ITEA Journal Volume 48 Number 3 (Spring 2021)

back to contents Increase or decrease font size: |

---

Pedagogy Revisited:
by Dr. Chris Dickey

A Primer on Inclusive Practices for the Tuba-Euphonium Studio

The venerable "song and wind" pedagogical approach continues to be a guiding axiom for countless tuba and euphonium teachers worldwide. Skills like tone, range, dynamics, and articulations all have pedagogical tools associated with them, many of which are routinely taught in today's studios. Take a moment to think about pedagogy more broadly. What can we teachers do to learn about the students themselves? Who are these students? What is their background? How do they learn? What deserves to be taught? Thinking this way requires us to remove tuba and euphonium from the equation entirely. We have to ask leading-and sometimes difficult-questions to bring us closer to effectively teaching today's students. Asking these kinds of questions will lead us to a more inclusive pedagogy. Inclusive pedagogy is a way of teaching that responds to all learners. It recognizes student diversity as a vital asset to good teaching. Inclusive pedagogy welcomes learner diversity in an attempt to avoid marginalizing particular students in any given setting. The decisions teachers make regarding learning and teaching can deliver powerful messages. [1] Diverse social identities (e. g. gay, Black, or transgender) can tell a lot about what a person has experienced or perhaps even what they have not experienced. Ultimately, we teachers should continue to improve the ways in which we teach the people in front of us. What follows this introduction is the exploration of various inclusive pedagogical practices one could consider adopting in the tuba-euphonium studio. There is no easy, straightforward "how to be inclusive" guide for teaching. [2] The ideas I present here may already be present in your studio, whereas others may be new. Either way, the beauty of inclusive pedagogy is that it is for everyone. Consider incorporating what you can whenever you can.

Parts of this article may include terminology that is unclear to some readers. That is perfectly acceptable, and it in no way implies you are socially irresponsible. I will use the acronym LGBTQ+ to be an all-encompassing term for lesbian, gay, bisexual, transgender, queer, and other marginalized gender identities and sexual orientations. Gender identity is one's inner idea of being a man, a woman, both, or a blend of both or neither. Related to gender identity is the term cisgender, meaning a person identifies with the biological sex assigned to them at birth. Transgender is a term describing a person for whom their gender identity or expression differs from the cultural expectations based on the sex they were assigned at birth. Lastly, I will use the term queer to communicate a broad array of gender identities and sexual orientations. [3] Queer has historically been used as a pejorative to inflict pain on someone in the LGBTQ+ community, implying they are somehow abnormal or on the fringe of society. The term was reclaimed after the 1969 Stonewall Riots and now empowers members of the queer community. [4]

Language

Language is a tool we use in our lives to communicate everything from a Starbucks order to the complex issues we encounter daily. Our word choice and tone influence our message's perception with its targeted audience. As a central component to teaching, language becomes even more critical when analyzing language through the lens of what it means to be inclusive. To begin, if you look around the current tuba and euphonium community, you will notice a dominant social identity: straight, white cisgender men. Merely stating this observation is part of the discussion regarding inclusion and does not target anyone. If we assert diversity and inclusion play an important role in society and teaching, sometimes we have to be explicit about the current state of the community. In stating this observation about the tuba and euphonium community plainly, we are acknowledging a truth and a topic to be addressed by people who can take part in changing future generations of tuba and euphonium performers and pedagogues.

You have likely read documents or seen words that reflect gendered language. Think about words like "fireman" or "mailman." Maybe when speaking hypothetically about a student you use the pronouns "he" or "she." Native English speakers often say short phrases like "Hi, guys!" or "Good morning, ladies and gentlemen." Avoiding references to men and women in speech is called gender-inclusive language. Using gender-inclusive language is tricky, and depending on how often you say select phrases, the habit can be difficult to overcome.

In English, speakers often use pronouns when describing people or talking about themselves. Part of this is based on the assumption you know what a person's gender identity is based on their appearance. Those assumptions may not always be accurate, and the assumption could send a wrong, harmful message to the person with whom you are speaking. Using someone's correct personal pronouns is a way to show respect for a person while creating an inclusive atmosphere.[5] I begin each semester by including my pronouns in my syllabi and email signatures. This gesture is subtle, but it speaks volumes to a student who may be grappling with issues of gender identity or expression. Another thing to consider is trying to use gender-inclusive pronouns-they/them/their-if you are talking about concepts or playing problems with your students. [6] The outdated use of "his or her" can be replaced with simply "their." I will admit using gender-inclusive language could take time to implement because of how pervasive it is in everyday speaking, but the effort is worthwhile since it impacts your students.

The term microaggression was first used in the 1970s by Chester Pierce (1927-2016), an American professor of education and psychiatry at Harvard Medical School. He referred to the frequent and subtle insults directed at Black Americans.[7] Pierce's studies focused on racial microaggressions, but from his work it became clear microaggressions can be aimed at any marginalized group in society, including gender-based, sexual orientation-based, class-based, or disability-based.[8] In Derald Wang Sue's text Microaggressions in Everyday Life: Race, Gender, and Sexual Orientation , he discusses three forms of microaggressions-race, gender, and sexual orientation-to highlight the long-lasting effects of these subtle forms of discrimination that ultimately lead to harming women, people of color, and members of the LGBTQ+ community. [9]

What are microaggressions? How do they harm people? Oftentimes people who use microaggressions are unaware they have done or said something harmful. The brief phrases are problematic because they communicate a set of assumptions about a person from a particular group. Those assumptions can be wrong, and instilling value into false assumptions does not benefit anyone. Microaggressions take many forms. Below is a sample listing of microaggressions directed at a broad spectrum of social identities:

• Mispronouncing the name of a student and then not prioritize correcting yourself in the future
• Neglecting to use a student's pronouns after they have communicated their pronouns to you
• Using inappropriate humor that demeans students from groups such as women, people of color, and LGBTQ+ students

o Think back to the 1990s when it was common to hear "That's so gay" to describe something silly or stupid.

• Asking students who have a hidden disability to announce this in front of a group of people
• Referring to anatomy to encourage people to rise to a challenge

o By association, saying phrases like "Man up!" or "Don't be a sissy!" are forms of microaggressions.

• Holding conversations that place people from marginalized groups in a difficult position

o This may involve the expectation that a person who holds a marginalized identity will have the ability speak on behalf of all members of that group or have all the answers. [10]

Sometimes people hear about microaggressions and think their effects are not that significant or that the idea is an exaggeration. [11] Should people just grow a thicker skin and stop being so sensitive? Why spend time talking about something that may seem so trivial and small? The reason why microaggressions can have a lasting effect is because when they are constant and ever-present for a person, they slowly chip away at an individual's self-esteem. A recipient may harbor feelings of frustration and believe they have little to no self-worth. We can circumvent using microaggressions if we sincerely acknowledge they exist and harm people, check our own biases and privilege, stop being defensive if one is brought to our attention, and really try to engage with individuals who are different from us.

Representation

Seeing is believing, or as Marian Wright Edelman asserts, "It's hard to be what you can't see."[12] When people see themselves in what they do, it demonstrates they too have a place or a seat at the table. In music, can we step back and really ask ourselves what voices are being taught and heard? Is anyone missing? In my tuba and euphonium literature class, I like to do a brief exercise in which I give students one minute to write down "the classics" in the tuba and euphonium repertoire. To no surprise, pieces like the Vaughan Williams concerto, the Gregson concerto, Lebedev's Concerto in One Movement, the Horovitz euphonium concerto, and the Hindemith sonata quickly appear on their lists. In this past fall's class, the students arrived at a list of fifteen standard tuba and euphonium pieces. I then followed up and asked, "Do you notice anything?" The lightbulbs immediately turned on, and the students then observed no woman, person of color, or queer composer appeared on that list. Certain pieces may enter the tuba and euphonium canon because of their high quality, they were written for a major figure in the profession or by a major composer, or maybe the piece beautifully demonstrates what the tuba and euphonium can do. For whatever the reason, we the performers are making those decisions about what pieces are programmed. Music does not appear on a recital program without a decision-making process. The performers are the gatekeepers here.

What skills do we want our students to demonstrate in a performance? Is it a balance of tone, range, technical facility, and expression? Pieces like the Vaughan Williams concerto and the Horovitz concerto certainly demand those elements of players, and they occupy a significant place in the tuba and euphonium history. Perhaps we could consider having our students meet those same performance expectations but with different compositions. Recitals, which are an extension of the studio experience and often feature a student's musical and technical growth, can be more inclusive. Composer Alex Shapiro calls this intentional programming. You might hear someone say one should not consider a person's gender, race, or sexual orientation, for example, with music because the goal is to play good music. The reality is that a small percentage of music being programmed is by women, people of color, or LGBTQ+ individuals. Shapiro asserts the ones composing the music should be a reflection of the ones playing and listening to it. [13] Since our tuba-euphonium community does contain diverse voices and perspectives, Shapiro's stance resonates beautifully.

If you examine the tuba and euphonium repertoire, you will undoubtedly find the majority of the composers are straight, white cisgender men. This is merely an observation. If we dig deeper, we can find wonderful pieces deserving of our attention, including pieces for players of varying skill levels. The Composer Diversity Database is an excellent resource for the music community. It is here you can uncover works by using the many search filters provided. One can search for music by a composer's name, whether they are living or deceased, gender identity, sexual orientation, race, genre, and even location. [14] Another option one could consider for diversifying a concert program could be transcriptions. The online Petrucci Music Library (imslp.org) is a wonderful source for pieces residing in the public domain. With music spanning numerous time and style periods, there is ample room to find musical voices deserving of a performance.

The options for diversifying a recital program are neither an exhaustive list nor a way of asserting these are the only paths we have to diversify programs. These are suggestions you can take when you are ready to program a recital. You might be astonished by what is out there.

Structure and Setting Expectations

Inclusive pedagogy analyzes the ways in which students might learn and what methods we teachers may need to employ in order to respond to their needs. A problem can arise in that educators, either consciously or not, want to teach versions of themselves. [15] You may have had conversations in which you heard notions like, "I was never like that as a student," "Students are so unprepared these days," or "Back in my day…" While those comments may stem from personal experiences and interactions with students, they are not necessarily facts. [16] Based on my encounters with today's students, I have found they appreciate structure and the setting of clear expectations. In classes or studios lacking structure and clear expectations, students could experience stress, anxiety, and confusion, when ultimately the teacher likely wants to avoid all those scenarios. Kathy Dyer emphasizes the notion that students have to know what they are expected to learn before they can start to own the role they take in their education.[17] Dyer's idea, though rooted in pre-college students, can be transferred and applied to teachers and students at the university level.

As a teacher, consider conducting a self-assessment of ways in which you evaluate your students. Look, for example, at your syllabi, studio policies, and grading policies. Are due dates clear? Based on what appears there, would students have an accurate idea of how they are graded? Part of what makes evaluating music so difficult is that it is not easily quantifiable. What does an A on Elizabeth Raum's Romance, for example, sound like? How does a student know they earned a B for their performance of Tyrell 10? These kinds of questions show us the way in which a student might think about what it is they are doing and how they prepare for it. Consider mapping out explicit grading criteria in your syllabi or studio policies. When in doubt, be more specific. I often ask my tuba and euphonium students to grade themselves based on the established criteria in the studio syllabus. That grading criteria-A, B, C, D, and F categories-appears on a piece of paper taped to the music stand in my studio. Many students are often their own worst critic, but I have noticed simply asking them about an earned grade ignites a new drive in them to succeed and do better over time.

Related to structure is the notion of culture. The culture of any given tuba-euphonium studio can be one marked by fierce competition, warm and supportive mentalities, or some kind of middle ground. What remains important is to actively choose what kind of culture you want and adhere to your decision. Make your decision about a culture well known to your students. We do not necessarily have to devote hours and hours talking about the significance of positive attitudes and studio climate, but sometimes an outright statement coming from the teacher carries true weight with students.[18] Tuba-euphonium studios can be sources of inspiration and places where students shape and strengthen a work ethic. Additionally, studios are where communities are built and sustained. It is in a learning community like a studio where students can address issues, work through problems, seek help, and create lasting relationships with their peers. [19] If you were to take five minutes to outline the values and behaviors you believe are essential to a positive studio culture, I would imagine you would see a list of traits and actions you could monitor on a regular basis. You will know if your efforts are producing results if you ask your students directly. This approach is often the easiest. You could also ask someone to observe your teaching, particularly asking if they see signs that the environment is an inclusive one.[20]

First-Generation Students and Socioeconomic Status

Those of you who teach at the college level or in private studios where students are aspiring to attend college may encounter students who would be the first in their families to attend a university. These students may be uncomfortable sifting through the many changes, documents, and general terrain associated with pursuing higher education. [21] Many of us in the teacher role have already gone to college-for many years in fact-and may have forgotten the questions we once had, the fears about what comes next, and the general mixture of anxiety and apprehension associated with taking the big step from young adulthood to being a young adult away from our familiar surroundings. It is critical to note that someone who is a first-generation college student does not also come from a lower socioeconomic status. The two concepts are part of a related discussion, but they are not exclusively intertwined when talking about any specific student.[22]

One of my most influential teachers is actually my brilliant husband. As I write this, I can hear him saying, "Sometimes students don't know what they don't know." My husband-who holds a PhD in education and works in student affairs and diversity at the university level-taught me that phrase years ago. It stuck with me because it is so true. His pearl of wisdom reminds me that sometimes our students at the college level need to be shown what resources are available to them and how to use them. Writing centers, tutoring, study groups, regular interactions with faculty members, identity-based affinity groups, for example, are all types of resources for students. These resources work best if they are incorporated all along, rather than thrown at the student as a last-ditch effort to save a grade or rectify a disastrous situation. [23] The exact type and kinds of resources will vary from institution to institution. What is more important, and perhaps even more inclusive, is to assert these kinds of resources can and should be used by all students. [24]

An undeniable part about music-making is that it comes with a price tag. People experience sticker shock when they see just how much something like a new tuba or euphonium costs. The money spent on continued private lessons in high school can add up and create a financial strain on a family. Just because a student comes from a music program does not mean they have access to the same resources as other students. [25] For example, having private lessons, personally owning their own tuba or euphonium, or the ability to finance trips to summer music festivals are all financial obstacles students may face if they come from a lower-income family. Students who took private lessons throughout middle school and high school may be privileged and at an advantage compared to those who did not have that as an option. Either way, teachers can meet a student where they are upon arrival and expand their skill set from there. If a student arrives at college and has not previously taken lessons or does not own their own instrument, that is not a reflection of that student's commitment to music and their career. Instead, it could speak to the financial barriers they have faced or simply not having access to a teacher.

Students can be shown ways to mitigate the financial strain associated with music-making in a number of ways. First, the tuba and euphonium community often has access to high-quality used instrument options from reputable online sources. Playing on a used instrument does not signal a person is any less dedicated to their craft. Instead, if they can get the same quality product but at a lower cost, that should be considered a win for the student. Second, university financial aid offices in the United States can be made aware that owning an instrument is an educational necessity, just as a computer is for student success. Placing a statement in a syllabus about owning an instrument could be an effective way to distinguish the tuba or euphonium as an educational need rather than a want. The teacher may need to be an active participant here by writing a separate statement asserting the instrument is an educational expense. Using federal student loan money can give a student the necessary funds to purchase an instrument while receiving the money at a lower interest rate and not having to pay back the student loan until they are finished with school. Seeing the huge cost of an instrument-whether it be used or new-can intimidate a student and their family. Those feelings and apprehension may direct them to buy something that does not work well for the student's goals. Third, financing options through banks or instrument vendors may offer flexible payment plans with reasonable interest rates.

The Work Goes On

Teaching is a demanding yet highly rewarding activity. It may require constant tweaking and small adjustments necessary to teach the diverse students who walk through our door. Inclusive pedagogy tells us to respond to these learners by acknowledging and valuing who they are and what varied experiences they bring to the world. There is much individual work to be done. We can keep learning about social identities, equity, and privilege while we work toward creating more socially responsive learning environments around us. Perhaps a teacher needs to brush up on language associated with the LGBTQ+ community, or maybe it is time to have a good, long inner dialogue about representation and inclusive concert programming. Regardless, teachers inevitably serve as role models for their students, and we have the opportunity to model tuba and euphonium playing as well as social awareness. We can show them we consider the many contrasting perspectives found in a group of people as a source of knowledge and creativity in what we do. For a teacher, everything they do and say matters. Inclusive pedagogy, while a complex issue worthy of much more conversation, will matter to our students, both current and future. We are works in progress. Since there is no one approach to inclusive pedagogy or a clever step-by-step guide, we can practice being inclusive with our pedagogy just as we practice our long tones, scales, and arpeggios.

Bibliography

Bergoni, Louis. "Sexual Orientation and Music Education: Continuing a Tradition." Music Educators Journal 100, no. 4 (2014): 65-69.

Collins, Cory. "Is Queer OK to Say? Here's Why We Use It." Teaching Tolerance. Accessed January 8, 2021. https://www.tolerance.org/magazine/is-queer-ok-to-say-heres-why-we-use-it.

Davis, Jeff. The First-Generation Student Experience: Implications for Campus Practice, and Strategies for Improving Persistence and Success . Sterling: Stylus Publishing, 2010.

Dyer, Kathy. "Mapping Formative Assessment Strategies to the Common Core State Standards-Part Two." Northwest Evaluation Association, 2013. Accessed January 11, 2021. https://www.nwea.org/blog/2013/mapping-formative-assessment-strategies-to-the-common-core-state-standards-part-two/.

"Glossary of Terms." The Human Rights Campaign. Accessed January 8, 2021. https://www.hrc.org/resources/glossary-of-terms.

Marian Wright Edelman. "It's Hard to Be What You Can't See." Children's Defense Fund. Accessed January 10, 2021. https://www.childrensdefense.org/child-watch-columns/health/2015/its-hard-to-be-what-you-cant-see/.

Gross, Karen. Breakaway Learners: Strategies for Post-Secondary Success With At-Risk Students . New York: Teachers College, 2017.

Horowitz, Gail. "Point of View: First-Generation College Students: How to Recognize Them and Be Their Ally and Advocate." Journal of College Science Teaching 46, no. 6 (2017).

Institute for Composer Diversity. "Composer Diversity Database." Institute for Composer Diversity. Accessed January 11, 2021. https://www.composerdiversity.com/composer-diversity-database.

Lani Florian, and Kristine Black-Hawkins. "Exploring Inclusive Pedagogy." British Educational Research Journal 37, no. 5 (2011): 813-28.

Nunn, Lisa M. 33 Simple Strategies for Faculty: A Week-by-Week Resource for Teaching First-Year and First-Generation Students . New Brunswick: Routledge, 2019.

Joel Portman, Tuyen Trisa Bui, Javier Ogaz, and Jesús Treviño. "Microaggressions in the Classroom." Workshop, University of Denver Annual Diversity Summit, Denver, 2009.

Potvin, Leigh. "Queer Pedagogies." In Companion to Sexuality Studies, 122-39. Chichester, UK: John Wiley & Sons, Ltd, 2020.

Sathy, Viji and Kelly A. Hogan. "How To Make Your Teaching More Inclusive." The Chronicle of Higher Education, 2019. Accessed January 9, 2021. https://www.chronicle.com/article/how-to-make-your-teaching-more-inclusive/.

Shapiro, Alex. "Programming Resources." Alex Shapiro, composer. Accessed January 11, 2021. https://www.alexshapiro.org/ProgrammingResources.html.

Shaw, John. "Research Into Practice: Learning by Doing." In Enhancing Teaching in Higher Education, 149-156. London: Routledge, 2005.

Shaw, Julia T. "Toward Socially Inclusive Music Organizations." The Choral Journal 58, no. 4 (2017): 22-37.

Southerland, William. "The Rainbow Connection: How Music Classrooms Create Safe Spaces for Sexual-Minority Young People." Music Educators Journal 104, no. 3 (2018): 40-45.

Spratt, Jennifer, and Florian, Lani. "Inclusive Pedagogy: From Learning to Action. Supporting Each Individual in the Context of 'everybody'." Teaching and Teacher Education 49 (2015): 89-96.

Sue, Derald Wing. Microaggressions in Everday Life: Race, Gender, and Sexual Orientation . Hoboken: Wiley, 2010.

Sue, Derald Wing and David Sue.Counseling the Culturally Diverse: Theory and Practice, 7 ^th edition. Hoboken: John Wiley & Sons, 2016.

Tanner, Kimberly D. "Structure Matters: Twenty-One Teaching Strategies to Promote Student Engagement and Cultivate Classroom Equity." CBE Life Sciences Education 12, no. 3 (2013): 322-31.

"What and Why." MyPronouns.org. Accessed January 9, 2021. https://www.mypronouns.org/what-and-why/.

---

back to top
back to table of contents

Advertisement

Latest Journal

ITEC 2023

Advertisement

ITEA News Headlines