Music Education, Critical Race Theory in Education, and “Racial Contract Theory”

• In Event: Critical Race Theory, Praxis, and Pedagogy in Music Education

Abstract

Objectives
The purpose of this paper is: 1) to examine the impact of school desegregation on Black students’ access to and participation in music education from by reviewing access before and after the Brown (1954) decision and 2) to ascertain what Critical Race Theory in Education (CRTinEd) and “Racial Contract Theory” (RCT) afford toward understanding how race is implicated in the construction of conditions that militate/d against Black students’ participation in public school music programs. Given the disproportionate representation of students of color in bands programs across the United States (Elpus & Abril, 2011), I argue that race is a salient factor in this outcome.
In addition this paper aims to reveal ways that desegregation is implicated in access to music education for Black students in schools and the affect on society at-large.

Theoretical Framework

Critical Race Theory (CRT) and “Racial Contract Theory” (“RCT”) are two theoretical frameworks that address structural, social and political realities of race. Education researchers Gloria Ladson-Billings and William Tate argued that race had been under-theorized in education and introduced Critical Race Theory in Education (CRTinEd) as an analytic tool to illuminate race. Political philosopher, Charles Mills, introduced “Racial Contract Theory” to address race and racism or more specifically, “global white supremacy” in political philosophy. In this paper I will argue that though from different disciplinary genealogies, Critical Race Theory in Education and the “Racial Contract Theory” together can provide a robust theoretical understanding toward advancing racial justice in music education. This paper is an exploration into what Critical Race Theory in Education (CRTinEd) and the “Racial Contract Theory” (RCT) might together contribute toward understanding how race is implicated in the creating conditions that militate against Black students’ participation in public school music programs.

Data Sources
By reviewing the literature on the impact of school desegregation on music education, I situate this discussion in the relationship between school desegregation and access to music education for African American students and use examples from the desegregation of the schools in Kansas City, MO, Detroit, MI, Nashville, TN and Dayton, Ohio, cities in which spawned rich American musical traditions.

Findings and Significance

Findings reveal a disproportionate representation of ethnic demography of students in band programs, Northern and Border state school-trained students who created foundational American musical styles. I consider the implications of the impact of desegregation on schools and the world. Finally, I ask what would it take to have school music programs that have a proportionate representation of African American students.

Author

• Angela M. Wellman, University of Wisconsin - Madison