Right From The Start: Creating A Diverse Private Studio Experience

Allen describes the challenge of what many educators face today, “teach the centuries-old traditions that have stood the test of time while [equipping] our students with the tools, mindsets, and knowledge they need to thrive in [today’s] music world” (2023, pg. 17). Allen calls for educators to access a range of musical time periods, composers, and styles for our learners’ study. This begins with educators “examining our own unconscious bias as well as those we acquire during our own musical training” (Allen, 2023, pg. 17).

Allen outlines the following facets of a learner’s experience and how educators can diversify learning.

The Physical Environment - The learning environment presents elements that educators have curated and values. An example of an impression that the learning environment can leave on a learner is that of a painting/picture on the wall. Having posters of women composers, Black composers, or even student artwork can be interpreted by students as values placed beyond White European men composers and hierarchical traditions.

Diverse Materials - Method books are always in development and with the focus on diversifying perspectives, Allen highlights resources that string educators should seek: Music by Black Composers edited by Rachel Barton Pine and Violin Music by Women anthologies edited by Cora Cooper. Allen’s teaching approach is to present the instrumental technique associated with the composition and actively present the musical contributions of the composers. Educators should recognize the unique musical contributions every composer brings in their work - regardless of race, gender, religion, or age.

Providing Role Models - Allen makes a parallel connection to the “decor” we keep on our walls to the role models we reference in our classes. Educators should consider referencing a variety of artists who have made it to the top when showing examples. Allen references jazz violinists Regina Carter and the hip-hop duo Black Violin as examples of great contemporary performers/artists. Allen reminds us of our unconscious bias and that it is easy for our unconscious bias to reference artists we’ve been accustomed to within our own upbringing.

Language and Pronouns - “Language itself can be inherently gendered and/or biased, and consciously choosing inclusion means changing the language that is used when necessary” (Allen, 2023, p. 20). Allen gives an example where it can be common for educators to mistakenly use “he” pronouns when referring to women conductors or composers. And instead of using “girls” or “boys” when addressing concert attire, Allen suggests using “students” or “performers.”

Year-Round Programming - It might be convenient to program Black composers during Black History Month or women composers during Women’s History Month. Black composers and women composers should be featured year round. This means taking another look at our concert programs and actively seeking representation of all composers for the benefit of our students.

Although this article was written with the private studio in mind, Allen’s approach is applicable in the K-12 classroom and higher education. We spoke about institutional or stakeholder barriers that might slow the progress of inclusion in our April 2023 podcast. We all work within systems and parameters set by others, however, educators are the experts in the field that make day-to-day decisions and changes to learning. We have the tools and agency to help our stakeholders and institutions understand the value of diversifying the learning experience.