Accessing marginalized musics through adaptable, culturally sustaining music technology modules

Leila Adu-Gilmore

Research output: Contribution to journalArticlepeer-review


Black music technology has innovated across genres such as dub, hip hop, techno and Afrobeats, redefining music as we know it. Music research subfields (perfor-mance, composition, musicology, technology) have historically excluded black musics but music education has begun to include them. Critical Sonic Practice Lab created a culturally-sustaining music technology toolkit and modules in Accra, Ghana. We exploit music technology’s constant evolution, engaging critical sonic practice’s intersectional approaches to the continuum of improvisation and composition, and music theory. Adjusting teaching resources for students with less finances and internet access can give access to STEAM (science, tech-nology, arts and mathematics) and music creation. We recenter Black, Latinx and Indigenous musics and participatory music practices to expand music creation. Therefore, this research design offers a series of decolonizing music technology and creation prompts to adapt with local music practitioners as teaching-artists for community-specific teaching and learning.

Original languageEnglish (US)
Pages (from-to)317-334
Number of pages18
JournalJournal of Popular Music Education
Issue number3
StatePublished - Sep 2023


  • critical sonic practice
  • culturally relevant pedagogy
  • decolonizing
  • inclusive learning
  • music education
  • participatory research

ASJC Scopus subject areas

  • Arts and Humanities (miscellaneous)
  • Music
  • Visual Arts and Performing Arts


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