curriculum should relate to students’ cultural identities in order for them to feel connected (Delorenzo, 2012; Palkki, 2015; Peters, 2016; Walker & Hamann, 1995). 3. Representa- tion. A more proportionate representation of repertoire by composers of color should permeate across all curriculum offerings and experiences (Dixon, 2012). 4. Stereotypes. School repertoire that uses rhythmic and melodic tropes that reinforce stereotypes of specific ethnicities, races, or cultural practices should be eliminated (Abramo, 2007). 5. Inequality. Discussions with students about inequality (e.g., racial, gender oppression) should be integrated into music learning experiences (Hess, 2015; Rampal, 2015).
Multicultural curricula. Tese studies focused
on expanding curricula to include musical practices of traditionally underrepresented populations. Centering on Western Classical music traditions as a curricular core at the exclusion of other traditions represents to students that only white, western cultures are of serious study. Tis prac- tice can alienate students who have differing cultural and musical heritages (Emmanuel, 2005; Roberts & Campbell, 2015).
Youth culture and informal learning. Tis lit-
erature explored the curricular benefits of popular mu- sic--including hip-hop, pop, and rock--and the informal music practices children learn outside of school. According to some analyses, formalized curricula built on classical repertoire has limited connection to students’ experiences outside of school (Spruce, 2015) and restricts music making opportunities that are readily accessible to students aſter they leave public schools (O’Neill, 2015). Inclusion of pop- ular music and outside-of-school music practices (e.g., digi- tal production, rock bands) benefits learners by recognizing youth identity/culture and creating an “inviting attitude” toward students’ own music (Narita & Green, 2015).
Culturally relevant pedagogy. Tis literature en-
couraged music educators to incorporate traditionally un- derrepresented populations’ cultural strengths into the cur- riculum. Rather than teaching from a “deficit perspective,” students’ identities and backgrounds should be viewed as assets and starting points for curricular engagement (Lind & McKoy, 2017; Shaw, 2012). Of concern were pedagogies that rely on “skill sequence” and “score-centric” teaching methods, as well as practices that promote Eurocentric con- cepts of technique as the ideal. Students whose cultures are primarily aural/oral, participatory, and/or community-ori- ented can be disenfranchised by reliance on notation-de- rived and sequenced skill acquisition methods (Allsup 2009; Gustafson, 2009; Kelly-McHale & Abril, 2015).
Admission, Recruitment and Retention 15
Of the studies focused on collegiate admission, recruitment, and retention, support structures emerged as a key idea. Te research suggested that music institutions in higher education take a comprehensive, multifaceted approach that provides supports from college pre-admission to work- place hiring (Berry, 1990). Specific supports included: 1. Financial. Offering scholarships and streamlining degree programs to reduce financial burdens (Delorenzo & Sil- verman, 2016); 2. Equity. Creating more equitable admis- sion/audition processes by expanding concepts of musical competence and excellence--including using a wide range of musical genres and styles (Koza, 2008; Palmer, 2011); 3. Faculty Education. Providing professional development for faculty in order to combat a “luxury of ignorance” (Bradley, 2015; Wright, 2015), remove “colorblind approaches,” and interrogate implicit biases that unwittingly prevent students from succeeding (Koza, 2008; Sears, 2016); 4. Remediation. Creating retention programs that include remedial work where needed and social support groups to deal with any culture shock, while paying attention to conditions and approaches so as not to stigmatize students; 5. Relationships. Conducting outreach events and placing preservice music teachers specifically in urban schools, as well as rural and suburban schools with highly diverse student populations (Barnes, 2016; Wilson, 1990); 6. Hiring. Hiring faculty of color. Some may serve as mentors to students (Hamann, & Cutietta, 1996-1997; Walker & Hamann, 1993); 7. Networks. Creating social networks for graduates to find employment in K-12 schools; and 8. Curriculum. Diversifying the un- dergraduate curriculum by including a variety of ensembles, traditions, practices and aesthetics outside classical music traditions (Arias-Garcia, & Gronemeier, 2015; Carson & Westvall, 2016; Ladson-Billings, 2015; Sands, 2007).
Conclusion
Workforce diversity is a desired goal. Te literature is clear that music educators in public school and higher education can take direct steps in changing curriculum and “pipeline processes” involved in teacher education, resulting in more equitable practices and a more diverse workforce. A first direct step might be to identify and interrogate hidden assumptions that undergird thinking and practices which might thwart inclusion, access, and representation that cre- ate existing borders and barriers.
References
Abramo, J. (2007). Mystery, fire and intrigue: Representa- tion and commodification of race in band literature. Visions of Research in Music Education 9/10, 1-23.
Allsup, R. E. (2009). Choosing music literature. In H. Abeles & L. Custodero (Eds.), Critical issues in music educa-
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