Abstract

The inclusion of music is central to early education pedagogy as an efficient means of conveying information and a mechanism for knowledge retention, yet these tools are generally omitted from higher educational approaches. Drawing on prior studies highlighting how musical assignments successfully supplemented traditional criminal justice coursework, a criminological theory course was redesigned with music as a core component. Musical selections were included and discussed in each class meeting as well as being tied to class assignments within a pilot course. Teaching techniques were refined over several semesters with the revised course framework including more student involvement, somewhat approaching a flipped classroom model whereby the instructor and students equally shared musical selections relevant to course curriculum. The instructor perceived students were more invested in the course. The professor-student dynamic also appeared to become more intimate due to both sharing music about which they were personally passionate. Further, the instructor’s inclusion of crime-specific songs from older musical genres appeared to disrupt students’ stereotypes associating crime with other genres and demographics. We offer a summary of the techniques for teaching a criminological theory course framed by instructor presentations of “outlaw” country music; guidance is also provided for utilizing other genres.

摘要

将音乐作为一种有效的信息传递方式和知识保留机制，是早期教育教学法的核心，但这些工具通常在高等教育方法中被忽略。借鉴之前强调音乐作业如何成功补充传统刑事司法课程的研究，以音乐为核心组成部分重新设计了犯罪学理论课程。每次班级会议都包括和讨论音乐选择，并与试点课程中的班级作业相关联。教学技巧在几个学期内得到改进，修订后的课程框架包括更多的学生参与，有点接近翻转课堂模式，教师和学生平等地分享与课程相关的音乐选择。讲师认为学生对课程的投入更多。教授与学生之间的互动似乎也变得更加亲密，因为双方都分享了他们个人热衷的音乐。此外，教师将旧音乐流派中针对犯罪的歌曲纳入其中，这似乎打破了学生将犯罪与其他流派和人口统计数据联系起来的刻板印象。我们总结了教授犯罪学理论课程的技巧，这些课程以“非法”乡村音乐的讲师介绍为框架；还提供了使用其他类型的指南。教师将旧音乐流派中针对犯罪的歌曲纳入其中，这似乎打破了学生将犯罪与其他流派和人口统计数据联系起来的刻板印象。我们总结了教授犯罪学理论课程的技巧，这些课程以“非法”乡村音乐的讲师介绍为框架；还提供了使用其他类型的指南。教师将旧音乐流派中针对犯罪的歌曲纳入其中，这似乎打破了学生将犯罪与其他流派和人口统计数据联系起来的刻板印象。我们总结了教授犯罪学理论课程的技巧，这些课程以“非法”乡村音乐的讲师介绍为框架；还提供了使用其他类型的指南。