Sound Pedagogies: Drumming, Singing, Digital Audio Archives, and Remix Culture

TEK8 Petal Mapping

Attribute	Value
Die	D12
Element	Ether (Akasha)
Sense	Sound (Hearing)
Attribute	Creativity
Petal Name	MUSIC
Color	Indigo
Guild	Guild of the Resonant Chord
Opulence	Fame (Yashas)
Scope	Drumming, singing, digital audio archives, remix culture, acoustic ecology, music production, cultural preservation

Cross-Petal Connections

D10 (Chaos/Mind/Willpower) — PLAY: Slahal/Lahal bone game drumming and singing; music as play
D4 (Fire/Sight/Agility) — CRAFT: Drum-making workshops; instrument construction; visual art of album covers
D20 (Water/Taste/Empathy) — QUEST: Call-and-response traditions; empathic listening; communal singing
D6 (Earth/Smell/Endurance) — GARDEN: Acoustic ecology; field recording of natural soundscapes; garden sounds
D8 (Air/Touch/Strength) — MOVEMENT: Dance as inseparable from music; embodied rhythm; Orff movement pedagogy
D100 (Order/Focus/Intelligence) — MAP: Sound mapping; acoustic cartography; audio archive organization

Executive Summary

Sound is the sense-element of Ether in TEK8, and the D12 Music petal encompasses the full spectrum of how human beings create, share, preserve, and learn through organized sound. This research document surveys six interconnected domains: (1) the Library of Congress Citizen DJ project and Free Music Archive as models for democratic access to audio heritage; (2) Indigenous drumming and singing traditions, with particular attention to Coast Salish Slahal gameplay and contemporary Indigenous musicians; (3) evidence-based music education approaches including Orff Schulwerk, El Sistema, and neuroscience research on rhythm and brain development; (4) audio production as youth engagement, from hip-hop beat-making to podcasting and field recording; (5) ethnomusicology and cultural preservation, including the ethics of recording, repatriation, and community-controlled archives; and (6) practical course database materials for educators.

The document draws on over 40 academic and institutional sources to establish that music education, when approached with cultural humility and structural creativity, serves as one of the most powerful vehicles for cognitive development, social-emotional learning, cultural transmission, and community building. The TEK8 framework positions the D12 petal not as an isolated arts elective but as a fundamental mode of knowing — Ether as the medium through which all other elements travel, Sound as the sense that connects inner experience to communal participation, and Creativity as the attribute that transforms received tradition into living culture.

1. Library of Congress Citizen DJ and Free Music Archive

1.1 The Citizen DJ Project

Citizen DJ is an open-source web application created by Brian Foo, the Library of Congress 2020 Innovator in Residence, in partnership with LC Labs. The project invites the public to make hip-hop music using free-to-use audio and video collections from the Library of Congress (Foo, 2020). By embedding historical materials in contemporary music production, listeners discover items in the Library’s vast collections that they would likely never have encountered otherwise.

Foo, who grew up near New York City during the Golden Age of hip-hop listening to artists like De La Soul and A Tribe Called Quest, brought a data visualization artist’s sensibility to the challenge of making archival audio accessible (Library of Congress, 2020a). The project launched at the virtual National Book Festival in September 2020 and reached nearly one hundred thousand unique sessions within its first weeks (Library of Congress, 2020b).

The platform offers three modes of engagement:

Explore: An interface for quickly browsing a collection by sound and metadata
Remix: A browser-based music creation app that lets users arrange samples over beats
Use: Downloadable sample packs containing thousands of audio clips compatible with professional music production software (Digital Audio Workstations)

All sounds on the platform are free to use for personal or commercial purposes with no copyright restrictions (Citizen DJ, n.d.).

1.2 Available Collections

Citizen DJ provides access to the following Library of Congress collections:

National Jukebox Collections (pre-1923 recordings entering public domain under the Music Modernization Act of 2018):

Jazz: Jazz and musical forms considered roots of jazz, including ragtime
Blues: Blues and blues-like works and performances
Classical Music: Classical works and orchestral performances
Folk Music: American folk music of various forms
Popular Music: Music considered popular at the time of recording
Musical Theater: Works from popular musical theater productions
Opera: Excerpts from operas, operettas, and oratorios

Additional Collections:

Inventing Entertainment: The Edison Companies — 341 motion pictures, 81 disc sound recordings, photographs, and original magazine articles documenting the Thomas Edison companies
Variety Stage Sound Recordings and Motion Pictures — 61 motion pictures including animal acts, burlesque, dance, comic sketches, dramatic excerpts, and physical culture acts
Free Music Archive (FMA) — A subset of recordings published under Public Domain dedication licenses; contains 265 audio segments and 4,096 one-shot audio clips
The Joe Smith Collection — Conversations with hundreds of celebrated musicians and cultural icons including James Brown, Joan Baez, and David Bowie
Center for Applied Linguistics Collection — 118 hours of recordings documenting North American English dialects

(Citizen DJ, n.d.; Library of Congress, 2022)

1.3 The Music Modernization Act and Public Domain Audio

The Music Modernization Act, signed into law on October 11, 2018, fundamentally changed the landscape of accessible historical audio. Under the Act, all sound recordings published before January 1, 1923, entered the public domain on January 1, 2022 — recordings that, under prior law, would not have become publicly available until 2067 (Public Domain Review, 2021). Recordings from 1923 to 1946 enter the public domain on January 1 of the year after they turn 100 years old, meaning the accessible catalog expands annually (Music Modernization Act, 2018).

The Act also contains an “orphan works” provision permitting certain noncommercial uses of pre-1972 sound recordings when the user cannot determine whether the recording is being commercially exploited despite a “good faith, reasonable search” for the rights holder (Congress.gov, 2018).

1.4 Remix as Cultural Literacy

The Citizen DJ project embodies a pedagogical philosophy that positions sampling, beat-making, and remix as forms of cultural literacy. Rather than treating archival materials as static artifacts, the project frames them as raw material for creative reinterpretation. This approach aligns with research on hip-hop pedagogy (Emdin, 2016) and remix culture theory (Lessig, 2008), which argue that creative reuse of existing cultural materials is a fundamental mode of learning and meaning-making.

TEK8 Application: Citizen DJ serves as a direct course database resource for the D12 Music petal. Students can explore historical audio, create original beats, and develop digital literacy simultaneously. The platform’s open-source code (available on GitHub) also connects to computational thinking and STEM skills.

1.5 Additional Free Audio Resources

Resource	Description	License	URL
Freesound	Collaborative database of Creative Commons audio clips	CC licenses (various)	freesound.org
Musopen	Classical recordings, sheet music, textbooks	Public domain	musopen.org
Jamendo	Thousands of hours of CC-licensed music	CC licenses (various)	jamendo.com
LibriVox	Free audiobooks from public domain texts	Public domain	librivox.org
Openverse	Search engine for CC audio and images	CC licenses (various)	openverse.org
Internet Archive Audio	Massive archive of audio recordings	Various	archive.org/details/audio
ccMixter	Community remix music site	CC licenses	ccmixter.org

2. Indigenous Drumming and Singing Traditions

2.1 Slahal/Lahal: Music as Gameplay

Slahal (also spelled Lahal, or called the “bone game” or “stick game”) is a gambling game of the Indigenous peoples of Cascadia, especially along the Salish Sea. According to Coast Salish oral tradition, the Creator gave the stick game to humanity at the beginning of time as a way to settle disputes and serve as an alternative to war (Cascadia Department of Bioregion, n.d.).

The game combines song, sacred ritual, intense competition, and guesswork. Central to gameplay is the role of music: teams sing while hiding bones (marked and unmarked) in their hands, and drum to boost morale and distract opponents. The powerful singing and drumming create an electric atmosphere that is integral to the strategic and spiritual dimensions of the game (Slahal, Wikipedia, n.d.).

Musical Characteristics of Slahal Songs:

Mostly in duple metre
Predominantly pentatonic, with all possible inversions used frequently
Women sing above the men, typically a fourth or fifth higher
Percussion averages 252 beats per minute
Drums include circular or octagonal deer-skin drums held at the back and beaten with a leather-ended stick
Drums are tuned by the fire as temperatures drop during night play

(Kautz, n.d., “Coast Salish Gambling Music,” Canadian Journal for Traditional Music)

Notably, the use of drums in Slahal is a relatively recent development — prior to approximately 1910, many coastal peoples did not use drums during gameplay, relying instead on hand-clapping, stick-beating, and vocal percussion (Kautz, n.d.).

TEK8 Connection (D10 Play): Slahal represents a direct intersection of the D12 Music petal with D10 Play. The game cannot be understood apart from its musical dimension. Drumming and singing are not accompaniment to the game — they ARE the game’s primary strategic tools.

2.2 Coast Salish and Pacific Northwest Drumming Traditions

The hand drum is central to Indigenous cultures of the Pacific Northwest and has been part of plains and coastal peoples’ traditions since time immemorial. In many Indigenous cultures, the drum is considered sacred and is referred to as the “heartbeat” of the community (Indian Youth, n.d.).

Traditional hand drums are made with a wooden frame and an animal hide as the drumhead. The drums are carefully attended to — pitch is important, and players approach fires to tune their drums with heat as conditions change (Kautz, n.d.). Drums are struck in unison with “beaters” — drumsticks often constructed of a fiberglass rod with a leather covering and handle (The Canadian Encyclopedia, n.d.).

More than 900 powwows are held throughout the United States and Canada each year. The heart of the powwow is singing, drumming, dancing, and socializing — being together in ways that build upon the past and point to the future (Open Horizons, n.d.; Smithsonian Folklife, n.d.).

Powwow music features a steady beat provided by a group of drummers and singers who sit around a large drum. Many communities hold workshops or classes where experienced dancers and drummers share skills and knowledge with younger generations, making powwows living educational spaces for cultural transmission, language preservation, and intergenerational bonding (Fiveable, n.d.).

Sacred vs. Social Distinction: It is essential for educators to understand the boundary between ceremony music (which may be restricted, seasonal, or gender-specific) and social dance music (which is typically open to broader participation and sharing). Not all powwow songs are appropriate for classroom use, and educators should always seek guidance from community knowledge keepers before incorporating specific songs or dances into curriculum.

2.4 Contemporary Indigenous Musicians

A vital dimension of the D12 petal is recognizing that Indigenous music is not frozen in the past but is a living, evolving artistic tradition. Three artists exemplify this:

The Halluci Nation (formerly A Tribe Called Red) Founded in Ottawa in 2007-2008 by Bear Witness, Ian “DJ NDN” Campeau, and Jon “Dee Jay Frame” Limoges, the group blends instrumental hip-hop, reggae, moombahton, and dubstep with elements of First Nations music, particularly vocal chanting and drumming. Their style has been labelled “powwow-step” — contemporary powwow music for urban First Nations in the dance club scene. Their 2016 album We Are the Halluci Nation is a concept album about collective resistance featuring collaborators including John Trudell, Tanya Tagaq, and Yasiin Bey (The Canadian Encyclopedia, n.d.).

Tanya Tagaq An Inuk throat singer from Ikaluktutiak (Cambridge Bay, Nunavut), Tagaq blends traditional Inuit throat singing with contemporary genres. A Juno Award and Polaris Music Prize winner, she has been called “one of the avant-garde’s most dynamic performers” by Rolling Stone (Recording Arts Canada, n.d.).

Jeremy Dutcher A classically trained operatic tenor, composer, and ethnomusicologist from the Tobique First Nation, Dutcher fuses traditional Wolastoqiyik sounds with jazz, pop, and neoclassical music. His debut album Wolastoqiyik Lintuwakonawa earned both the Indigenous Music Album of the Year at the 2019 Juno Awards and the 2018 Polaris Music Prize. Dutcher’s work explicitly engages with archival repatriation, having based his compositions on wax cylinder recordings of Wolastoqiyik songs held in museums (The Canadian Encyclopedia, n.d.).

TEK8 Significance: These artists demonstrate that the D12 petal encompasses both tradition and innovation. The Halluci Nation’s “powwow-step” is itself a form of remix culture — connecting directly to the Citizen DJ ethos of recontextualizing heritage materials through contemporary production.

3. Music Education Research

3.1 Orff Schulwerk

The Orff Schulwerk is a developmental approach to music education developed by German composer Carl Orff (1895-1982) and colleague Gunild Keetman during the 1920s. It combines music, movement, drama, and speech into lessons that mirror children’s natural world of play (Alliance for Active Music Making, n.d.).

Key principles:

Rhythm drawn from the child’s native language forms the foundation
Music is taught through body percussion — clapping, tapping, stomping
Simple but forceful rhythmic patterns create accessible musical forms
Movement and physical engagement reinforce the connection between music and the body
Specialized Orff instruments (xylophones, metallophones, glockenspiels) provide immediate melodic access

Research by Wang, Matvieieva, and Zheng (2022) found that both Orff and Kodaly methods contribute significantly to rhythm development in preschool children compared to standard curricula. Elkoshi (2024) published a study in the International Journal of Music Education demonstrating rhythmic emergent literacy within Orff-based programs implemented in Israel.

TEK8 Connection (D8 Movement): The Orff approach’s integration of physical movement with musical learning exemplifies the cross-petal synergy between D12 Music and D8 Movement. The body is the first instrument.

3.2 The Kodaly Method

Developed by Hungarian composer Zoltan Kodaly in the mid-twentieth century, the Kodaly method is a student-centered, sequential approach that places singing at the center of music education. Students learn through immersion first, then develop literacy using relative solfa, rhythm names, and hand signs (Organization of American Kodaly Educators, n.d.).

Research documents benefits across multiple developmental domains: literacy and numeracy skills, spatial-temporal reasoning, intelligence measures, and social-emotional development (Kodaly Music Institute, n.d.). The emphasis on singing specifically supports phonological awareness and language development — a finding with implications for literacy instruction across the curriculum.

3.3 El Sistema and Community Music Programs

El Sistema (the National Network of Youth and Children Orchestras of Venezuela), founded in 1975, emphasizes social interaction through group instruction and ensemble performance. A landmark randomized controlled trial conducted between 2012 and 2013 with 2,914 children ages 6-14 across 16 music centers produced significant findings:

After one year, the program showed improved self-control and reduced behavioral difficulties
Effects were largest among children with less educated mothers and boys exposed to violence at baseline
The findings suggest El Sistema may serve as a preventive strategy to promote positive outcomes among disadvantaged children

(Aleman et al., 2017, “The Effects of Musical Training on Child Development: A Randomized Trial of El Sistema in Venezuela,” Prevention Science, 18(7), 865-878)

The Harmony Project (Los Angeles): Operating for over 24 years as one of the most effective arts-based youth development programs in the United States, the Harmony Project provides free music education to youth from low-income families. Research outcomes include:

93% of alumni (2010-2014) enrolled in post-secondary education vs. 67.6% LA County average
99% high school graduation rate among participating 12th-graders (2023-2024)
Standardized test improvements: +17 points math, +26 points English language arts
Students with lowest prior achievement showed greatest gains: +33 math, +39 ELA
74% increased confidence, 80% improved perseverance, 82% felt belonging

(Harmony Project, 2024; Kraus et al., 2014)

3.4 Neuroscience of Rhythm and Music

3.4.1 Neural Entrainment

Neural entrainment refers to the brain’s tendency to synchronize its electrical activity with external rhythmic stimuli. Recent research published in PNAS (2024) demonstrates that the transformative power of music engages a diverse network of brain regions and circuits, including sensory-motor processing, cognitive, memory, and emotional components. Music training brings about structural and functional changes in the brain, with positive effects on social bonding, cognitive abilities, and language processing (Heggli et al., 2024).

Studies from the Journal of Neuroscience (2024-2025) have shown that auditory rhythm encoding begins in the last trimester of human gestation, with premature neonates already demonstrating beat and meter processing (Trainor et al., 2023). By 5-7 months after birth, infants track beat hierarchies — not merely basic beats but nested temporal structures (de Diego-Balaguer et al., 2024).

3.4.2 The Brainvolts Laboratory (Northwestern University)

Dr. Nina Kraus and her team at Northwestern’s Auditory Neuroscience Laboratory (Brainvolts) have produced some of the most influential research linking music training to neural development in children:

Music enrichment programs improve the neural encoding of speech in at-risk children (Kraus et al., 2014, Journal of Neuroscience)
Community music programs enhance brain function in at-risk children, with measurable changes to the auditory brainstem response (Northwestern Now, 2014)
In-school music training begun in high school prolongs the stability of subcortical sound processing and accelerates maturation of cortical auditory responses (Tierney et al., 2015)
Music training enhances auditory processing not only of music but also of speech and language (Kraus & Chandrasekaran, 2010, Nature Reviews Neuroscience)

The Brainvolts research is particularly significant for TEK8 because it demonstrates biological evidence that music education produces measurable changes in children’s nervous systems — effects that extend beyond musical skill to language processing, reading ability, and attention.

A comprehensive literature review by Varadi (2022) in SAGE Open documents the relationship between music education and social-emotional learning (SEL) development. Key findings include:

Music training develops emotional self-regulation, responsibility, empathy, self-expression, and self-criticism
Through structured musical experiences (singing, movement, ensemble participation), children learn to associate sound with emotional meaning
Both music training and music education benefit students’ social skills including empathy, teamwork, pro-social attitudes, and self-esteem
Music therapy can reduce anxiety and depression, influence mood state, increase emotional responsiveness, and reduce impulsiveness

(Varadi, 2022; PMC systematic review, 2025)

3.6 Drum Circles as Team Building and Conflict Resolution

Research on drum circles spans educational, therapeutic, and organizational contexts:

A study at Pepperdine University investigated drum circles as team-building interventions, measuring collaboration, trust, authenticity, communication, creativity, commitment, interrelatedness, and recognition (Pepperdine Digital Commons, n.d.)
A pretest-post-test study assessed 12 weeks of school counselor-led drumming in fifth-grade classrooms, finding improvements in emotion management, focus, and listening (Bittman et al., 2001, cited in PMC)
Drumming programs for youth at risk demonstrate significant positive enhancements in self-expression, interpersonal growth, respect for peers, stress reduction, team awareness, and partnership (Freedom Drum Circles, n.d.)
Neuroscience confirms that rhythmic synchrony promotes empathy, trust, and cooperation

TEK8 Connection (D20 Quest/Empathy): Drum circles exemplify how the D12 Music petal intersects with D20 Water/Empathy. The act of synchronizing rhythm with others is a form of embodied empathy — literally feeling together.

3.7 Call and Response Traditions

Call and response is a compositional and pedagogical technique with deep roots across cultures:

West African Origins: In oral traditions, griots recite historical tales and audiences respond at key moments with phrases of agreement and participation (Cultural Equity, n.d.).

African American Traditions: Enslaved Africans brought call-and-response music to the Americas. Through singing, call and response, and hollering, enslaved people coordinated labor, communicated across fields, bolstered spirits, and commented on oppression. This participatory form became foundational to spirituals, gospel, blues, jazz, R&B, hip-hop, and virtually every African American musical genre (Jazz History Tree, n.d.; Black Music Project, n.d.).

Indigenous Traditions: Call and response appears in many Indigenous musical forms including powwow singing, where lead singers initiate phrases that the drum group answers.

Pedagogical Value: Call and response maximizes participation, emphasizes inclusivity, and builds community. It creates interactive environments where all participants are invited to contribute, fostering belonging and unity — making it one of the most effective music education techniques for diverse classrooms.

4. Audio Production as Youth Engagement

4.1 Hip-Hop Production as STEM Education

Dr. Christopher Emdin, Professor of Education at the University of Southern California, is the creator of the #HipHopEd social media movement and the Science Genius B.A.T.T.L.E.S. program. Developed in partnership with rapper GZA (of Wu-Tang Clan) and Rap Genius, the program engages students in science through rap creation and competition (Emdin, 2016).

Emdin’s research examines science themes within contemporary urban Black popular culture — in graffiti, the science of sound, and the neuroscience of rapping — exploring how these themes serve as pedagogical bridges between hip-hop culture and academic science (Harvard Graduate School of Education, 2014).

Key Programs and Partnerships (2024-2025):

Hip-Hop Education Center x National Grid Foundation: “Power the Future” — a two-year, $250,000 initiative empowering opportunity youth (ages 18-25) through culturally responsive STEAM education and workforce readiness in underserved New York communities (ABC27, 2025)
PATH HipHop Summer Academy: Youth ages 13-18 learn creative, technical, and entrepreneurial skills from industry professionals (PATH to Hip Hop, n.d.)
The Hip Hop Museum Science Program: Blends hip-hop culture with STEM learning through interactive exhibits and workshops (The Hip Hop Museum, n.d.)
Breakbeat Code Workshop: Teaches computer programming through beat-making, with students coding in Python to build music tracks

A 2024 meta-analysis examining dozens of peer-reviewed studies found that hip-hop pedagogy “has shown significant advantages in improving students’ learning efficiency” across disciplines (AJC, 2025).

4.2 Podcasting as Literacy and Communication

YR Media (formerly Youth Radio) Founded in Berkeley, California, YR Media was a leading media, technology, and music training center for emerging BIPOC content creators ages 14-24. The organization trained youth in broadcast journalism, radio and web production, engineering, media advocacy, and literacy. YR Media received over 60 journalism awards including the Edward R. Murrow Award, the George Foster Peabody Award, and the Alfred I. DuPont-Columbia Award. Content reached over 30 million through partners including NPR, The New York Times, and Teen Vogue (Youth Radio, Wikipedia; YR Media, n.d.).

Note: YR Media became inactive in October 2024, but its model remains influential and its archived content continues to serve as an educational resource.

Listen Up Youth Radio: Continues the tradition of youth-produced media with programs that develop storytelling, technical production, and critical media literacy skills.

4.3 Field Recording and Acoustic Ecology

4.3.1 The World Soundscape Project

R. Murray Schafer founded the World Soundscape Project (WSP) at Simon Fraser University in the late 1960s, initiating the modern study of acoustic ecology. The project’s goal: “to find solutions for an ecologically balanced soundscape where the relationship between the human community and its sonic environment is in harmony” (World Soundscape Project, SFU, n.d.).

Key publications include The Book of Noise (Schafer, 1968), The Tuning of the World (Schafer, 1977), and Handbook for Acoustic Ecology (Truax, 1978). The WSP conducted detailed soundscape studies of Vancouver (1972-1973) and five European villages (1975), establishing methodologies that remain foundational to the field.

Hildegard Westerkamp, a WSP collaborator, helped found the World Forum for Acoustic Ecology (WFAE) in 1993, connecting groups worldwide concerned with soundscape issues (World Soundscape Project, Wikipedia).

4.3.2 Soundwalks and Sound Mapping

A soundwalk is any excursion whose main purpose is listening to the environment. Sound mapping involves creating visual representations of auditory experiences — putting an X in the middle of a page to represent oneself, then using pictures or words to show the locations of surrounding sounds.

Educational applications are well-documented:

National Park Service “Young Sound Seekers”: A collection of listening activities highlighting the importance of natural and cultural soundscapes, aligned with Common Core and state standards (NPS, n.d.)
NPS Sound Mapping Activity: Students create maps documenting natural and human-made sounds in outdoor environments (NPS, n.d.)
Project Learning Tree “Sounds Around”: Family-oriented environmental listening activities
Centre for Soundscape Ecology and Multimedia (Ghana): WISEA program targets young girls and women, teaching acoustic engineering, ecology, and multimedia presentation for conservation projects

Research by Kolb’s experiential learning framework positions soundwalks as concrete experiences leading to reflective observation, abstract conceptualization, and active experimentation — a complete learning cycle through listening (PMC, 2020).

TEK8 Connection (D6 Garden): Sound mapping and field recording connect D12 Music directly to D6 Earth/Garden. Recording the soundscape of a school garden, a forest, or a waterway develops both acoustic awareness and ecological literacy simultaneously.

4.4 Free Digital Audio Production Tools for Education

Tool	Platform	Cost	Key Features for Education
BandLab for Education	Web, Chromebook, Mac, Windows, iOS, Android	Free	10,000+ loops, 200 MIDI instruments, real-time collaboration, teacher assignment management, student portfolio tracking
GarageBand	Mac, iPad, iPhone	Free (Apple devices)	Touch instruments, Beat Sequencer, Live Loops, Smart Instruments; not cloud-based
Soundtrap	Web (all platforms)	Free tier / paid education	Spotify-owned, cloud-based, assignment framework
Audacity	Mac, Windows, Linux	Free/Open Source	Professional-grade audio editing, multitrack, plugin support
LMMS	Mac, Windows, Linux	Free/Open Source	Full DAW with synthesizers, beat/baseline editor, piano roll
Citizen DJ Remix Tool	Web browser	Free	Library of Congress samples, no account required

BandLab for Education has become particularly prominent, offering tutorial resources created by youth music education nonprofit In the Band that explore composing music and making beats. The platform allows real-time collaboration so multiple students can work together on compositions simultaneously (Tech & Learning, n.d.; Midnight Music, 2022).

5. Ethnomusicology and Cultural Preservation

5.1 Ethnomusicology and Indigenous Protocols

Ethnomusicology — the study of music in its cultural context — has been forced to reckon with its colonial origins. As the University of Washington’s “Looted? Ethnomusicology, Archives & Colonial Legacies” course guide states: “Ethnomusicology and its archives have been complicit in colonialism and acts of misappropriation, as both the field and the archives were forged during the colonial period” (UW Libraries, 2022).

The Society for Ethnomusicology’s Position Statement on Ethics requires that “complete permission must be obtained from performer(s) under study, while the music-related rights and obligations in the host society must be respected” (SEM, n.d.). Modern ethical practices emphasize:

Informed consent according to the conventions of the host society, not merely Western IRB standards
Respect for cultural protocols including restrictions on who may hear certain recordings
Recognition of Indigenous intellectual property rights that may not align with Western copyright frameworks
Ongoing relationship rather than extractive transaction

5.2 Audio Archives and Repatriation

“Repatriation” in the ethnomusicological context refers to “any conveyance of copies of sound recordings made and deposited as scholarly documents from archives to people who feel that the sound is part of their heritage” (Ethnomusicology Review, UCLA, n.d.).

University of Washington Ethnomusicology Archives: The UW Archives has a commitment to digitally and, if needed, physically returning collections to Tribes, families, and communities of origin. The Archives co-led a CLIR-funded Recorded at Risk grant to digitize and preserve wax cylinder and instantaneous disc recordings from the Melville Jacobs Collection, documenting Native American languages and musics of the Pacific Northwest. Copies have been digitally returned to members of the Snoqualmie Indian Tribe, Confederated Tribes of Siletz Indians, Tulalip Tribes, Puyallup Tribe, Coquille Indian Tribe, and The Duwamish, among others (UW Libraries, n.d.).

Professor Emerita Hiromi Lorraine Sakata worked with the Archives to digitally return field recordings she made of musicians in Afghanistan, Pakistan, and Tajikistan, beginning in the 1960s (UW Libraries, n.d.).

Inupiaq Repatriation Success: Repatriation of archival recordings to Inupiaq communities in Barrow, Alaska, inspired young musicians and dancers to learn and perform traditional songs. One group became a dance group of over 70 members, winning the 2007 World Eskimo-Indian Olympics contest — demonstrating how repatriation catalyzes cultural revitalization (Ethnomusicology Review, n.d.).

5.3 Smithsonian Folkways

Smithsonian Folkways Recordings is the nonprofit record label of the Smithsonian Institution, dedicated to “supporting cultural diversity and increased understanding among peoples through the documentation, preservation, and dissemination of sound” (Smithsonian Folkways, n.d.).

Founded as Folkways Records in 1948 by Moses Asch, the label was acquired by the Smithsonian in 1987. The collection includes extensive traditional American music, children’s music, international music, spoken word, and environmental sounds. Every recording ever released remains perpetually available — a unique commitment in the recording industry.

Educational Resources:

Lesson Plans: Created by the Network of Music Educators, downloadable PDFs covering various countries and grade levels
Music Pathways: Integrated, thematic, fully customizable journeys of 12-18 hours each, meeting national academic standards. Currently available: Estoy Aqui: Music of the Chicano Movement and Cajun and Zydeco Music: Flavors of Southwest Louisiana
World Music Pedagogy Course Resources: Designed for university-level music education courses
Tools for Teaching: Curated resources for classroom integration

(Smithsonian Folkways, n.d.; Folklife Center, n.d.)

UNESCO Collection of Traditional Music: Smithsonian Folkways also hosts the UNESCO Collection, providing global access to traditional music recordings from around the world.

5.4 Community-Controlled Archives and Indigenous Data Sovereignty

The principle of Indigenous Data Sovereignty — “the recognition and implementation of Indigenous Peoples’ inherent right to control the entire lifecycle of data concerning their people, territories, resources, and knowledge” — extends fully to audio archives (Indigenous Archives Collective, n.d.).

Key developments include:

Passamaquoddy Community Archives: The Passamaquoddy nation created community-controlled archives where members can listen to recordings and add transcriptions and translations on their own terms
APTN (Aboriginal Peoples Television Network): Established in 1992, the first national Indigenous broadcaster in the world, representing technological sovereignty in media
Cultural Survival Indigenous Community Media Fund: The 2025 grant cycle supports Indigenous communities worldwide in creating and controlling their own media

The Aboriginal and Torres Strait Islander Library, Information and Resource Network (ATSILIRN) Protocols guide libraries, archives, and information services in appropriate interaction with Indigenous communities and handling of Indigenous content (ATSILIRN, n.d.).

5.5 Shared Stewardship: The Smithsonian Model

In April 2022, the Smithsonian adopted a Shared Stewardship and Ethical Returns Policy. “Shared stewardship” (or “co-curation”) refers to sharing authority, expertise, and responsibility for the respectful attribution, documentation, interpretation, display, care, storage, public access, and disposition of collection items with the advice of the source community (Smithsonian Folklife, 2022).

The policy specifically addresses sacred music: “Disallowing access to culturally sensitive materials — such as sacred songs that may be performed and heard only by members of a particular family or community, or during a particular season of the year — is one approach” (Smithsonian Folklife, n.d.).

5.6 When NOT to Record

Educators working within the D12 petal must understand that some music is not meant to be recorded, archived, sampled, or shared. Boundaries include:

Ceremony songs restricted to initiated participants
Gender-specific songs intended only for particular groups
Seasonal songs appropriate only at certain times of year
Family songs belonging to specific lineages
Healing songs that carry responsibilities along with their use
Death and mourning songs with specific protocols

The ethical default should always be: ask first, and respect the answer. If there is no one available to ask, do not record. Silence about a tradition can itself be a form of cultural protection.

6. Course Database Materials

6.1 Free Audio Resources for Classroom Use

Tier 1: Immediate Classroom Integration

Citizen DJ Remix Tool — https://citizen-dj.labs.loc.gov/ — Browser-based, no login, free samples
BandLab for Education — https://edu.bandlab.com/ — Full DAW, free for schools
Smithsonian Folkways Lesson Plans — https://folkways.si.edu/lesson-plans — Downloadable PDFs
NPS Young Sound Seekers — https://www.nps.gov/teachers/classrooms/young-sound-seekers-soundwalk.htm — Soundwalk curriculum
Freesound — https://freesound.org/ — CC-licensed sound database

Tier 2: Extended Unit Development 6. Smithsonian Folkways Music Pathways — https://folkways.si.edu/learn — 12-18 hour thematic units 7. Citizen DJ Sample Packs — Downloadable for professional DAW software 8. Musopen — https://musopen.org/ — Public domain classical recordings + sheet music 9. Internet Archive Audio — https://archive.org/details/audio — Massive free audio collection 10. Apple Education GarageBand Resources — Lesson plans for iPad-based production

6.2 Citizen DJ Collections: Lesson Plan Potential

Collection	Sample Count	Suggested Unit Theme	TEK8 Connections
National Jukebox: Jazz	1000s	History of improvisation; call and response	D10 Play, D20 Empathy
National Jukebox: Blues	1000s	Storytelling through music; resilience narratives	D12 Music, D20 Quest
National Jukebox: Folk	1000s	Place-based music; regional identity	D6 Garden, D100 Map
Free Music Archive	4,096 clips	Creative Commons and remix ethics	D12 Music, D100 Map
Edison Companies	81+ recordings	History of recorded sound; technology evolution	D12 Music, D4 Craft
Variety Stage	61 motion pictures	Performance traditions; vaudeville as remix	D10 Play, D12 Music
Joe Smith Collection	100s of interviews	Oral history; interview as research method	D12 Music, D20 Quest

6.3 Drum-Making Workshops: Craft + Music Intersection

Drum-making workshops serve as a powerful bridge between D12 Music and D4 Craft. Programs model both hands-on construction skills and cultural learning:

Arapaho Hand Drum Education Toolkit (Wyoming History): Step-by-step instructions for making traditional hand drums, with cultural context and history (WyoHistory.org)
Bear Paws Cultural Art (Minnesota): Partners with local organizations for hand drum workshops that serve as community-building events across age ranges and cultures
First Nations Elders (Ontario): Traditional hand drum making gatherings where elders share history, songs, and meanings
Indigenous Hand Drum Kits: Available commercially for schools; include frame, elk rawhide, sinew, and drumstick for traditional learning programs
SEIKILO Museum of Ancient Music: Workshops on frame drums — “the oldest instrument of the drum family and perhaps the oldest instrument to have ever been invented”

Protocol Reminder: When offering drum-making workshops drawing on Indigenous traditions, educators should ensure the program is led by or developed in consultation with Indigenous knowledge keepers. Purchasing materials from Indigenous-owned suppliers (e.g., Tachini Drums, Centralia Fur & Hide) supports economic reciprocity.

6.4 Digital Audio Workstation Tutorials for Youth

Recommended Sequence for Beginners (Ages 10+):

Week 1-2: Citizen DJ Explore mode — browse and listen to historical audio
Week 3-4: Citizen DJ Remix mode — arrange samples over beats in browser
Week 5-6: BandLab for Education — create original beats using loops
Week 7-8: BandLab collaborative project — multi-student composition
Week 9-10: Field recording + BandLab — record environmental sounds and integrate
Week 11-12: Final project — original composition incorporating all techniques

Recommended Resources:

Midnight Music (midnightmusic.com) — GarageBand, Soundtrap, and BandLab lesson plans
In the Band tutorials on BandLab — youth-focused beat-making curriculum
Spirit of Harmony Foundation — DAW integration guides for music education

6.5 Curated Listening by TEK8 Element

TEK8 Element	Die	Suggested Listening	Source
Fire/Agility (D4)	D4	Flamenco guitar, West African kora	Smithsonian Folkways
Earth/Endurance (D6)	D6	Ground-bass traditions, Appalachian ballads	Folkways, Citizen DJ Folk
Air/Strength (D8)	D8	Wind instruments, didgeridoo, shakuhachi	Folkways, Freesound
Chaos/Willpower (D10)	D10	Free jazz, improvisation, Slahal songs	Citizen DJ Jazz, community
Ether/Creativity (D12)	D12	Throat singing, overtone chanting, electronic	Folkways, FMA
Water/Empathy (D20)	D20	Lullabies, healing songs, ocean soundscapes	Folkways, NPS
Order/Intelligence (D100)	D100	Fugue, gamelan, mathematical music	Musopen, Citizen DJ Classical
Coin/Ownership (D2)	D2	Work songs, protest songs, freedom songs	Folkways, Citizen DJ

7. Practical Applications for Educational Settings

7.1 Elementary (Ages 5-10)

Soundwalks and sound mapping in school grounds
Call-and-response singing games
Body percussion and Orff instrument exploration
Simple drum circles with facilitated turn-taking
Citizen DJ Explore mode for historical listening

7.2 Middle School (Ages 11-14)

Introduction to BandLab for Education
Remix projects using Citizen DJ samples
Field recording and soundscape composition
Drum-making workshop (with appropriate cultural guidance)
Podcasting projects on music in the community
Hip-hop pedagogy integration with core subjects (Science Genius model)

7.3 High School (Ages 15-18)

Full DAW production courses (BandLab, GarageBand, Audacity)
Ethnomusicology research projects
Sound mapping and acoustic ecology studies
Community audio archive creation
Critical analysis of sampling, copyright, and Creative Commons
Study of Indigenous music sovereignty and repatriation

7.4 After-School and Community (All Ages)

Community drum circles
Intergenerational music sharing
El Sistema-inspired ensemble programs
Youth radio and podcast production
Slahal/Lahal nights with music learning (D10 Play connection)
Travelling band formation (CrySword SAGA connection)

8. Connection Notes to Other TEK8 Petals

D10 Play — “Slahal Drumming”

The most direct cross-petal connection. Slahal cannot be played without music. When a TEK8 program runs a Slahal night (D10 Play), the drumming and singing components are D12 Music curriculum. Teams learning Slahal songs are simultaneously learning pentatonic scales, duple metre, vocal harmony, and ensemble coordination.

D4 Craft — “Building Instruments”

Drum-making workshops are the clearest craft-music intersection. Additionally: building simple instruments (rain sticks, shakers, box guitars), designing album art, constructing recording studios from found materials.

D20 Quest — “Empathic Listening”

Call-and-response traditions train empathic listening. Drum circles require attending to others. Soundwalks develop environmental empathy. The D20 die maps to Water/Taste/Empathy — and water is the element that carries sound most efficiently.

D6 Garden — “Acoustic Ecology”

Field recording in gardens and natural spaces, studying how soundscapes change with seasons, monitoring biodiversity through sound (bioacoustics), and understanding how plants respond to vibration.

D8 Movement — “Dance and Embodied Rhythm”

Orff Schulwerk’s integration of movement. Powwow dance inseparable from powwow music. Hip-hop production inseparable from breaking. All music traditions carry movement traditions.

D100 Map — “Sound Cartography”

Sound mapping as literal cartography. Audio archive organization as information architecture. The systematic cataloguing of Citizen DJ collections. Musical notation as a mapping system.

References

Aleman, X., Duryea, S., Guerra, N. G., McEwan, P. J., Munoz, R., Stampini, M., & Williamson, A. A. (2017). The effects of musical training on child development: A randomized trial of El Sistema in Venezuela. Prevention Science, 18(7), 865-878. https://link.springer.com/article/10.1007/s11121-016-0727-3

Alliance for Active Music Making. (n.d.). The Orff-Schulwerk approach. https://www.allianceamm.org/resources/orff-schulwerk/

Bittman, B. B., Berk, L. S., Felten, D. L., Westengard, J., Simonton, O. C., Pappas, J., & Ninehouser, M. (2001). Composite effects of group drumming music therapy on modulation of neuroendocrine-immune parameters in normal subjects. Alternative Therapies in Health and Medicine, 7(1), 38-47.

Cascadia Department of Bioregion. (n.d.). Slahal: Games of the First Nations. https://cascadiabioregion.org/department-of-bioregion/games-of-the-first-nations-slahal

Citizen DJ. (n.d.). About this project. Library of Congress. https://citizen-dj.labs.loc.gov/about/

Citizen DJ. (n.d.). Guide. Library of Congress. https://citizen-dj.labs.loc.gov/guide/

de Diego-Balaguer, R., et al. (2024). Auditory rhythm encoding during the last trimester of human gestation. Journal of Neuroscience, 45(4). https://www.jneurosci.org/content/45/4/e0398242024

Elkoshi, R. (2024). A study of rhythmic emergent literacy within an Orff-based program implemented in Israel. International Journal of Music Education. https://journals.sagepub.com/doi/full/10.1177/02557614221144685

Emdin, C. (2016). For White Folks Who Teach in the Hood… and the Rest of Y’all Too: Reality Pedagogy and Urban Education. Beacon Press.

Emdin, C., & Adjapong, E. (Eds.). (2018). #HipHopEd: The compilation on hip-hop education. Brill/Sense.

Ethnomusicology Review. (n.d.). Knowledge (or intangible cultural heritage) repatriation. UCLA. https://ethnomusicologyreview.ucla.edu/content/archives-and-archiving-knowledge-repatriation

Foo, B. (2020). Designing for the (Citizen) DJ. The Signal, Library of Congress. https://blogs.loc.gov/thesignal/2020/09/designing-for-the-citizen-dj/

Freedom Drum Circles. (n.d.). Youth at risk programs. https://freedomdrumcircles.com/what-we-do/youth-at-risk/

Harmony Project. (2024). Annual impact report. https://www.harmony-project.org/

Heggli, O. A., et al. (2024). The transformative power of music: Insights into neuroplasticity, health, and disease. PMC. https://pmc.ncbi.nlm.nih.gov/articles/PMC10765015/

Indian Youth. (n.d.). Native American drum music: Cultural significance and traditions. https://indianyouth.org/drum-and-song-in-native-american-cultures/

Indigenous Archives Collective. (n.d.). Position statement on the right of reply to Indigenous knowledges and information held in archives. https://indigenousarchives.net/

Kautz, T. (n.d.). Coast Salish gambling music. Canadian Journal for Traditional Music. https://cjtm.icaap.org/content/2/v2art2.html

Kodaly Music Institute. (n.d.). Our mission and the Kodaly concept. https://kodalymusicinstitute.org/about-kodaly-music-institute

Kraus, N., & Chandrasekaran, B. (2010). Music training for the development of auditory skills. Nature Reviews Neuroscience, 11, 599-605. https://www.nature.com/articles/nrn2882

Kraus, N., Slater, J., Thompson, E. C., Hornickel, J., Strait, D. L., Nicol, T., & White-Schwoch, T. (2014). Music enrichment programs improve the neural encoding of speech in at-risk children. Journal of Neuroscience, 34(36), 11913-11918. https://www.jneurosci.org/content/34/36/11913

Lessig, L. (2008). Remix: Making Art and Commerce Thrive in the Hybrid Economy. Penguin Press.

Library of Congress. (2020a). Library of Congress needs a few Citizen DJs. https://www.loc.gov/item/prn-20-031/

Library of Congress. (2020b). Citizen DJ music-mixing app to launch at National Book Festival. https://www.loc.gov/item/prn-20-063/

Library of Congress. (2022). Citizen DJ public domain audio release 2022. https://citizen-dj.labs.loc.gov/public-domain-2022/

Music Modernization Act, Pub. L. No. 115-264, 132 Stat. 3676 (2018).

National Park Service. (n.d.). Education resources: Natural sounds. https://www.nps.gov/subjects/sound/education-resources.htm

National Park Service. (n.d.). Young Sound Seekers soundwalk. https://www.nps.gov/teachers/classrooms/young-sound-seekers-soundwalk.htm

Organization of American Kodaly Educators. (n.d.). The Kodaly concept. https://www.oake.org/the-kodaly-concept/

Public Domain Review. (2021). All sound recordings prior to 1923 will enter the US public domain in 2022. https://publicdomainreview.org/blog/2021/12/all-sound-recordings-prior-to-1923-will-enter-the-us-public-domain-in-2022

Recording Arts Canada. (n.d.). 8 Indigenous artists shaping the Canadian music scene. https://recordingarts.com/8-indigenous-artists-shaping-the-canadian-music-scene/

Schafer, R. M. (1977). The Tuning of the World. McClelland & Stewart. (Reprinted as The Soundscape: Our Sonic Environment and the Tuning of the World, Destiny Books, 1994.)

Smithsonian Center for Folklife and Cultural Heritage. (n.d.). American Indian powwows: Multiplicity and authenticity. https://folklife.si.edu/online-exhibitions/american-indian-powwows/performance/smithsonian

Smithsonian Center for Folklife and Cultural Heritage. (2022). What is shared stewardship? New guidelines for ethical archiving. https://folklife.si.edu/news-and-events/shared-stewardship-new-guidelines-for-ethical-archiving

Smithsonian Folklife. (n.d.). Indigenous music and shared stewardship. Folklife Magazine. https://folklife.si.edu/magazine/indigenous-music-shared-stewardship

Smithsonian Folkways Recordings. (n.d.). Mission and history. https://folkways.si.edu/mission-and-history

Smithsonian Folkways Recordings. (n.d.). Lesson plans. https://folkways.si.edu/lesson-plans

Smithsonian Folkways Recordings. (n.d.). Music Pathways. https://folkways.si.edu/learn

Society for Ethnomusicology. (n.d.). Position statement on ethics. https://www.ethnomusicology.org/page/EthicsStatement

The Canadian Encyclopedia. (n.d.). The Halluci Nation (A Tribe Called Red). https://www.thecanadianencyclopedia.ca/en/article/a-tribe-called-red

The Canadian Encyclopedia. (n.d.). Powwow music. https://www.thecanadianencyclopedia.ca/en/article/powwowmusic

Tierney, A., Krizman, J., Skoe, E., Johnston, K., & Kraus, N. (2015). Music training alters the course of adolescent auditory development. PNAS, 112(32), 10062-10067.

Trainor, L. J., et al. (2023). Rhythm in the premature neonate brain: Very early processing of auditory beat and meter. Journal of Neuroscience, 43(15), 2794. https://www.jneurosci.org/content/43/15/2794

Truax, B. (1978). Handbook for Acoustic Ecology. ARC Publications.

University of Washington Libraries. (n.d.). Repatriating: UW Ethnomusicology Archives. https://guides.lib.uw.edu/archives/returning

University of Washington Libraries. (n.d.). Hiromi Lorraine Sakata field recordings. https://guides.lib.uw.edu/archives/sakata

University of Washington Libraries. (2022). Looted? Ethnomusicology, archives & colonial legacies. https://guides.lib.uw.edu/looted

Varadi, J. (2022). A review of the literature on the relationship of music education to the development of socio-emotional learning. SAGE Open, 12(1). https://journals.sagepub.com/doi/full/10.1177/21582440211068501

Wang, Y., Matvieieva, O., & Zheng, Q.-W. (2022). Effectiveness of the Orff and Kodaly methods for the development of musical ability in preschool children compared to a standard curriculum. Cultura y Educacion. https://journals.sagepub.com/doi/abs/10.1080/11356405.2021.2006500

World Soundscape Project. (n.d.). Simon Fraser University. https://www.sfu.ca/~truax/wsp.html

YR Media. (n.d.). Media education. https://www.yrmedia.org/media-education

Appendix A: Direct Links to Citizen DJ Collections

Collection	Explore	Remix	Use/Download
National Jukebox: Jazz	Explore	Remix	Use
National Jukebox: Blues	Explore	Remix	Use
National Jukebox: Folk	Explore	Remix	Use
National Jukebox: Classical	Explore	Remix	Use
National Jukebox: Popular	Explore	Remix	Use
National Jukebox: Musical Theater	Explore	Remix	Use
Free Music Archive	Explore	Remix	Use
Inventing Entertainment (Edison)	Explore	Remix	Use
Variety Stage	Explore	Remix	Use
Joe Smith Collection	Explore	Remix	Use

GitHub Repository: https://github.com/LibraryOfCongress/citizen-dj

Appendix B: Key Organizations and Programs

Organization	Focus	Location	URL
Harmony Project	Free music education for low-income youth	Los Angeles, CA	harmony-project.org
HipHopEd	Hip-hop pedagogy research and programs	National (USC)	hiphoped.com
Smithsonian Folkways	Audio preservation and education	Washington, DC	folkways.si.edu
BandLab for Education	Free DAW for schools	Global (web-based)	edu.bandlab.com
Freedom Drum Circles	Drum circle facilitation for youth at risk	National	freedomdrumcircles.com
Cultural Survival	Indigenous media sovereignty	Cambridge, MA	culturalsurvival.org
PATH to Hip Hop	Youth hip-hop education	National	pathtohiphop.org
World Forum for Acoustic Ecology	Soundscape research and education	International	wfae.net
In the Band	Youth music education nonprofit	National	intheband.org
Association for Cultural Equity	Alan Lomax Archive and education	New York, NY	culturalequity.org

Appendix C: TEK8 D12 Music — CrySword SAGA Integration

In the CrySword SAGA game system, the D12 represents Ether/Sound/Creativity and is mapped to Step 2 of the Crystal Cycle: “MUSIC BEGINS.” This is the moment when the bonded musician first plays, awakening the crystal shard’s consciousness. The D12 also appears at Step 10: “CLOSE,” when the session ends with a final song.

The 25 Sacred Instruments of CrySword SAGA (plus Voice as the 26th) provide a framework for exploring world music traditions:

Each instrument maps to a TEK8 element
The erhu (D20 Water) is “the bow trapped between two strings” — the instrument of Ko’a, the Coral Chaos Shard
Traditional instruments from every continent are represented
Students choosing instruments for their characters research the instrument’s cultural origins

The travelling band that forms over a CrySword SAGA campaign mirrors the community music ensemble model of El Sistema — except that the ensemble grows organically through gameplay rather than formal enrollment.

This document is part of the TEK8 Learning Lotus research series. TEK8 is an invitation toward Traditional Ecological Knowledge, not a claim to contain it. All Indigenous cultural materials referenced in this document should be approached with the protocols of the originating communities. Benefits of TEK8 programming must flow back to Indigenous communities through reciprocity, partnership, and economic support.

Document prepared for the Quillverse ecosystem. For questions or corrections, contact the TEK8 Research Division.

End of Document — TEK8 D12 MUSIC PETAL: Sound Pedagogies v1.0