TN Musician Vol. 71 No. 2

The Official Publication of the Tennessee Music Education Association
A Survey Examining
Tennessee Music
Educator’s Beliefs on
Musical Creativity
by Jessica Barnard
p. 14
Important Concepts for
Inclusion and Equity in
Music Education
by Karen Salvador
p. 24
Teaching the Art of the
Shift in Orchestra Class
by Tom Tatton
p. 33
VOLUME 71, NO. 2

MUSIC
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TENNESSEE MUSICIAN EDITORIAL STAFF
Michael W. Chester
Managing Editor and Advertising Manager
Justin T. Scott
Associate Editor
Anna Laura Williams
E-Newsletter Editor
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TABLE OF CONTENTS | 2019 | VOLUME 71, NO. 2
Prelude – A Message from the Editor 6
Michael Chester
TMEA President’s Message 8
Lafe Cook
FEATURED ARTICLES
A Survey Examining Tennessee Music Educator’s
Beliefs on Musical Creativity 14
Jessica Barnard
Important Concepts for Inclusion and Equity
in Music Education 24
Karen Salvador
Teaching the Art of the Shift in Orchestra Class 33
Tom Tatton
Place non-member subscription and single copy orders
at TMEA, 129 Paschal Drive, Murfreesboro, Tennessee
37128 or e-mail to editor@tnmea.org.
All editorial materials should be sent to: Michael Chester,
Editor-in-Chief (615-873-0605)
e-mail: editor@tnmea.org. Submit materials by e-mail
in Microsoft Word format.
Tennessee Musician Advertiser Index 38
TMEA Back Then 40
Advertising: Information requests and ad orders should
be directed to: Michael Chester, Editor-in-Chief
(615-904-6771 ext. 31600) e-mail: editor@tnmea.org.
All advertising information is on the TMEA web site,
www.tnmea.org.
Deadlines for advertisement orders and editorial
materials: Issue No. 1 – Deadline: August 15 (in home
delivery date October 15); Issue No. 2 – Deadline:
October 15 (in home delivery date December 15); Issue
No. 3 – Deadline: December 15 (in home delivery date
March 15); Issue No. 4 – Deadline: February 15 (in
home delivery date May 15)
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THE TENNESSEE MUSICIAN
THE OFFICIAL PUBLICATION OF THE TENNESSEE MUSIC EDUCATION ASSOCIATION
The Tennessee Music Education Association (TMEA) was officially formed in
1945 as a voluntary, non-profit organization representing all phases of music education
at all school levels. The mission of TMEA is to promote the advancement of
high quality music education for all. Active TMEA membership is open to all persons
currently teaching music and others with a special interest or involvement in
music education. Collegiate membership and retired memberships are available.
Membership applications are available on the TMEA web site, www.tnmea.org.
The Tennessee Musician was founded in 1948 with J. Clark Rhodes appointed by
the TMEA Board of Control as inaugural editor. Tennessee Musician was preceded
by an earlier publication, Tennessee Music Editors’ Downbeat, which was
discontinued by the TMEA Board of Control at the spring board meeting, held in
Chattanooga, Tennessee in 1948. Tennessee Musician is published by Slate Group
– Lubbock, Texas and is mailed to members four times each year at an annual
subscription rate of $6.00 (included in dues). Non-member subscription rate (includes
S&H): $30.00 per school year; single copies: $10.00 per issue

TMEA BOARD AND COUNCIL
NATIONAL EXECUTIVE BOARD (National
Association for Music Education)
SOUTHERN DIVISION PRESIDENT
Dian Eddleman
deddleman@usjbruins.org
TMEA OFFICERS
TMEA EXECUTIVE DIRECTOR:
Ron Meers
execdirector@tnmea.org.org
TMEA PRESIDENT
Lafe Cook
president@tnmea.org
TMEA PRESIDENT-ELECT:
Alexis Yatuzis-Derryberry
pres-elect@tnmea.org
TMEA IMMEDIATE PAST-PRESIDENT:
Johnathan Vest, Ed. D.
past-president@tnmea.org
BOARD OF DIRECTORS
TMEA STATE GENERAL MUSIC CHAIR:
Linzie Mullins
linziemullins9@gmail.com
TMEA STATE CHORAL CHAIR:
Reachel Hudgins
choralchair@tnmea.org
TMEA STATE ORCHESTRA CHAIR:
Anna Maria Miller
orchestrachair@tnmea.org
TMEA STATE BAND CHAIR:
Megan Christian
megan.christian@knoxschools.org
TMEA STATE HIGHER EDUCATION CHAIR:
Barry Kraus, DMA
higheredchair@tnmea.org
TMEA STATE COLLEGIATE NAFME CHAIR:
David Royse, Ph. D.
droyse@utk.edu
TMEA SOCIETY FOR MUSIC TEACHER EDUCATION/
RESEARCH CHAIR:
Jamilia McWhirter, Ph. D.
jamila.mcwhirter@mtsu.edu
TMEA STATE EDUCATIONAL TECHNOLOGY CHAIR:
John Womack
webmaster@tnmea.org
TMEA ADVOCACY AND GOVERNMENT RELATIONS CHAIR:
Christopher Dye, Ed. D.
christopher.dye@mtsu.edu
TMEA PUBLICATIONS EDITOR AND ADVERTISING
MANAGER:
Michael Chester
editor@tnmea.org
TMEA PUBLICATIONS ASSOCIATE EDITOR:
Justin Scott
justin.scott@tcsedu.net
TMEA COUNCIL
WTGMEA PRESIDENT:
Frances Miller
wtgmeamemphis@yahoo.com
2 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 2
WTGMEA PRESIDENT-ELECT:
Ray Mullins
wtgmeamemphis@yahoo.com
WTVMEA PRESIDENT:
Emily Taylor
etaylor@colliervilleschools.org
WTVMEA PRESIDENT-ELECT:
Sharon Morris
smorris@lced.net
WTSBOA PRESIDENT:
Ollie Liddell
ollie_liddell@hotmail.com
WTSBOA PRESIDENT-ELECT:
Jennifer Cupples
jennifer.cupples@
chestercountyschools.org
MTGMEA PRESIDENT:
Rachel Lapinski
lapinskir@rcschools.net
MTGMEA PRESIDENT-ELECT:
Corynn York
corynn.york@cityschools.net
MTVA PRESIDENT:
Lia Holland
liaholland@mtcscougars.org
MTVA PRESIDENT-ELECT:
Gerald Patton
pattong@rcschools.net
MTSBOA PRESIDENT:
Debbie Burton
president@mtsboa.org
MTSBOA PRESIDENT-ELECT:
Justin Scott
justin.scott@tcsedu.net
ETGMEA PRESIDENT:
Marcus Smith
marcus.smith@knoxschools.org
ETGMEA PRESIDENT-ELECT
Amanda McMahan
amanda.mcmahan@knoxschools.org
ETVA PRESIDENT:
Stephanie Coker scoker@acs.ac
ETVA PRESIDENT-ELECT:
Deborah Gouge
debgouge@charter.net
ETSBOA PRESIDENT:
Alan Hunt
ahunt@bradleyschools.org
ETSBOA PRESIDENT-ELECT:
Donald Benton
dbenton@bradleyschools.org
CONFERENCE MANAGEMENT TEAM
TMEA CONFERENCE CO-CHAIR:
Brad Turner
brad.turner@acsk-12.org
TMEA CO-CONFERENCE CHAIR:
Paul Waters
paulwaters.tmea@gmail.com
TMEA CONFERENCE EXHIBITS CHAIR:
Jo Ann Hood
jhood10105@aol.com
TMEA CONFERENCE REGISTRATION CHAIR:
Mark Garey
mgarey86@comcast.net
TMEA CONFERENCE PERFORMANCE GROUP CHAIR:
John Mears
mearsj@rcschools.net
ALL-STATE MANAGEMENT TEAM
TN ALL-STATE CHORAL GENERAL CHAIR:
Amanda Ragan
aragan@ortn.edu
TN ALL-STATE INSTRUMENTAL GENERAL CHAIR:
Todd Shipley
todd.shipley@mnps.org
ENSEMBLE CHAIRS
TREBLE HONOR CHOIR CHAIR:
Tiffany Barton
tntreblechoir@gmail.com
TN ALL-STATE SATB CHOIR CHAIR:
Amanda Short
amandalovellshort@gmail.com
TN ALL-STATE SSAA CHORALE CHAIR:
Kelly Davenport
davenportK@wcde.org
TN ALL-STATE TTBB CHORUS CHAIR:
Lauren Ramey
lauren.ramey@wcs.edu
TN ALL-STATE 9TH - 10TH GRADE STRING
ORCHESTRA CHAIR:
Nichole Pitts
pitts_stephanie@hcde.org
TN ALL-STATE 11TH - 12TH GRADE SYMPHONIC
ORCHESTRA CHAIR:
Gary Wilkes
gwilkes428@gmail.com
TN ALL-STATE 9TH - 10TH GRADE CONCERT BAND CHAIR:
Carter Noblin
noblinc@wcschools.com
TN ALL-STATE 11TH - 12TH GRADE CONCERT BAND CHAIR:
J.R. Baker
john.baker@rcstn.net
TN ALL-STATE JAZZ BAND CHAIR:
Cord Martin
corderyl.martin@gmail.com
PROJECT CHAIRS
TMEA JAZZ EDUCATION POLICY CHAIR:
Richard Ripani, Ph. D.
richard.ripani@mnps.org
TMEA MUSIC MERCHANTS INDUSTRY CHAIR:
Rick DeJonge
rick.dejonge@khsmusic.com
TMEA WEBMASTER:
John Womack
webmaster@tnmea.org
TMEA TRI-M CHAIR:
Anna Laura Williams
anna.laura.williams@outlook.com
TMEA MUSIC IN OUR SCHOOLS MONTH CHAIR:
Tiffany Barton
tntreblechoir@gmail.com
TMEA RETIRED TEACHERS CHAIR:
Bobby Jean Frost
bjfrost@aol.com

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PRELUDE - A MESSAGE FROM THE EDITOR
Michael Chester || Stewarts Creek High School
The case for arts education in the schools
depends on what the arts can do to clarify and
enrich the experience that the other subjects
in the curriculum cannot do. We must be
able to articulate the centrality of aesthetic
experience that it is indispensable to all
worthwhile experience...
—Dr. Solie Fott
Greetings and happy new year! By the time you
read this (if you read this) the year 2019 will still
be in its infancy. We know that 2019, like any
other year, means change is coming. With new
Tennessee Governor Bill Lee and new Tennessee
Commissioner of Education Penny Schwinn,
now more than ever is a time to remain informed and connected.
The TMEA leadership, along with our friends at
the Tennessee Arts Coalition are remaining quite vigilant
for any new changes that might affect the future of arts
education, and in particular music education in the upcoming
legislative sessions.
The TMEA leadership, along with regional association
leaders and leaders in other Tennessee arts education
associations have come together for the common good
of arts education. This is something that should not be
taken for granted. Every state gubernatorial and legislative
change inevitably means an agenda that can affect
arts education and what we do on a day-to-day basis.
Thankfully our leadership has and continues to cultivate
the relationship with our elected body. They are not and
should not be the only ones doing this. This is where you
as a TMEA member get to flex and do your part. Do you
know who your local elected leaders are? Do you communicate
with their offices and staff ? Are you sharing the
good news and the impact of music instruction for your
students? It’s time to step up to the proverbial plate.
Yet we’ve all seen this before. Let’s travel back in time
for a moment. In 1984 Dr. Solie Fott was the 20th president
of TMEA. His writings and rhetoric are arguably
among some of the finest of our TMEA presidents. He
began his column with “The winds of change are swirling
again.” (See TMEA Back Then pg. 40 for more.) 1985
was on its way and his message, which resonated with me,
was a vigorous defense of arts education, the need for fulltime
TMEA staff, and the need for TMEA as an association
to advocate, communicate, and designate the wealth
of great ideas.
He goes on to write “it is up to us to convince the decision
makers that the aesthetic experience is basic to
the educated life and mind . . .The case for arts education
in the schools depends on what the arts can do to clarify
and enrich the experience that the other subjects in the
curriculum cannot do. We must be able to articulate the
centrality of aesthetic experience that it is indispensable
to all worthwhile experience, and that instruction in the
aesthetic response is possible, even with students who
are not endowed with unusual artistic talent.”
Never has there been a more eloquent way of stating
what is obvious.
So it is in 2019, just as it was in 1985. I urge everyone
to take on this new year with a sense of renewed purpose
and pride in what it is you do. Make sure to let your voice
be heard. No one else is going to do it for you.
Wishing each and every one of you the best in 2019!
Michael Chester
Managing Editor
6 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 2

TMEA PRESIDENT’S MESSAGE
Lafe Cook || Dobyns-Bennett High School
You were hired to provide a meaningful
musical experience to the students of your
school! Never feel like you have to hesitate
to communicate your programs needs to
those that can help you.
I hope this edition of the Tennessee
Musician finds you excited about the
work you have been doing in the classroom.
I want to challenge you to consider
an “overused” word in a new way.
The word “advocacy” is heard extraordinarily
frequently in the music education
world. Typically, advocacy conversations
in our profession center around how music
teachers can collectively send messages
to decision makers about the impact that
a quality music education has on students.
Those decision makers can be at the local,
state or federal level and there is no doubt
that we must continue to send strong messages
about the positive effects of music
education on student development. The
fact that advocacy articles are so prevalent
in this very publication tells us we
have more work to do in this area. Music
education associations like TMEA exist in
part to help get the word out to the state’s
political leaders, and we will continue that
important work on your behalf!
But the most crucial advocacy work you
can do is your personal advocacy in support
of your students and the music program
at your school! I challenge you to be
an “unapologetic” advocate for your students!
What does “unapologetic advocacy” look
like? Years ago, I was hired by a principal
that told me he wanted our school to have
“the best high school band in the state.” At
the time that was a scary statement that
felt filled with pressure and expectation.
The good news was that he let me define
what “the best high school band” meant
and from that moment on a have I run every
decision I make through a single filter
first. I ask myself “what decision is best for
our program and the students who are in
it.” I now approached decision makers and
student families as an “unapologetic advocate.”
I have told many administrators
through the years that they can expect to
be very honest about what our music program
needs and that I will aggressively advocate
for the necessary tools for student
and program success. I’ve been upfront
with administrators that my efforts may
seem “pushy” and redundant but are motivated
by a desire to provide the best possible
experience for my students. I have also
told administrators that if I push too hard
tell me and I’ll back off.
Creating an understanding with your
school and system administrators regarding
the purity of your motives can allow
you to have very upfront conversations
about program needs. Schedules, funding,
and staffing can all be aggressively addressed
if there is a broad understanding
that you are merely being an advocate for
your students. This same degree of communication
of motive can apply to better
relationships with parents. Music directors
make hundreds of decisions on behalf
of a large number of students, so it is
unlikely that every parent will agree with
every decision. The good news is if parents
understand your motives then they are far
less likely to challenge your decisions!
Of course, advocacy decisions look very
different from school to school, and your
approach to advocacy depends mainly on
the kind of program you are directing. But
regardless of your specific circumstances,
you were hired for one reason. You were
hired to provide a meaningful musical experience
to the students of your school!
Never feel like you have to hesitate to communicate
your programs needs to those
that can help you. Make the same requests
every year, even though those requests
have been denied many times before!
• Let administrators know that general
“music classes” that don’t in some
way involve the making of music are
not really music classes but history
classes.
• Repeatedly communicate deficits in
your school’s schedule that prevent
kids from being in music programs.
• Work to provide financial assistance
for economically disadvantaged students
to give them access to music
program experiences.
Push for the program and student needs
with an understanding that decision makers
may continue to deny these requests,
and may be doing so for viable reasons.
Approach conversations and requests
with professionalism and respect, but
never feel like you have to apologize for
your advocacy!
8 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 2

ETSU MUSIC DAYS:
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Fall 2019 Enrollment
Friday, November 16, 2018
Tuesday, February 19, 2019
Friday, March 22, 2019
Saturday, March 23 2019
(Vocal only)
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Join the
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sexual orientation, gender identity, age, physical or mental disability, or covered veteran status. Inquiries should be directed to the Office of Equity and Diversity (OED), 303 Administration Building, Martin, TN 38238, (731) 881-3505 Office, (731) 881-4889 TTY, Hearing Impaired, (731) 881-3507 Fax, equityanddiversity@
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and UTM’s emergency response and evacuation procedures. You can view the report at http://www.utm.edu/departments/publicsafety/_pdfs/annual security report 2014 adobe.pdf or you may obtain a paper copy of the report by contacting the Office of Public Safety, 215 Hurt Street, Martin, TN 38238 or calling (731) 881-
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PILOT STUDY:
A SURVEY EXAMINING
by John Oelrich, D.M.A.
TENNESSEE MUSIC
EDUCATOR’S BELIEFS ON
MUSICAL CREATIVITY
Jessica Barnard
Dr. Jamila L. McWhirter, Faculty Advisor
Middle Tennessee State University
INTRODUCTION
IN 2015, the National In-Service Conference titled “Empowering Creativity”
focused its sessions on helping music teachers foster an effective
learning environment that in turn could help to breed creative musicians.
Some of the sessions included, “Using Circle Singing to Enliven
Choral Creativity,” “How to Empower Creativity Using the National
Core Music Standards,” and “Teaching the Creative Process: Toward a
Pedagogy for Musical Creativity.” Even the national and state standards
started to shift to a more prominent focus on creativity.
When reviewing the introduction of the new 2016 Tennessee State
Standards for Fine Arts Education, it includes creative thinking as
a skill that each student should possess which in turn helps to create
well-rounded students ready for life outside of grade school. In turn,
when examining the four Artistic Processes, the second is Create. The
educators that created these new standards show connections between
the new standards and the 1994 National Standards. It states that Standards
3 and 4, Improvise and Compose, connect with the Create Domain
(2016, p. 170). When actually defining create, the document defines it
as, “[conceiving] and [developing] new artistic ideas through improvisation,
composition, or arrangement.” In addition, the definition for
compose is to “create music,” while improvise is defined as, “[creating]
music spontaneously, often within a framework determined by the musical
style” (2016, p. 261, 263). Through evidence of these definitions, it
can be assumed that many music educators envision creativity in the
music classroom as composition or improvisation. However, there can
be an argument that musical creativity can go beyond the means of just
composition and improvisation.
In David Elliot’s (1995) book “Music Matters,” Elliot argues that
musical creativity should not be restricted to just composition and
14 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 2

improvisation but defines it as, “helping students learn
strategies that will enable them to apply and extend their
musicianship-and-listenership toward producing creative
outcomes, original and significant performances,
improvisations, compositions, and so forth” (p. 225-227)
I believe the new Tennessee Standards for Fine Arts better
connects with Elliot’s definition of creativity than
the 1994 music standards. When regarding the second
Foundation of the Create Domain, it encourages students
to critically think about their musical creations.
When the students must think about their
musical decisions, it allows for more of their
own personal creativity to play a role in the
classroom.
Lisa Gruehagen (2017), Assistant Professor
of Music Education at Bowling
Green State University, writes that if a
student combines reflection and collaboration,
it will then produce musical
creativity in the student. She
argues that the planning stage of a
student’s own musical work goes
beyond just formulating simple
decisions, but formulating decisions
with intent. She also suggests
for the students to collaborate
with one another in their
music making. This in turn produces
musical creativity (p.42).
In Oscar Odena’s (2011)
book, “Musical Creativity: Insights
from Music Education
Research,” Pamela Burnard,
Senior Lecturer in the Faculty
of Education at the University
of Cambridge, avoids a particular
definition of musical creativity,
but discusses its practice instead.
She defends this notion of focusing
on the practices instead of actually
defining musical creativity because of
its tendency to lean towards particular
extremes. Some of the practices she listed
include individual creativity, collaborative
creativity, intercultural creativity in
music, and performance creativity in music.
RESEARCH ABOUT MUSICAL CREATIVITY
IN 2006, Katherine Strand conducted a study examining
the practices of composition of music teachers in
the state of Indiana. Strand was interested in how these
teachers incorporated composition into their classrooms,
if these teachers had a working definition of composition,
and the particular characteristics of teachers who did not
use composition in their classroom. Strand created a survey
that was sent out to 655 Indiana music teachers who
Tennessee Music Education Assocation | www.tnmea.org | 15

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taught general music, choral, band
and/or strings. The largest majority
of teachers (63%) who responded
were elementary and/or middle
school general music teachers. In
summary, Strand found that even
though a large amount (87%) of music
teachers reported incorporating
composition into their classroom,
only a small portion (5.9%) reported
incorporating it often. The teachers
also reported class size, limited time,
and resources as hindrances for incorporating
composition into the
classroom. At the end of her study,
Strand stressed that these Indiana
music teachers needed more tools
to include composition into their
classroom “without the fear that they
[would] run out of time or neglect
other important learning experiences.”
(p. 160)
Interestingly enough, Strand did
not report how comfortable the
teachers were incorporating composition
in their classrooms and if
they felt prepared to teach the musical
concept. There are some music
educators that express reluctance to
incorporate musical concepts such
as composition and improvisation
because they lack the confidence to
teach these elements. Natassa Economidou
Stavrou’s (2013) research
specifically questioned the confidence
levels of pre-service generalist
teachers to incorporate musical
creativity into the music classroom.
Her study allowed a group of student
teachers to participate in a sound
story project to help foster creative
skills through experimenting with
music. Stavrou backs up the argument
that musical creativity should
not only focus on composition and
improvisation. Stavrou also argues
that creativity can be “fostered and
developed and, like any other ability,
it requires encouragement and
guidance” (2013, p. 37). Stavrou used
qualitative methods when collecting
data which included diary notes
of the student teachers, questionnaires,
video material, and post-performance
interviews. During the
study, Stavrou specifically asked the
student teachers to discuss whether
or not they felt like they could be creative.
In the beginning of the study,
one particular student teacher expressed
they felt as if they could not
be creative. However, when asked the
same question in the exit interview,
the same student teacher expressed
that anyone could be creative. The
same student mentioned that after
participating in the study, they felt
encouraged to introduce musical
creativity in the classroom. Stavrou
then suggests that in the case of
these generalist teachers, encouraging
positive creative experiences
encouraged these teachers to boost
their self-efficacy in incorporating
musical creativity in their classroom.
Through studying this research,
the research questions emerged as:
• How did Tennessee music
educators define musical creativity?
• Would music educators consider
an activity musically
creative if it did not include
improvising and composition?
• In turn, how did these music
educators incorporate musical
creativity into their classroom?
• Did they feel like they were
prepared to incorporate musical
creativity into their classroom?
PURPOSE AND METHOD
The purpose of this research
was to discover Tennessee music
educator’s beliefs about musical
creativity and understand how they
implement it into their classroom.
A brief online survey (22 questions)
Through this survey, it was reported that a large
amount of these Tennessee Music Educators
(97%) believe that musical creativity is an
essential goal of music education.
was sent out to Tennessee music educators
through their membership
in the Tennessee Music Education
Association. The teachers were sent
a link through an email from the Tennessee
Music Education Association
and were given a week to participate
in the survey. The survey consisted of
categorical rankings, ranking questions,
multiple choice questions, and
several open-ended questions. Their
participation was completely voluntary
and they could choose to refuse
to answer any question. The survey
was anonymous and no individual
was or could be identified through
their participation. Teachers were
asked to discuss not only the subjects
they taught, but the grade levels,
years of experience teaching
in the school system, and the types
of professional development they
participated in. The teachers were
also asked to rate how comfortable
they were fostering musical creativity
through use of a likert scale with
options such as: “very comfortable,”
“comfortable,” “moderately comfortable,”
“somewhat comfortable,”
and “not comfortable.” Likert scales
were also used for the questions,
“How important is musical creativity
in your classroom?” and “How
often do you incorporate musical
creativity in your classroom?” The
teachers were then asked to specifically
define musical creativity and
discuss the kinds of activities they
implemented in their classroom to
encourage musical creativity. The
data was reported through frequencies
and percentages.
18 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 2

PARTICIPANTS
The survey was sent via email to the membership of the
Tennessee Music Education Association. Through this
pool of participants, 35 members responded. The largest
amount of music educators that responded to this survey
included elementary general music teachers (43%) and
high school or middle school band directors (43%). The
highest respondents had either less than five years of experience
in the school system (33%) or had 21 plus years
of experience (33%). The largest number of respondents
(56%) reported teaching middle school. When asked what
their highest level of education was, answers varied. The
most answers included Bachelor’s degree (26 %), Master’s
degree (23%), and a Master’s degree plus additional Graduate
credits (23%).
RESULTS
Through this survey, it was reported that a large amount
of these Tennessee Music Educators (97%) believe that
musical creativity is an essential goal of music education.
In addition, the same amount of music educators
expressed wanting to incorporate more musical creativity
in their classroom. A decent amount of the teachers
(63%) believed musical creativity to be important or
very important in their music classroom, but around half
(48%) of the participants only reported incorporating it
occasionally. When regarding professional development,
a large majority (75%) reported completing Orff Training.
This may be connected to the high amount of general music
teachers that responded to the survey.
When the teachers were asked to define musical creativity
the top three comments included: creating independent
music, musical decisions, and improvising. The
largest hindrances for the teachers were time, materials,
outside factors (e.g., field trips, testing), and personal
fear. When the participants were asked where they wanted
professional development focused on musical creativity
to come from, half of the participants reported wanting
their school district to offer this type of professional development.
It can be assumed that the teachers expressed
wanting the school district to offer the professional development
because of convenience for travel.
When asked if these music teachers felt like their music
education training prepared them to incorporate musical
creativity in their classroom, a little more than half (53%)
of the participants agreed. However, a smaller but still
significant portion of participants (27%) reported that
they disagreed or strongly disagreed that their music education
training prepared them to incorporate musical creativity.
Additionally, when asked if they considered themselves
to be musically creative, a large percentage (90%)
felt as if they were, but there was still a small portion
(10%) participants that did not feel musically creativity.
When asked if these Tennessee teachers were familiar
with the new Tennessee State Standards for Fine Arts
Education, a large percentage of teachers responded yes
(83%). However, only 50 percent of participants believed
that these new standards would be more effective in fostering
musical creativity in the music classroom.
DEFINITIONS AND ACTIVITIES FOR
MUSICAL CREATIVITY
At the beginning of the survey, I gave the participants
David Elliot’s (1995) definition of musical creativity from
his book, Music Matters, because I believed it would encourage
open responses about the topic. Often music educators
lean towards composition and improvisation to include
musical creativity in their classroom, but this does
not have to be the case. After defining musical creativity,
the teachers were then asked to give their own definitions.
APPENDIX A
Question 14: “How would you define musical
creativity?”
Creating independent music 39%
Making musical decisions 14%
Improvising 14%
Composing 11%
Expressing themselves musically 8%
Interpreting music 5%
Specific comments from Question 14:
• Participant 6: “Expressing their artistic and personal
vision...interpreting the music through their
own aesthetic sensibility”
• Participant 20: “Experience in which students create
unique melodies, rhythms, harmonies, or lyrics
to express themselves through music.”
• Participant 22: “Originating new musical ideas
through movement, singing, or instrument playing.”
• Participant 24: “The ability to produce original
musical concepts.”
Cognitive musical ability 5%
Arranging 3%
Tennessee Music Education Assocation | www.tnmea.org | 19

In addition, the teachers were asked to discuss particular
activities they had their students participate in to
include musical creativity into their classrooms. I then
categorized their comments to these questions and transferred
them into percentages.
APPENDIX B
Question 15: “What kinds of activities do you implement
in your classroom to encourage musical
creativity?”
Improvisation 20%
Composition 18%
Songwriting 18%
Discussion 7%
Blues Project 7%
Specific Comments from Question 15:
• Participant 15: “Movement to express the music.”
• Participant 16: “Having kids take the words of a
Christmas song and place it to the melody of a pop
song.”
• Participant 19: “I give basic rhythm instruction
then allow my students
• the freedom to use that knowledge to develop new
rhythms.”
• Participant 20: “Having students create technical
exercises designed to solve specific playing problems.”
• Participant 24: “We open each class with an opening
song that allows space for improvisation. This
regular practice has resulted in much confidence
and more student willingness to participate.”
• Participant 30: “Improvisation and composition
with given guidelines.
CONCLUSIONS AND IMPLICATIONS
Through this pilot study, there is more of an understanding
of how Tennessee music educators view musical
creativity in their classroom, how they define it, and
what types of activities they incorporate to foster musical
creativity. Many of these educators expressed not having
enough time or resources to implement musical creativity
in the classroom. However, a large majority of these
teachers expressed wanting to include more musical creativity
in their classroom.
It would be beneficial to expand the study and have a
wider amount of participants complete the study. The
small participant size does not give enough data to make
more solid inferences. It would also may be beneficial to
see where the participants are teaching in the state of
Tennessee and see if there are any links between location
and the implementation of musical creativity.
Even though a little more than half of the participants
agreed that they were trained well enough to incorporate
musical creativity in their classroom, there was still a
significant portion of teachers that did not agree. If focused
on more areas to incorporate musical creativity in
the classroom, it would possibly boost the self-efficacy of
the teachers like in research conducted by Stavrou. Even
though the research was focused on generalist teachers,
it does not mean it would not has the same effect for
music teachers. This could have been why the teachers
expressed wanting more professional development and
ways to incorporate musical creativity in their classroom.
Further research on music educator’s self-efficacy regarding
integrating musical creativity in their classrooms
could help music teacher education programs better fit
the needs of their students.
Many of these educators reported lack of time and resources
to be able to include musical creativity in their
classroom. If the music educator is only focused on larger
scale projects to incorporate musical creativity, it could
be impossible to fit it into the scope and sequence of the
educator’s year. However, if these music educators are
provided activities that are more user friendly, it would
encourage more incorporation of musical creativity. In
turn, it may be beneficial to research and present more
professional development that focuses on pragmatic activities
that would help foster musical creativity in the
music classroom.
20 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 2

REFERENCES
DeLorenzo, L. (1989). A field study of sixth-grade students’
creative music problem-solving processes. Journal
of Research in Music Education, 37, 188-200.
Elliot, D. (1995). Music matters: A new philosophy of music
education. New York: Oxford
University Press.
Gruenhagen, L. M. (2017). Developing Musical Creativity
through Reflective and Collaborative
Practices. Music Educators Journal, 103(3), 40-45.
doi:10.1177/0027432116685158
Hickey, M., & Webster, P. (2001). Creative thinking in music:
Rather than focusing on training children to be creative,
it might be better for music teachers to nurture
children’s inherent ability to think creatively in music.
Music Educators Journal, 88, 19-23.
Langely, David. (2015, November 6). Infusing creativity
into your choral rehearsal. Retrieved from http://www.
nafme.org/infusing-creativity-into-your-choral-rehearsal
.
Rohwer, D. A. (1997). The challenges of teaching and assessing
creative activities. Update:
Applications Of Research In Music Education, 15(2), 8.
Stavrou, N. E. (2013). Fostering musical creativity in
pre-service teacher education: Challenges and possibilities.
International Journal of Music Education, 31(1),
35-52.
Strand, K., & Brenner, B. (2017). Learning to be creatively
expressive performers. Music Educators Journal,
103(3), 21-26. doi:10.1177/0027432116685858
Strand, K. (2006). Survey of Indiana music teachers on
using composition in the classroom. Journal Of Research
In Music Education, 54(2), 154-167.
Tennessee Department of Education. (2016). Tennessee
Academic Standards for Fine Arts Education. Retrieved
from https://www.tn.gov/assets/entities/sbe/
attachments/10-14-16_IV_C_Fine_Arts_Standards_Attachment.pdf
Wiggins, J. (1999). Teacher control and creativity. Music
Educators Journal, 85(5), 30–35, 44.
Many of these educators expressed not having enough time or resources to implement
musical creativity in the classroom. However, a large majority of these teachers expressed
wanting to include more musical creativity in their classroom.
Tennessee Music Education Assocation | www.tnmea.org | 21

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IMPORTANT CONCEPTS FOR INCLUSION
AND EQUITY IN MUSIC EDUCATION
KAREN SALVADOR, PH. D.
UNIVERSITY OF MICHIGAN-FLINT
RECENTLY, THE NATIONAL ASSOCIATION FOR
MUSIC EDUCATION (NAFME) revised their
position statement on Inclusivity and Diversity
in Music Education (NAfME, 2017b), created
a new position statement on Equity and Access
in Music Education (NAfME, 2017a), and issued a statement
“On Affirming All Students” (NAfME, 2017c). These
statements indicate increasing attention toward achieving
our shared goal of music education for all students.
However, statements and attention are not sufficient. Action
toward inclusive, equitable, and just music education
will need to come from the grassroots--from state MEAs
and from members who are in schools teaching music every
day.
Many music teachers are already working to create
more inclusive and responsive music teaching and learning
environments. Other teachers are interested in becoming
more inclusive and responsive but unsure how
to begin or proceed. Still other teachers reject the notion
that self-examination and change are necessary for individual
teachers or for music education as a whole, believing
that we are already inclusive and responsive, and/or
that increasing our focus on diversity, inclusion, equity,
and access is too political.
In this article, I will address questions I am frequently
asked about inclusion, equity, and justice in music education.
As you read, please note that words like “inclusion,”
“equity,” and “justice” each refer to a process rather than
defining an object or endpoint. Furthermore, these processes
are highly contextual, so there is not one right way
or best practice for the process toward equity and justice
in music education. Instead, I will provide information,
ask questions, and give specific examples of more inclusive,
equitable, and responsive practices that I hope that
you can relate to your context. I will conclude the article
with a list of resources.
WHAT IS “DIVERSITY,” ANYWAY?
Student diversity is intersectional, and includes but
is not limited to race, ethnicity, country/place of origin,
home language, religion, socioeconomic status, location,
(dis)ability, gender, and sexual orientation. The following
table presents US enrollment data from 1970-71 (Orfield,
Kuscera, & Siegel-Hawley, 2012) and 2014-15 (Kena, et.
al., 2016), alongside enrollment data for MI (Michigan
Department of Education [MDE], n.d.) and 2026 projections
for US enrollment (Kena, et. al., 2016).
RACE/ETHNICITY.
The federal categories utilized for reporting race/ethnicity
do not adequately describe student diversity. For
example, what category describes a student who identifies
as Chaldean(-American) or as Persian(-American)?
Ethnicity encompasses but does not necessarily predict
cultural distinctions such as religion, home language,
and country/place of origin. How recently a family immigrated
to the US can also affect a child’s educational
experience. In 2008, nearly 1 of every 4 children under
the age of 8 had an immigrant parent (Fortuny, Hernandez,
& Chaudry, 2010). Although 43% of US immigrant
parents are from Mexico, the rest come from all over the
world. Thus, children and families speak an increasing
number of languages at home, and 9.4% of US students
are English Language Learners (ELLs; Kena et al., 2016).
Children and families also practice a variety of religions
(in culture-specific ways), and have other cultural norms,
including dispositions toward and expectations regarding
education, schools, and authority. Nearly 7% of MI residents
are immigrants, and an additional 7.7% of MI residents
are native-born US citizens with at least one immigrant
parent (American Immigration Council, 2017). The
most common countries of origin for MI immigrants are
Mexico (11.5% of immigrants), India (10.1%), Iraq (8.1%),
China (5.9%) and Canada (5.4%). In 2016-17, 6.2% of students
in MI were ELLs (MDE, n.d.).
SOCIOECONOMIC STATUS (SES) AND LOCATION.
SES indicators include factors such as family income,
family structure, and parental educational attainment.
According to federal criteria, in 2015, 20% of US children
lived in poverty, including 22% of MI children (Kena et
al., 2016). In 2016, 45.9% of students met MI criteria for
“economic disadvantage” (MDE, n.d.). SES is complex
and complicated, because our nation’s history of segregation
and racism (Orfield, Kuscera, & Siegel-Hawley, 2012)
24 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 2

US Enrollmentw 1970-1971 US Enrollment 2014-2015 MI Enrollment 2014-2015 Projected US Enrollment 2026
White 79.1% 50% 66.6% 45%
Hispanic 5.1% 25% 7.7% 29%
Black 15% 16% 18% 15%
Asian/Pacific Islander 0.5% 5% 3.3% 6%
American Indian/
Alaska Native
0.4% 1% 0.6% 1%
Two or more races * 3% 3.7% 4%
* = data not available
Tennessee Music Education Assocation | www.tnmea.org | 25

and some immigration trends (Kena et al., 2016) mean
that Black and Hispanic students disproportionately
come from families with low income and/or educational
attainment. Moreover, location is important, as poverty
is concentrated both among inner city and rural schools,
and both concentrated and generational poverty are particularly
challenging for students, families, and schools.
In MI, 48.7% of Black students attend schools in which
90-100% of student enrollment is non-White (Orfield, Ee,
Frankenberg, & Siegel-Hawley, 2016). Such highly racially
segregated schools have disproportionately high rates
of student poverty, leading to “double segregation.” This
matters
…because of massive and growing research evidence
that (1) segregation creates unequal opportunities
and helps perpetuate stratification in the society
and (2) diverse schools have significant advantages,
not only for learning and attainment but for the creation
of better preparation for all groups to live and
work successfully in a complex society which will
have no racial majority (p. 1) …[and] When students
are socialized in schools in which few students have
benefited from the advantages and power that middle
class families possess and exercise on behalf of
their children, they are poorly prepared for a society
where colleges/universities and good jobs are strongly
white and middle class institutions (Orfield, Ee,
Frankenberg, & Siegel-Hawley, 2016, p. 6).
Michigan’s 20.8% of students who are served in rural districts
are also disproportionately low SES (Kena et al.,
2016).
(DIS)ABILITY. In 2014-15, 13% of all public school students
in the US (6.6 million children ages 3-21) received
special education services (Kena et al., 2016). In the same
year, 12.9% of MI students received special education
services, most frequently for Specific Learning Disability
(30.8%), Speech or Language Impairment (25%), Other
Health Impairment (12%), Cognitive Impairment (9.6%),
or Austism Spectrum Disorder (8.7%) (MDE, n.d.).
GENDER AND SEXUALITY. While it is difficult to conjecture
about trends, it is fair to say that students are
increasingly open about their gender expression and
sexuality diversity. In addition, girls and boys are treated
differently in schools and have different outcomes as
a result (e.g., Freudenthaler, Spinath,& Neubauer, 2008;
Myhill & Jones, 2006; Sadker & Sadker, 2010). Moreover,
pressure to conform to gendered ideals for appearance
and behavior is associated with bullying, eating disorders,
depression, and suicide, particularly (although not solely)
among LGBTQ youth (e.g., Griffiths, Murray, & Touyz,
2015; Good & Sanchez, 2010; Mustanski & Liu, 2013).
INTERSECTIONALITY. Intersectionality refers to the
way that social identities (such as those listed above) are
not separate, but instead coexist and even co-construct
one another. That means that when we describe people
in terms of membership in social groups (whether or not
these are things they can change), the whole is greater
than the sum of the parts. For example, my notions about
being female (and your perceptions of me as female) are
informed and created in part by my ethnicity and my socioeconomic
status. Moreover, as I navigate the systems
and structures of our world, some parts of my intersectional
identity are associated with dominant culture and
some parts are not. Successful efforts to increase inclusion,
equity, and justice in music education must consider
intersectionality in addition to understanding individual
aspects of social identity.
WHAT DOES IT MEAN TO
HAVE “ACCESS” TO MUSIC EDUCATION?
In their position on Inclusiveness and Diversity, NAfME
wrote,
A well-rounded and comprehensive music
education program should exist in every
American school; should be built on a curricular
framework that promotes awareness of, respect
for, and responsiveness to the variety and
diversity of cultures; and should be delivered
by teachers whose culturally responsive
pedagogy enables them to successfully design
and implement such an inclusive curricular
framework (2017b).
This statement addresses two aspects of access: (1)
the presence of a program in every school and (2) the sociocultural
and practical accessibility of that program.
Although we must continue to fight for the presence of
music education in every school, this article is primarily
written for practicing teachers, so I will focus on the second
type of access.
In US high schools that offer music, about 21% of students
participate in ensembles (Elpus & Abril, 2011).
26 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 2

Within these programs, “male[s], English language
learners, Hispanic[s], children of parents holding a high
school diploma or less, and [students] in the lowest SES
quartile were significantly underrepresented” (p. 1) 1 . Students
who have Individual Education Programs (IEPs)
are also significantly underrepresented in secondary
music classes (Hoffman, 2011). Considering sociological
and practical access to music courses leads to questions
such as: Are there additional expenses or extracurricular
requirements that might be preventing lower-income
students from participating? Do scheduling and communication
with other educators facilitate participation
for ELLs and students with IEPs? Are there options for
students at all levels of ability to join in music education
at any time in their education? Does the music program
reflect the needs, desires, and cultures of the school and
community? What would make a student and/or family
believe “this class is for me/my child?” 2
INCLUSION: In special education, inclusion is when
students with exceptionalities learn alongside their age
peers, engaging as full participants in a range of activities
with individual supports and curricular modifications
when needed. In a broader sense, inclusion implies making
space for the “other” within already existing structures.
Examples include when a student with physical
impairments uses an adaptive instrument in wind band,
or a student who is blind pairs with a sighted student to
facilitate participation in marching band. According to
Stewart (2017), a person or system with a diversity/inclusion
mindset seeks incremental growth toward representation
of all populations, but with minimal or no changes
to the ways things are done.
EQUITY: In contrast, equity in education involves changing
systems and structures to create conditions in which
all children can achieve their educational potential. An
equity or justice mindset “celebrates reductions in harm,
revisions to abusive systems, and increases in supports …
[including] getting rid of practices and policies that were
having disparate impacts on minoritized groups” (Stewart,
2017). Elpus and Abril (2011) demonstrated that our
current practices and policies result in underrepresentation
of minoritized groups in secondary ensembles. Are
we ready to examine and change our systems and practices?
CULTURALLY RESPONSIVE PEDAGOGY. Culturally
responsive pedagogies reject deficit mindsets about minoritized
communities, “…acknowledg[ing] the value of
the cultural heritages of differing groups, both in terms
of curriculum content and in terms of how these respective
cultural legacies influence students’ attitudes, dispositions,
and ways of learning” (Lind & McCoy, 2016, p.
18). Thus, culturally responsive pedagogies emerge from
teachers learning about--and developing strategies for
connecting music education to--the cultures present in
their school and community. Culturally responsive teaching
is validating, comprehensive, multidimensional, empowering,
transformative, and emancipatory (Gay, 2010,
in Lind & McCoy, 2016, p. 17).
THERE IS VERY LITTLE DIVERSITY AT MY SCHOOL…
DO I REALLY NEED TO THINK ABOUT THIS?
Although MI has fairly diverse overall student enrollment,
much of the racial/ethnic diversity is concentrated
in suburban and urban places. Nevertheless, I must
answer this question with a resounding “YES,” for three
reasons. (1) Race and ethnicity are only two of the many
ways that students are diverse. For example, your school
has students who are male, female, LGBTQ. Furthermore,
diversity is often invisible: your school has students who
have exceptionalities, students with varied SES, students
who practice different religions (or no religion), etc. (2)
Equity- and justice-oriented mindsets celebrate reductions
in harm. Even if you teach nearly all White, nearly
all middle/upper middle class suburban kids, a failure to
recognize the identities of the “few” students is potentially
harmful. (3) If somehow you teach in a setting made
up entirely of the dominant culture (which is not really
possible, see #1 and #2), your students are heading out
for life in our very diverse country. There is very little potential
harm in creating music education that reflects and
embraces human diversity, and very much for students to
gain.
I WAS TAUGHT TO TREAT EVERYONE THE SAME—
THAT IGNORING DIFFERENCE WAS POLITE AND
FAIR. AREN’T WE CREATING DIVISIONS BY LABEL-
ING PEOPLE? Well, first, we know that teachers/schools
do not treat everyone the same. For reasons ranging from
unconscious bias to cultural norms to systemic oppression,
most aspects of school life, including discipline
referrals, rates of diagnosis for special education, and
achievement are highly correlated with gender and race.
Moreover, children are already learning about human diversity…
they are inundated with negative and harmful
messages about race, ethnicity, religion, gender, and ability
(etc.) every day. When we as teachers do not explicitly
model and discuss respect for and valuing of cultures,
genders, and musics, we are allowing these messages to
remain unchallenged. While we certainly should not
single out or tokenize a child on the basis of a difference,
our instruction should reflect awareness and valuing of
all students in the room as well as cultures in our school
community and the broader contexts of our state and
country. The way we talk, the materials we choose, the
behavior we expect, and our relationships with families
and the community should reflect our commitment to
understanding and valuing our students as whole people.
Tennessee Music Education Assocation | www.tnmea.org | 27

THIS IS SO COMPLEX… WHERE DO I EVEN START?
Sometimes a “diversity/inclusion” mindset is a good place
to start. Find out how the demographics of your classes
compare to the school as a whole (gender, race/ethnicity,
students with IEPs, students who receive free/reduced
lunch, etc.). If you notice a group is underrepresented in a
class or your program, try to find out why. For more equity/justice-oriented
changes, in addition to implementing
culturally responsive pedagogy, you could try to:
• Restore and/or bring in voices silenced by the traditional
canon of music education literature and
pedagogy. Seek out musics from MI, the US and
around the world, created by diverse peoples and
composers 3 .
• Value oral/aural traditions and learning styles
alongside written forms, e.g., by teaching musics
from aural traditions aurally.
• Blur the line between school and community by
partnering with local musicians and dancers—invite
them as guests, collaborate with them for performances,
etc.
• Adapt instructional practices and materials to
meet individual music learning needs of all students,
including not only students with IEPs, but
also students with religious differences. Sitting out
of music making is likely an acceptable adaptation
only if a student’s IEP specifies it is necessary due
to sensory or emotional/behavioral needs.
• Offer entry points to music classes for all students
at all levels.
• Ameliorate the effects of SES by considering:
transportation (to concerts, before and after school
events, etc.), cost of instruments, cost of uniforms,
etc. How many of these things are so essential to
music education that they should hold someone
out of participation?
• Interrogate gender practices in your school/classroom.
Can you avoid the use of gender in classroom
management (e.g., pairing or choosing based on
“boys” or “girls”)? What can you do when you see
gender-related teasing or bullying? Think through
the names of classes/ensembles. Could you have a
“treble choir” instead of a “women’s choir”? Consider
your uniforms and uniform policy. How can
you make sure that all students are comfortable on
stage?
• Consider adding to (or breaking out of ) our current
focus on band, orchestra, choir and sometimes
jazz, by foregrounding high-status creative projects.
How can you create experiences that focus on
individual musicianship, individual creative voice,
and/or musics that our students (and their families)
enjoy? Are there music classes available that
focus on collaborative and creative musicianship?
Can students study instruments that are more
common outside of Western Classical music, such
as guitars, keyboards, drums, and voices?
WHAT DOES THIS MEAN FOR OUR MUSIC EDUCA-
TION ASSOCIATION (MEA)?
MEAs have reputations as “old boys clubs.” In interacting
with state and national leadership, I have observed
that we do have some of those characteristics… and also
that our “old boys” love music, and care deeply about
students. Further, many want to create more inclusive
and equitable school music programs and MEAs, even
if they do not always know what to do or where to start.
Michigan’s MEA is different because the music education
structures in our state include the Michigan chapter
of the American String Teachers’ Association (MAS-
TA), Michigan School Band and Orchestra Association
(MSBOA) and Michigan School Vocal Music Association
(MSVMA), so some of the following suggestions are
more applicable to MSBOA and MSVMA than to MMEA
or MASTA:
• Examine required lists for festival. Purge racist
material such as minstrel songs. Add new pieces so
that the composers and styles reflect more of the
diversity in our country (and the world).
• Showcase music programs for reasons other than
their achievement of a particular set of performance
practices on a narrow selection of music.
How could we recognize programs for exemplary
(a) Student creativity? (b) Quality of inclusion
for students with exceptionalities? (c) Fusion of
school music with community musics? What else?
• Offer professional development that helps practicing
teachers learn about inclusion, equity, and
justice in practical and applicable ways, perhaps
reflecting the list above.
• Find out what students and teachers who are underrepresented
in your current programming want
and need, and commit to creating it.
• Create participatory music making (Turino, 2008)
opportunities as a part of state and regional MEA
activities.
• Partner with teacher education programs—they
(we) are also interested in increasing the diversity
of the music teacher workforce, and working
toward inclusion, equity, and justice in music education.
• Recruit students from a variety of backgrounds to
become music teachers, and recruit teachers from
a variety of backgrounds (and who teach in a variety
of places) to be on your MEA’s board(s) and
committees.
CLOSING
Many teachers find the above arguments for inclusion,
equity and justice in music education convincing, but
nevertheless do not make changes in their practices. The
reasons I hear essentially amount to: this is outside of my
comfort zone. Teachers say:
• I am teaching the things I know, in the best ways
28 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 2

that I know how to teach.
• I am terrified that I will do or say the wrong thing,
and someone will be upset.
• I am afraid of poor scores at festival or on my
teacher evaluations if I change my practices, especially
when I am on a learning curve toward something
I have never tried.
Each of these are understandable, but not sufficient
reasons to continue our erasure of “other” musics and
“other people’s children” (see Delpit, 2006). We must
acknowledge, value, and respond to human differences,
if not because it matches our country’s ideals about liberty
and justice, then because research and experience
indicate that social identities affect the educational experiences
of our students. Teaching—especially teaching
music--is an act of vulnerability.
Music is personal; it is a part of who we are, and it is a
part of who our students are. We
teach in a subject area that is integrated into the human
psyche, a subject area that is a rich and vibrant reflection
of our humanness (Lind & McCoy, 2016, p. 131).
Therefore, as you head back to your classroom, don’t let
the perfect be the enemy of the good. Remember that inclusion,
equity, and justice are processes. Just as our students
make progress toward their music learning goals,
we can make progress toward more inclusive, responsive,
and equitable music education for all students. We are
only truly stuck if we never begin.
1. Black students may not be on this list because the study was
of schools with music programs; school segregation means that
Black students are disproportionately served in schools that may
not offer music (Orfield, Kuscera, & Siegel-Hawley, 2012; Salvador
& Allegood, 2014).
2. By virtue of teaching all students in a given school building, elementary
general music is more inclusive. However, elementary
general music teachers might consider equity-oriented questions
(see “…where do I start” below).
3. Conversely, perhaps it is time to stop performing music associated
with oppression, such as minstrel songs, songs with lyrics
that reinforce gender stereotypes, etc, unless it is very sensitively
and explicitly taught for the purpose of engaging students in empowering,
emancipatory transformation of these messages.
SELECTED RESOURCES
Teaching Tolerance www.tolerance.org
This website (and free magazine) has resources, materials,
and information for creating inclusive learning
environments and teaching students about difference,
focusing on Ability, Bullying and Bias, Class, Gender and
Sexual Identity, Immigration, Race and Ethnicity, Religion,
and Rights and Activism. Although the materials
are not music-specific, the information is excellent,
and some activities and ideas fit well with/in music
teaching and learning, particularly the social justice
standards https://www.tolerance.org/frameworks/
social-justice-standards and critical practices frameworks
https://www.tolerance.org/frameworks/critical-practices
Race and Ethnicity
Lind V. R., McKoy C. (2016). Culturally responsive
teaching in music education: From understanding
to application. London, England: Routledge.
Delpit, L. (2006). Other people’s children: Cultural
conflict in the classroom. The New Press.
Coates, T. N. (2015). Between the world and me. Text
publishing.
Turino, T. (2008). Music as social life: The politics
of participation. Chicago: University of Chicago
Press. SES and Location
Fitzpatrick-Harnish, K. (2015). Urban music education:
A practical guide for teachers. Oxford University
Press.
Kozol, Jonathan. (2012) Savage inequalities: Children
in America’s schools. Broadway Books.
Isbell, D. (2005). Music education in rural areas: A few
keys to success. Music Educators Journal, 92(2),
30-34.
(dis)Ability www.wrightslaw.org offers parents, educators,
advocates, and attorneys accurate, reliable
information about special education law, education
law, and advocacy for children with disabilities.
They also offer a free, weekly newsletter: Special
Ed Advocate.
Ademek, M. S. & Darrow, A.A. (2010). Music in Special
Education. (2nd Edition). American Music Therapy
Association.
Hammel, A. M. & Hourigan, R. M. (2011). Teaching
Music to Students with Special Needs: A Label-Free
Approach. (2nd Edition). Oxford University
Press.
Hammel, A. M. (2017). Teaching Music to Students
with Special Needs: A Practical Resource. Oxford
University Press.
Gender and Sexuality
Bryan, J. (2017). Embracing gender and sexuality
diversity. Independent School. Downloaded from:
https://www.nais.org/magazine/independent-school/
winter-2017/embracing-gender-and-sexuality-diversity/
This article presents a good overview of gender
and sexuality in school, and gives ideas for examining
policies and practices such as how gender inclusive
practices align with existing school missions.
Gender Spectrum https://www.genderspectrum.
org has resources, information, trainings, and opportunities
to interact with others who are learning about

gender, including: https://www.genderspectrum.org/Common-
Questions/ which is a great set of FAQs about teaching children
about gender and https://genderspectrum.org/lounge/ a space
with facilitated online activities and groups.
Palkki, J. (2015). Choral music’s Gender Trouble: Males, adolescence,
and masculinity. Choral Journal. 56(4), 24-35.
O’Toole, P. (1998). A missing chapter from choral methods books:
How choirs neglect girls. Choral Journal, 39(5), 9–32.
Nichols, J. (2013). Rie’s story, Ryan’s journey: Music in the life of
a transgender student.
Journal of Research in Music Education, 61(3), 262–279.
doi:10.1177/0022429413498259
REFERENCES
American Immigration Council. (2017). Fact Sheet: Immigrants in
Michigan. Downloaded from: https://www.americanimmigrationcouncil.org/research/immigrants-in-michigan
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.
Fortuny, K., Hernandez, D. J., & Chaudry, A. (2010). Young Children
of Immigrants: The Leading Edge of America’s Future.
Brief No. 3. Urban Institute (NJ1). Downloaded from http://
files.eric.ed.gov/fulltext/ED511771.pdf
Freudenthaler, H. H., Spinath, B. and Neubauer, A. C. (2008), Predicting
school achievement in boys and girls. European Journal
of Personality, 22: 231–245. doi:10.1002/per.678
Good, J. J., & Sanchez, D. T. (2010). Doing gender for different
reasons: Why gender conformity positively and negatively
predicts self-esteem. Psychology of Women Quarterly, 34(2),
203-214.
Griffiths, S., Murray, S. B., & Touyz, S. (2015). Extending the masculinity
hypothesis: An investigation of gender role conformity,
body dissatisfaction, and disordered eating in young heterosexual
men. Psychology of Men & Masculinity, 16(1), 108.
Hoffman, E. C., III (2011). The status of students with special
needs in the instrumental musical ensemble and the effect of
selected educator and institutional variables on rates of inclusion
(Unpublished doctoral dissertation). University of Nebraska–Lincoln.
Kena, G., Hussar W., McFarland J., de Brey C., Musu-Gillette, L.,
Wang, X., Zhang, J.,
Rathbun, A., Wilkinson- Flicker, S., Diliberti M., Barmer, A.,
Bullock Mann, F., and Dunlop Velez, E. (2016). The Condition
of Education 2016 (NCES 2016-144). U.S. Department of
Education, National Center for Education Statistics. Washington,
DC. Downloaded from https://nces.ed.gov/programs/
coe/indicator_cge.asp (race/ethnicity) https://nces.ed.gov/
programs/coe/indicator_cgf.asp (ELLS) https://nces.ed.gov/
programs/coe/indicator_cce.asp (SES) https://nces.ed.gov/
programs/coe/indicator_cgg.asp (Special Education) https://
nces.ed.gov/surveys/ruraled/tables/a.1.a.-3.asp (Rural/
Town/Suburban/Urban)
Michigan Department of Education. (n.d.). Michgian school data:
data sheets. Downloaded from: https://www.mischooldata.
org/SpecialEducationEarlyOn/DataPortraits/DataPortraits-
Disability.aspx (special education) https://www.mischoolda-
ta.org/DistrictSchoolProfiles/StudentInformation/Student-
Summary.aspx (other demographic data)
Mustanski, B., & Liu, R. T. (2013). A longitudinal study of predictors
of suicide attempts among lesbian, gay, bisexual, and
transgender youth. Archives of sexual behavior, 42(3), 437-
448.
Myhill, D., & Jones, S. (2006). ‘She doesn’t shout at no girls’: pupils’
perceptions of gender equity in the classroom. Cambridge
Journal of Education, 36(1), 99-113.
National Association for Music Education. (2017a). Equity and
Access in Music Education. Downloaded from: https://nafme.
org/about/position-statements/equity-access/
National Association for Music Education. (2017b). Inclusiveness
and Diversity in Music Education. Downloaded from: https://
nafme.org/about/position-statements/inclusivity-diversity/
National Association for Music Education. (2017c). On affirming
all students. Downloaded from: https://nafme.org/on-affirming-all-students/
Orfield, G., Ee, J., Frankenberg, E., & Siegel-Hawley, G. (2016).
“ Brown” at 62: School Segregation by Race, Poverty and
State. Civil Rights Project-Proyecto Derechos Civiles. Downloaded
from: http://files.eric.ed.gov/fulltext/ED565900.pdf
Orfield, G., Kuscera, J., & Siegel-Hawley, G. (2012). E Pluribus…
separation: Deepening double segregation for more students.
Los Angeles: Civil Rights Project UCLA. Downloaded from
http://escholarship.org/uc/item/8g58m2v9
Sadker, M., & Sadker, D. (2010). Failing at fairness: How America’s
schools cheat girls. Simon and Schuster.
Stewart, D. L. (2017). Language of Appeasement. Inside Higher
Ed. Downloaded from: https://www.insidehighered.com/
views/2017/03/30/colleges-need-language-shift-not-oneyou-think-essay
30 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 2

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9/7/18 4:55 PM

TEACHING THE ART
OF THE SHIFT IN
ORCHESTRA CLASS
BY THOMAS TATTON
When do we start to teach shifting? The answer is: almost immediately. That
is, when we first teach and insist upon acceptable posture with our beginning
students including a well set up left hand position.
The ability to shift and play in positions can catapult a beginning orchestra program, almost
immediately, into an intermediate ensemble by that simple skill alone. The ability to
shift extends the range on each string including the upper string which then broadens the
available repertoire. It often eliminates awkward string crossings and/or fingerings, avoids
objectionable open strings or long notes on weak fingers, facilitates vibrato, and provides
multiple opportunities for expressivity.
Now, we need to teach shifting to thirty or forty youngsters all at the same time. Or perhaps we
want to provide guidance for better accuracy, smoothness and expressive qualities for our more
advanced high school students. Even for a native string player this might seem a daunting task.
The following are graduated tips and suggestions for motivated teachers who understand the
possibilities and efficacy for an orchestra program which is engaged in the art of the shift.
When do we start to teach shifting? The answer is: almost immediately. That is, when we first
teach and insist upon acceptable posture with our beginning students including a well set up left
hand position shift.
Checking left hand position for future success includes making sure the forearm is connected
to the base of the palm in a relative straight line. For upper strings the elbow goes under the
instrument; for the lower instruments the elbow points away from the instrument. For upper
strings the thumb is placed on the neck of the instrument in a relaxed convex curve opposite
the 1st and 2nd fingers. For lower strings, the thumb is centered in a relaxed convex curve under
the neck opposing the 2nd and 3rd fingers. The final test of a well-positioned left hand is when
the fingers are relaxed and curved, they fall on a middle string in a relative straight line . When
teachers insist on appropriate posture they make the future shift possible.

FINGERS, RELAXED AND CURVED, ABOVE THE STRINGS.
When they don’t insist, they make the future shift
much more difficult! Youthful players often express four
objections or difficulties in shifting:
1. the thumb seems jammed into the neck,
2. a feeling of sticky fingers on the fingerboard,
3. a heaviness in the arm and hand,
4. which can be remedied early, is the fact that the
floor does not support the violin and viola as it
does with cello and string bass.
THE ROLLAND SHUTTLE
The upper strings might be aided in the exercises below
by bracing the scroll against a wall, being careful to place
a cloth, pad or sponge between the scroll and the wall.
The solutions for successful shifting are both mental
and physical.
A. THE ROLLAND SHUTTLE IS AN EARLY SHIFTING EXERCISE, but also an
integral, efficacious exercise for every string class. Place
the fourt fingers on a middle string in low position and tap
four times; slide the whole hand up, including the thumb,
to a middle position and tap four times; slide the whole
hand up to a higher position, tap four times. Repeat as desired.
Paul Rolland 1 and Loretta McNulty 2 and others recommend
the use of the 8va harmonic – a positive variant!
The “Shuttle” exercise can be effectively used in warmup
beginning with the first days of instruction through the
most advanced orchestra program.
B. PLACE A SMALL PIECE OF TOILET PAPER, tissue or small cloth between
the finger and the fingerboard then simply slide up
and down on a middle string. Youthful students somehow
find this exercise entertaining, yet, like the “Shuttle,” this
movement shapes the left hand, correctly places the elbow,
moves the hand as a unit, and frees the “sticky” feeling.
C. LEFT HAND THUMB GAMES ARE ALWAYS IN ORDER. A small piece
of sponge placed between the thumb and neck can help
younger students get the idea of a “soft thumb.” Tapping
and rub- bing the side of the neck are early exercises
quickly done, often overlooked, yet essential to future de-
34 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 2

velopment. More advanced students can play a phrase
or line of music taking the thumb completely off neck
of the instrument. The student soon finds a relaxed,
more natural, thumb position that releases the tension
in both the thumb and left hand.
D. MENTAL PICTURES ARE ALWAYS IMPORTANT FOR YOUNGSTERS. Try
this: pretend that you are in a swimming pool shoulder
deep in water – relax the arms. They will float to
the surface. That is how you want the arms to feel
when set up correctly. I used what I called the “Flab
Technique” for some time. Without an instrument,
I demonstrated flipping the relaxed flab on both my
forearm and upper arm and told my students that is
how you want your arms to feel – not clenched or tight.
This worked for a while until one young fourth grader
said with plaintive eyes, “But Dr. Tom, I don’t have
any flab.” You may have your own visuals – something
to do with Jell-O or perhaps with Neil Armstrong and
weightless space, but whatever story you concoct, it is
important pedagogically to give youngsters something
they can visualize.
E. STUDENTS FROM SECOND YEAR THROUGH HIGH SCHOOL can learn
a scale on one string beginning on the first finger or using
first finger alone. Or, try Au Clare de la Lune, Mary
Had A Little Lamb or some other simple linear melody
on one string and first finger only. Make sure students
keep all their fingers lined up with the string.
An educational festival for
elementary, middle, and
high school students in band,
choir, and orchestra
2019:
April 12
April 26
May 3
2020:
April 3
April 7
April 24
www.SMMFestival.com
or call:1-855-766-3008
THE ROLLAND SHUTTLE
Tennessee Music Education Assocation | www.tnmea.org | 35

F. PLAY TWINKLE, TWINKLE LITTLE STAR in each key going up the
fingerboard chromatically or in the key of the literature
placed in front of the students. It is a pattern, so have
them figure out the fingering starting on an open string,
and then starting on first finger. The basses may need
some assistance with fingering – see below.
Overall, the most important factor in students learning
to shift is the persistence of the teacher in working on this
technique and finding ways to keep it fresh and fun. More
expressive shifting possibilities will be presented in a later
article including portamento, shifting with the finger
on the string or shifting with the finger in the new position
for dif- ferent affects. Perhaps with some suggested
shifting practice techniques included as well.
1. Basic Principles of Violin Playing, Paul Rolland. Music
Educators National Conference, 1959. P. 23.
2. Setting the Stage for Shifting, Loretta JW McNulty.
Lecture given at the California All-State Music Education
Conference, 23 February 2013. Loretta teaches in
the Lafayette and Mt. Diablo school districts. Bay Section
CMEA Outstanding Orchestra Director for 2013,
she earned her Bachelor of Music Education and Master
of Music from Indiana University.
36 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 2

DEPARTMENT OF MUSIC
BACHELOR OF MUSIC
Concentrations include:
• Guitar Performance
• Instrumental Performance
• Keyboard Performance
• Vocal Performance
• Composition
• Music Education
Choral/K-12 General Music
Instrumental/K-12 General Music
Dr. Tatton is a retired string specialist with the Lincoln
Unified School District in Stockton, California.
His previous positions include Associate Professor
of String Education, Music History, Violist in Residence
and Director of Orchestras at both Whittier
College and the University of the Pacific. His monograph
on public school string teaching, Connecting
the Dots, was published in 2003. He is currently active
as a clinician and adjudicator as well as making
appearances at school in-service training conferences.
He is also the previous CMEA Orchestra Representative.
BACHELOR OF ARTS/SCIENCE
Customizable music degree plans for a
variety of music and music-related careers
MASTER OF MUSIC
Concentrations include:
• Instrumental Performance
• Vocal Performance
• Instrumental Conducting
• Choral Conducting
• Music Education (with licensure option)
Graduate assistantships are
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Tuition waivers are available
to out-of-state students.
Audition dates are available at
www.apsu.edu/music/graduate/auditions
www.apsu.edu/music/undergraduate/auditions
FOR INFORMATION, CONTACT:
Department of Music
P: 931-221-7818 • music@apsu.edu or
visit www.apsu.edu/music
Austin Peay State University does not discriminate on the basis of race, color, religion, creed, national origin, sex, sexual orientation,
gender identity/expression, disability, age, status as a protected veteran, genetic information, or any other legally protected class
with respect to all employment, programs and activities sponsored by APSU. http://www.apsu.edu/policy. Policy 6:003
AP58//8-18/3
Tennessee Music Education Assocation | www.tnmea.org | 37

TENNESSEE MUSICIAN ADVERTISER INDEX | VOLUME 71, No. 2
A very special
thank you to all
of our advertisers
who support the
work of music
educators at all
levels in the State
of Tennessee.
ADVERTISER
Austin Peay State University 37
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Tennessee State University 13
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University of Tennessee at Chatanooga 5
University of Tennessee at Knoxville Bands 16
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38 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 2

AMPLIFY
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AMPLIFY IS AN EXCLUSIVE ONLINE SOCIAL NETWORK JUST FOR NAfME MEMBERS.
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Tennessee Music Education Assocation | www.tnmea.org | 39

TMEA BACK THEN
• In this issue, then TMEA President,
Dr. Solie Fott’s message was
quite profound for its time and yet
oddly resonates some of the same
challenges being faced by arts
educators and TMEA today. His
message focused on the coming
“winds of change” and the need to
defend the place of arts education
in Tennessee classrooms. It should
be noted that his message used the
particular terminology of “arts education”
rather than “music education.”
His message advocated for
the need for every arts educator to
come together and to communicate
the necessary and vital role of arts
education within the framework
of the entire curricular experience.
He goes on to mention that
in troubled times it is the membership
that turns to TMEA and its
leadership for guidance. He cited
the fact that because TMEA lacks
a full-time professional staff that
the burden of leadership and advocacy
falls on everyone’s shoulders.
He advocated for more communication
state-wide, and that through
increased collaboration there
comes an increase in the wealth
and expertise from which TMEA
members may draw from in times
of change.
• The Tennessee Bandmasters Association
inducted William Morris
Bales, then recently retired Director
of Bands at the University of
Tennessee at Chattanooga. The induction
ceremony took place at the
Liberty Bowl Stadium in Memphis,
Tennessee.
• William Fitzpatrick, a former assistant
conductor of the Nashville
Symphony, served as guest conductor
for the String and Choral Festival
that was held on the campus
of Tennessee Technological University
on March 2, 1985. Colonel
Arnald D. Gabriel and Leo Imperial
served as conductors for the
Festival of Winds and Percussion,
formerly the Tech Composer Festival,
on February 15 and 16, 1985.
• An article titled “A Director’s
Guide: Bassoon Maintenance” was
written by David J. Rachor, who
served at the time, as an instructor
of bassoon at Tennessee Technological
University. His article
shared practical tips that would
have been appreciated by non-bassoon
playing music educators.
• James Mintz, then research chair
for TMEA and faculty member
at the University of Tennessee at
Knoxville, wrote an article titled
“Validating Bloom’s Taxonomy by
Research.” At the time the implementation
of the Tennessee Career
Ladder Program was proving to be
somewhat of an arduous process
for music educators. Mintz’s article
was written to help explain how
taxonomy was indeed a tool that
teachers could use to assist in documenting
various behaviors and
learning objectives more precisely.
• The 1985 Tennessee All-State Conductors
were Dr. Harry Belgian
for the Tennessee All-State Band,
Dr. Kenneth Jennings for the
All-State Chorus, David Becker
for the Tennessee All-State Orchestra,
and Dan Hough for the
Tennessee All-State Jazz Band.
The 1985 conference was held in
Chattanooga at the Chattanooga
Choo-Choo Hilton.
THE TENNESSEE MUSICIAN (DECEMBER 1973 )
Volume 37, No. 2 – 24 pgs.
Dr. Solie Fott, TMEA President
Lawrence P. Cooney, Editor
40 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 2

you work hard at
sounding good
we work hard at
looking
good
SLATE GROUP SUPPORTS
MUSIC EDUCATION
THROUGH WHAT WE DO BEST.
PUBLICATION DESIGN
PRINT
DISPLAY GRAPHICS
CONTACT IAN SPECTOR TODAY
800.794.5594 | ian@slategroup.com
slategroup.com

Tennessee Music Education Association
129 Paschal Drive
Murfreesboro, Tennessee 37128
Lipscomb University’s School of Music
welcomes new Director of Instrumental Studies Dr. Ben Blasko.
Dr. Ben Blasko
D.M.A. Wind Conducting
• Winner of the World Music Conducting
Competition in the United States - 2017
• Recording engineer for over 20 albums
• Compositions released on Klavier, Mark
Custom, Naxos and Sparrow Record Labels
For information about how your students
can train with us in Music City, email Ben at:
bablasko@lipscomb.edu.
Lipscomb University School of Music
615-966-5932
music@lipscomb.edu