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“Thinking About Music” and “Critical Listening.” One consequence of this change will be to allow people who are talented musicians but didn’t begin music lessons at young age to become majors along with those who have been classically trained throughout childhood. It also pro- vides those with interest in non-western musical traditions an opportunity to study it at a more advanced level.
You never can tell where the next musical innovator or ‘genius’ might come from. So an inclusive approach to music education is important in order to support budding musicians no matter their socioeconomic class or background. This is also why there needs to be multiple entry points into the study of music to support multiple outcomes. In Wisconsin, Lawrence Uni- versity is striving for greater inclusion in its Conservatory of Music through a vision for “21st
Century Musicianship” which
along with promoting the development of excellent technique seeks to help students become flexible, adaptable creators and collaborators.
But what does practicing inclusive music education look like for students in primary and secondary school? It is characterized by access, self-reflection and authentic engagement. Access requires a national commitment to providing the financial support necessary to make music a part of every students’ education. It is an im- portant component of the preparation each of us needs to live happy and productive lives because it helps students learn how to understand and enjoy music even if they don’t plan to be musicians. And as stated earlier, music can serve as a way to bridge cultural divides that seem so promi- nent in our society today by facilitating empathy in providing a shared affective experience.
As is the case with any significant change, making music education more inclusive begins with each of us as educators, taking a look at ourselves. We need to identify our own biases related to who can do mu- sic, how it should be done and what consti- tutes quality. Part of this process is seeking
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opportunities to expand our knowledge of various musical genres and traditions, including those that represent non-western cultures. This also means examining our bias, stereotypes and blindspots as they relate to various identities that we and our students bring into the classroom or lesson including categories like race/ethnicity, gender and class as well as physical or mental ability.
In order to achieve this, we must become more intentional about taking the time to get to know our students and the com- munities from which they come. Conse- quently, we will be more effective partners in their education by better understanding their interests and challenges. It also helps us to keep our education relevant for future generations. Culture evolves and so must education, particularly education in the arts. This flexibility does not mean an abandonment of rigor or the pursuits
of excellence. It is, in fact, the only way to teach all students well with realistic expectations that each will reach their unique potential.
Finally educators need to provide social and physical spaces in which our students can engage with music authentically. This entails meeting students where they are in order to, together, achieve creative outcomes beyond their expectations. By increasing access, self-reflection and au- thentic engagement we can facilitate the practice of inclusion in music education, and in so doing, contribute to creating a more compassionate and equitable world.
Kimberly Barrett is vice president for diversity and inclusion and associate dean of the faculty at Lawrence University in Appleton. Email:
kimberly.a.barrett@
lawrence.edu
»See more at
uwec.ly/mus-the
Music and Theatre Arts
47
2018
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