lessons many social studies teachers have used music very effectively
to demonstrate historical periods. Sample music integration examples include
units on music and war, music and postwar America, the labor movement and
music, social issues and music, and global cultures and music. Many of these
examples are teacher directed with the teachers usually choosing and
demonstrating the music examples. This is definitely a first step in meaningful
integration – that of modeling, but critical history education necessitates
more student active involvement and choice (Brooks and Brooks, 1994). Meaningful
history education requires that we engage in a more sincere effort at promoting
the context and connections needed to ensure a more relevant learning
experience. Allowing students to be involved in the social construction of
meaning in their world is a vital step.
Keeping with relevant
examples, using current events and social issues to provide context and
connections for today and for the study of the past enhances the links
necessary for student efficacy and empowerment. Music is a natural tool for
achieving these goals. But it must be include student choice if we are interested
in enabling context and connections. We can include our music as examples and
modeling, but again, allowing students to include their personal choices in the
teaching and learning process takes it that needed step. Obviously this
presents an opportunity to teach rights and responsibilities regarding ÏappropriateÓ examples for using in schools.
Most music
genres or individual artists contain examples of songs that contain social
commentary or historical references. Many people are under the assumption that
social commentary in music reached its peak in the late sixties and early
seventies. Punk (Clash, Green Day), Hip Hop (Public Enemy, Eminem)
and Grunge (Nirvana, Pearl Jam) are genres from the eighties through today that
provide considerable social commentary and historical references. And Pop and
Rock (Springsteen, Dylan) still have much to say regarding social issues. œEven” country has lots to say regarding similar ideas and
themes (Cash, Keith). We should not dismiss artists or genres that we don’t œown” as many interest our students.
Many forms of music
emerge as commentary or resistance toward more mainstream culture and society.
Perhaps no better example of this exists than in popular music. From its
earliest days pop has been viewed as cutting edge, crossing the boundaries, and
a threat to the values and morals of society. Little Richard, Elvis, the
Beatles, Bob Dylan, The Rolling Stones, Acid – Pop, Heavy Metal, Disco, Punk,
MTV, Grunge and Thrash, Rave, and Hip Hop have all witnessed their detractors
and have been viewed at one time or another as threats to the basic social
fabric.
Through its
history, pop music like all forms of music has not only served as a reflection
of the times, but it also has been a catalyst for critical social efficacy and
societal change. Several themes can be used to integrate pop music into
teaching and learning for social efficacy in schools. Pop music can be a very
powerful theme as students investigate issues such as ethnicity and the
struggle for equality, population growth, economics, technology, business and
industry, efficacy and empowerment within the context of social history (Szatmary, 2000). This focus in and of itself would provide
the necessary relevance students need to facilitate intrinsically a love of
learning leading to effective social efficacy and empowerment.
Music in the U.
S. in the last part of the twentieth century at least, is often reflected
through the struggle for equality by various ethnic groups, particularly
African Americans. One must first come to an understanding of the absolute
importance of African American culture in the history of U. S. media music. Pop
would not exist as it is without blues which originated from slave songs.
Protest music of the sixties often had civil rights as the predominant theme.
African American artists are often the trail blazers in social commentary and
music innovation including blues, jazz, R and B, disco, rap, and hip hop. Each
of these genres emerged as a proactive force with music doing more than perhaps
any other societal force in promoting integration and appreciation of cultures.
Applications
The following
three applications offer models for integrating music in secondary history
education. The themes include music and history, music and social issues, and
music and the 2oth century. They are intended are guides and suggestions, not
detailed lessons to ensure student and teacher negotiation, choice, and
adaptation. Each application begins with integrating a teacher choice of music
to focus the lesson, then includes student centered applications focusing on
collaborative and inquiry-based strategies.
Music and
History
Introduction:
Pass out lyrics to We Didn’t Start the
Fire.
Play We Didn’t Start the Fire by
Billy Joel.
Ask the following:
What
is the song about?
What
issues and ideas are presented?
Why
does the song begin and end when it does?
Place students in groups of approximately
4.
Tell students that they are going to
update the song.
Have students individually brainstorm
events and issues from 1990 – present.
Have group members share.
Create a group stanza.
Pass out transparency and have groups
write new stanza.
Each group will share / sing new stanza.
Following the sharing have groups discuss
rationale for events / issues included.
Have groups research and investigate
original song’s events and issues.
Groups:
Individuals in groups brainstorm themes
in history and music examples for integration.
Brainstorm application ideas. Share.
Modeling:
Have examples of music for groups to
investigate.
Examples include Say It Loud, Long Road
to Freedom, 200 Years of American Heritage in Song, We Sing America, Celebrate
Women, The Civil War, Soundtrack for a Century
Discuss the examples and choose specific
examples of music for classroom integration.
Examples:
Have lyrics and music for songs such as
Yankee Doodle, Follow the Drinking Gourd, This is Your Land, Blowin’ in the Wind, and Where is the Love
Groups should brainstorm integration
ideas.
Music and
Social Issues
Introduction:
Pass out lyrics to any song that deals
with social issues such as Where is the Love by The Blackeyed
Peas
Play the song, play other examples of
songs that deal with social issues.
Ask the following:
What
is the song about?
What
issues and ideas are presented?
Why
does the song begin and end when it does?
Place students in groups of approximately
4.
Tell students that they are going to
write their own lyrics on an agreed upon social issue
Have students individually brainstorm
current social issues.
Have group members share.
Create a group stanza.
Pass out transparency and have groups
write new stanza.
Each group will share / sing new stanza.
Following the sharing have groups discuss
rationale for events / issues included.
Groups:
Individuals in groups brainstorm themes,
social issues and music examples for integration.
Brainstorm application ideas. Share.
Modeling:
Have examples of music for groups to
investigate.
Examples include songs from Public Enemy,
System of a Down, Bob Dylan, Pete Seeger, Ani Defranco,Woody Guthrie, etc.
Discuss the examples and choose specific
examples of music for classroom integration.
Examples:
Have lyrics and music for songs such as Changes
by 2Pac, Roll with It by Ani Defranco, Shimmy by
System of a Down
Groups should brainstorm integration
ideas.
Music and
20th Century
Introduction:
Play 2 - 3 of
your favorite songs (history, social themes). Inform students of the meanings,
connections, and why you like the songs.
Have students so
the following:
Write
names of 3 favorite songs.
Describe what the songs mean.
Why do you like the songs?
Bring in examples / lyrics.
Groups:
Share examples.
Have group members write or draw a response to the examples.
What are the
similarities and differences between songs?
Discuss in
groups:
What
are the elements of a good song, artist?
What kind of music do you like?
What are current issues regarding
music in society?
What are your thoughts about these
issues?
Extensions:
Do the same with
various themed collections such as:
Jukebox Hits of the 50’s, 60’s,
70’s, 80’s, and 90’s
Long Walk to Freedom
Say It Loud
Use various themes / issues in the music
to teach or make connections to history / social issues.
Conclusion
A vital issue
surrounding music (at least regarding schooling) is its role as societal force;
as this relates most directly to the issue of social efficacy and participation.
Regardless of the genre, music remains a vibrant cultural force that reflects
societal issues but can also have a proactive impact. Exploring the role of music in reflecting and
impacting societal change both in the present and the past can be a very
motivating experience for kids in their endeavor to make sense of the world. The
idea is that music is not only a device for entertainment, but one that
provides social commentary and a contextual tool for powerful history education.
Allowing for the investigation of issues through music as Shukar
suggests (1994) or using music as social and historical references as Szatmary (2000) suggests can only enhance powerful history
education that actually involves students in discourse and dialog. Integrating
music can only enhance student active engagement in historical inquiry and
investigation.
References
Brooks, J. and Brooks, M. The Case for
Constructivist Classrooms. Alexandria, VA: Association for Supervision and
Curriculum Development. 1994.
Daspit, T. and J. Weaver, 2000. Popular
Culture and Critical Pedagogy. New York: Falmer
Press.
Freire, P and H. Giroux. Pedagogy, popular
media, and public life. In Giroux, H. and R. Simon. Popular Media: Schooling
and Everyday Life. Granby, MA: Bergin and Garvey Publishers. 1989.
Giroux, H. Disturbing Pleasures. New
York: Routledge. 1994.
Loewen, J.. Lies my teacher told me. New York: Touchstone. 1995
Steinberg, S. and J. Kincheloe. 1997.
Kinderculture: The Corporate Construction
of Childhood. Boulder, CO: Westview Press.
Szatmary, D. Rockin'
in Time: A Social History of Rock and Roll. Toronto: Prentice Hall. 2000.
Wallis, R. and Malm,
K. Youth Policy and Music Activity. New York: Routledge.
1992.
White, C. Issues in Social Studies. Springfield,
IL: Charles C. Thomas, 2002.
Zinn, H. A People’s History of the United
States. New York: Harper Collins, 2003.
Web Sites
Popular Songs in
American History
http://www.contemplator.com/america/
100 years of
Music Posters
http://www.music-posters-history.com/
This Day in
Music History
http://datadragon.com/day/
Black History in
Music
http://www.rhino.com/blackhistory/
Top 20 Music
History
http://www.top20musichistory.com/
Education Planet
– History and Music
http://www.educationplanet.com/search/search?keywords=history+and+music&startval2=0
Songs for Social
Studies
http://songsforteaching.homestead.com/SocialStudies.html
Teaching Media
http://www.media-awareness.ca/eng/med/class/teamedia/popcul.htm
Popular Culture
Appreciation Society
http://home.vicnet.net.au/~popcult/net.htm#TOP