Tips for Fostering Diversity In Your Music Program

Isaiah C. Mason, M.M. North Brunswick Township School District imason@nbtschools.org

In this modern push for equity and inclusion, many teachers are reflecting on how they can make their music programs more diverse and accessible. While a graduate student at Temple University, I completed a study where I asked New Jersey band directors what they believe are the factors that lead to, or prevent, diversity in music programs. As teachers work to have their programs reflect the racial demographic of our schools and communities, they can consider the findings of this study and how they can be applied to the music classroom. I reviewed the responses of the study and selected common themes that I hope can be taken back to your schools.

Make your Program Culturally Relevant

No one can argue that to be an effective teacher, content knowledge and pedagogical prowess must be present. American universities work to make sure their teachers are knowledgeable in the content of the western classical canon while simultaneously teaching pedagogical skills that are meant to teach music from the same canon. Naturally, many teachers are comfortable teaching this style of music and are not experienced in finding music that fits the desires, interests, and cultures of their diverse student body. Students are attracted to activities where they feel welcomed and the music that we choose is a factor in how welcomed they potentially feel. With the ever changing needs of our students, it is our job to evolve with them. For music educators, that may look like creating an ensemble outside of your traditional, classical ensemble, like a vocal jazz ensemble, a pops orchestra, or a latin-cuban ensemble. It may also look like choosing literature that accurately portrays the styles of music that are relevant to your students’ cultures and interests. Allowing your program to be culturally relevant can encourage participation of students from all cultures.

Create a Schedule that Best Serves the Students

Often, teachers have input in their schedule but do not have direct say over when their ensembles and lessons meet. However, it is still important to advocate for a schedule that works for your program and students. When students miss rehearsals they fall behind, become discouraged, and could eventually quit. That student is now a loss to the music program potentially for the rest of their time in school. Unless transportation is guaranteed, try to avoid having rehearsals before or after school. Some families cannot provide transportation and do not join the music program as a result. If it is unavoidable, advocate for extra bussing. For classes during the day, try to avoid scheduling your classes during reading, math, and Advanced Placement (AP) courses. These classes are often prioritized by administration and teachers are less likely to support the students missing class. Minority students are more likely to require special education services and often have scheduling issues as a result. Creating separate lesson blocks where most students, who receive special services, are available will encourage even more student participation. Fixing some of these scheduling issues may allow for students to participate in your music program guilt free.

Make sure your Band Represents the Students

Representation is key in encouraging student participation regardless of the activity. When students can imagine themselves succeeding in your ensemble, they

are more likely to join. First, having staff members that reflect the student body is crucial. It was found that students choose teachers of the same race as their role models at a higher rate than teachers of a different race. When hiring teachers, keep in mind that it is easier for students to relate to people who look like them. That being said, staffing is almost always out of the teachers’ control and does not help teachers who are already in the classroom. You can still relate to your minority students without being a minority teacher. You can represent your students by allowing your program to reflect their cultural interest and background. Making your program culturally relevant may mean arranging music by a certain artist or as simple as letting students discuss their musical interest with the class and listening to videos. This does not always mean performing spirituals for the sake of representation, but it does mean teaching accurate history and context while making sure to elevate every style of music to the same level of importance. There are already preconceived notions, with certain cultures, about the importance of music education in schools. Many cultures have music built into its fabric but maintain the separation between music and education. Having a parent meeting gives you a chance to exhibit how your program can be relevant academically and artistically while gaining parental support.

Recruit with Every Student in Mind

Recruitment season is often the most enjoyable for the students and staff. They get to see performances from older students in their district, watch videos about the success of the music programs, or get out of class for instrument demonstrations. Imagine being in these exciting situations and feeling excluded because you cannot relate to any of the demonstrations. In many cases, directors do not recruit with underrepresented groups in mind. Diversifying your recruitment strategies can lead to a more diverse band without having to do too much extra work. For example, you could send home letters and email parents in multiple languages. When having your ensemble perform, in the effort to recruit, avoid your classical ensembles and bring your ensembles that your students can relate to or choose culturally relevant repertoire during recruitment assemblies. When showing videos of professionals playing certain instruments or singing certain songs, make sure to show varying genres with minority performers. As more minority students join your program, others will follow because they see students who look like them and can now envision themselves in this activity.. When recruiting is over, take the same tools and embed them into the fabric of your program. No one likes false advertisements!

Provide Resources when Possible

If you are a teacher, you understand how to make your budget stretch - if you have a budget at all. Minority students are often the students not able to afford extra-curricular activities. Unfortunately, instrumental music programs are the only activities that have a continuous price tag attached. Instruments are expensive and many families do not see the justification for making this investment especially when they do not understand the importance of music based activities. In a perfect world, you will be able to set up a meeting with your principal, ask for instruments, and have them shipped to your school in a week. Realistically, you may have to be your own saving grace. I have often been overwhelmed when thinking about expanding my inventory because I had a waiting list of 20 students and not enough money to buy 20 instruments. I spent time fighting the building administration or district administration to purchase the instruments on my students’ behalf because I felt “the money should not come out of my budget.” That line of thinking did not have the effect imagined. Even if you can only buy two instruments every year with the budget I have, that means two students have the opportunity to participate in your ensemble. Over time, you will have enough inventory to provide instruments for one of your grade levels in its entirety. In the meantime, reach out to your community for instrument donations. Reach out to colleagues in other districts to see if they have unused instruments lying around they are willing to part with. Reach out to colleges and ask if they can spare a few of their secondary instruments. Every instrument counts because it directly leads to another student participating.

Every program is different and every program has its own limitations. As you read these tips, remember there is more than one way to skin a cat. These thoughts are either new information or served as reminders for concepts you already know. Either way, we are all in this fight to make music education more accessible for all of

our students. We must all work together to make music education equitable. These tips can be the building blocks.

References

Bond, V., & Russell, J. (2019). Music teacher educator perceptions of and engagement with culturally responsive education. Bulletin of the Council for Research in Music Education, (221), 7-28. https://www.jstor.org/ stable/10.5406/bulcouresmusedu.221.0007

Dever, B., Raines, T., Dowdy, E., & Hostutler, E. (2016). Addressing disproportionality in special education using a universal screening approach. The Journal of Negro Education, 85(1), 59-71. doi:10.7709/jnegroeducation.85.1.0059

Hamann, D., & Walker, L. (1993). Music teachers as role models for African-American students. Journal of Research in Music Education, 41(4), 303-314. http:// www.jstor.org/stable/3345506

Mason, I. C. (2020). Recruitment and minority participation in Middlesex County, NJ 4-12 band programs. ProQuest Dissertations & Theses Global. (2486195586). http://libproxy.temple.edu/login?url=https://wwwproquest-com.libproxy.temple.edu/dissertations-theses/recruitment-minority-participation-middlesex/ docview/2486195586/se-2?accountid=14270

"The Instrumentalist has found it necessary to reprove some of its advertisers. It finds itself embarrassed when some of it, the Twist, shindig, and the Beatles own advertisements show what its readers consider poor musical technique or conduct. It urges its advertisers to be particularly careful about embouchures, hand positions, and proper method of carrying an instrument."

An off-the-cuff comment by Dr. Wiley Housewright, suggesting that President Nixon sponsor a rock festival at the White House as a means of closing the generation gap, became the lead for an Associated Press column used by major dailies throughout the United States. Other papers stressed Dr, Housewright’s view of “music as a humanizing force that can unite us in a divided age,” and his statement that “art is nonexclusive” and can embrace all kinds of music from Bach to Beethoven to rock.

From an article entitled “The General Music Disaster in America”:

Recent investigations show that a basic weakness in the general music situation boils down to the lack of stimulating teachers who can make the general music experience interesting as well as meaningful for young people, and especially for those at the middle school level. Here is where music education must focus its thrush in order to prevent the perpetuation of illiterate citizenry in music. We must face up to the prospect that the general music class may be abolished in the next decade or two if we do not.

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