Digital humanities projects aid educators in broadening the voices, perspectives, and methodologies introduced in the music history classroom. Musicians and scholars alike use digital technologies to expand pedagogical horizons and to study diverse types of music making. Such projects inform and challenge approaches to the canon and supplement (or replace) pre-packaged texts and anthologies. While textbooks lag behind current initiatives and directions of scholarship, in addition to expanding access to content and methodologies, digital praxis in the classroom also enables the amplification of marginalized or underrepresented voices.
The panelists in this session speak about their distinctive uses of digital scholarship that move classroom activities beyond canonical and anthological boundaries in courses for music majors and general education students. Mollie Ables discusses her use of multiple digital platforms in a non-major class both to teach the material and for students to create projects. Devin Burke has created a digital timeline that allows students to explore spaces in which musicking has occurred from a global perspective. Matthew Franke uses blogging to create, adapt, and deliver textual, pictorial, and audiovisual narratives while including oft-neglected materials and minimizing financial burdens on students. Virginia Whealton explores how pandemic-induced disruptions in library services and simultaneous explosion of free online archives has prompted the creation of digital, annotated anthologies of primary sources as a keystone in student research projects. Christopher Witulski's World Music Textbook Project leverages digital space's large capacity and sorting and filtering capabilities to incorporate meaningfully high volumes of content in lower level courses.

Following an opening roundtable discussion by the panelists, this session will proceed with open discussion, before concluding with breakout time with each panelist.