Some districts may already have an infrastructure in place as a beginning point. Dammers (2012) surveyed 1,830 high school principals around the United States to determine how many schools offer technology-based music classes. His survey found that 14% of high schools are already offering music technology courses in which the majority (89%) of teachers indicated these courses were primarily developed to attract non-traditional music students.


As music educators, we are aware of the need to continuously


justify our music programs to school administration. If you are fortunate, you will already have an understanding administrator that can see the value in music education for all students. However, many are not so lucky. Music programs are expensive. Buying and maintaining equipment is a large expense that can be easy for school districts to restrict or even eliminate all together. One way to justify the expense is to find ways for your music technology classes to give back to the school and community. You could offer to have your students operate the sound equipment for pep rallies or sporting events. Perhaps you could open up your classroom for a community outreach program that teaches adults music and technology skills under your supervision. Not only do these activities give back, they are also valuable teaching opportunities. No matter how you go about attaining funds for equipment,


always remember that the students’ needs should come first and that patience is important. Music technology is an ever-evolving area, as your technology lab will be as well. Conclusion


Music technology can be the first step to meeting the needs


of an increasing diverse music student population. These types of courses offer opportunities for students that either do not want to perform or do not enjoy traditional music. Music educators must begin valuing the needs and music of their students as relevant if they want to involve all students in music making and creating. There will always be concerns about implementing new


programs or curriculum. However, none of these concerns are insurmountable. With the right attitude, willingness, and patience, we can reach the “other 80%” of our students and give them the music education they deserve. Change does not happen overnight but it also does not happen without the first step. Educators must always remember that the needs of the student should be our first priority.


References Bledsoe, R. N. (2015). Music education for all? General Music Today, 28(2), 18-22. doi: 10.1177/1048371314549888


Cain, M., Lindblom, S., & Walden, J. (2013). Initiate, create, activate: Practical solutions for making culturally diverse music education a reality. Australian Journal of Music Education, 2, 79-97.


Dammers, R. J. (2012). Technology-based music classes in high schools in the United States. Bulletin of the Council for Research in Music Education, 194, 73-90. Retrieved from http://www.jstor.org/stable/10.5406/bulcouresmusedu.19 4.0073


ala breve


Elpus, K. & Abril. C.R. (2011). High school music ensemble students in the United States: A Demographic Profile. Journal of Research in Music Education, 59(2), 128-145. doi: 10.1177/0022429411405207


Felder, B. (2015). Non-traditional music class offerings: Integration of music technology (Unpublished master’s thesis). University of Maryland, College Park, MD.


Hussar, W.J., and Bailey, T.M. (2013). Projections of education statistics to 2022 (NCES 2014-051). U.S. Department of Education, National Center for Education Statistics. Washington, DC: U.S. Government Printing Office. Retrieved from http://www.pewresearch.org/fact-tank/2014/08/18/u-s- public-schools-expected-to-be-majority-minority-starting-th is-fall/


Kelly-McHale, J. (2016, April 25). Why music education needs to incorporate more diversity [Online Article]. Retrieved from https://nafme.org/music-education-needs-incorporate- diversity/


Mishra, P. & Koehler, M.J. (2006). Technological pedagogical content knowledge: A framework for teacher knowledge. Teachers College Record, 108(6), 1017-1054. Retrieved from http://www.tpack.org/


Shuler, S.C. (2011). Building inclusive, effective twenty-first-century music programs. Music Educators Journal, 98(1), 8-13. doi: 10.1177/0027432111418748


Williams, D.A. (2011). The elephant in the room. Music Educators Journal, 98(1), 51-57. doi: 10.1177/0027432111415538


Williams, D.B. & Dammers, R.J. (n.d.). The other 80% music home [Online Article]. Retrieved from https://musiccreativity.org/


Williams, D.B. (2007, April). Reaching the “other 80%”: Using technology to engage “non-traditional music students” in Creative Activities. Paper prepared for the proceedings of the Tanglewood II “Technology and Music Education” Symposium, University of Minnesota, MN.


Wlodkowski, R.J. & Ginsberg, M.B. (1995). A framework for culturally responsive teaching. Educational Leadership, 53(1), 17-21. Retrieved from http://www.eric.ed.gov


Brittny Kempfer recently finished her first year as a Ph.D. candidate at Auburn University. She holds a Master's Degree in Choral Music Education from the University of Wisconsin-Milwaukee, and a Bachelor's instumental/General Music Education from the University of Wisconsin-Platteville. Her current research and writing focuses on diverse musical styles and non-traditional courses within the secondary music curriculum.


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