Conceptualising music education not only as ‘music-making’ but as ‘musical meaning-making‘, Valerie Krupp ’s learning episode provides a fascinating example of developing learner musical literacy skills – involving intra- and interpersonal negotiation and reflection and drawing on subject-specific knowledge, skills and processes. She argues that for learners to engage meaningfully in music analysis, recensions, aesthetic arguments and so on, they need to practise and use the language of musical genres and musical inquiry alongside language for critical and aesthetic evaluation. This, she proposes, promotes learner agency, encompassing musical literacies, competences and critical cultural consciousness. Situating the learning episode as praxial, student-relevant and real-world, it concerns the posting of a sea shanty, ‘The Wellerman’, on TikTok. Against all odds, the song ‘went viral‘, leading to ‘in the moment‘ global interest in sea shanties. Learners investigate why such a musical phenomenon took place. This opens up critical inquiry into the socio-cultural context of the shanty genre – classifying, analysing and critiquing musical and social media and analysing user comments. This example could be transferred to exploring other musical genres and interpretations.

This chapter outlines musical orality and musical literacy in the modes of transmission of musical traditions, knowledge and skills within the double island nation Trinidad and Tobago. It begins with a brief outline of some wider music educational tendencies which can in turn provide a lens through which to view music educational policy and practice in Trinidad and Tobago. This is followed by a discussion of some of the central music-making practices found there, their historical foundations, current performance, and respective accompanying manifestations of musical orality and musical literacy in their transmission.