{"title":"On Demographics, Diversity, and Democracy","authors":"James R. Austin","doi":"10.1177/1057083721995090","DOIUrl":null,"url":null,"abstract":"In the late 1990s, one of my University of Colorado music education colleagues and I began conversing about the lack of racial/ethnic diversity within our student body and the music education profession writ large. Much of the literature of that period was focused on describing the teacher workforce, but researchers were struggling to pinpoint key factors contributing to the pronounced underrepresentation of teachers of color. A U.S. Department of Education report (Choy et al., 1993), for example, showed that 87% of female teachers and 90% of male teachers were White. In a companion report published 4 years later (Henke et al., 1997), researchers confirmed that far fewer teachers than students identified as minorities (i.e., nearly twice as many Black students as Black teachers, and over three times as many Hispanic students as Hispanic teachers). While there was some evidence of an inroad being made in the recruitment of Hispanic teachers to the profession, the vast majority (87%) of teachers still identified as White. Faced with those realities, my colleague and I applied for a university grant that would support a special outreach initiative modeled after the so-called “grow your own” programs. We partnered with high school music teachers in the Denver Public School District—one of the largest and most diverse school districts in the nation—to identify student musicians of color who exhibited an interest in and some attributes for music teaching. We provided transportation for students between Denver and Boulder and hosted them for a full-day campus visit during which they could (a) shadow a music education student through a portion of their daily schedule; (b) observe representative classes, lessons, and rehearsals; (c) meet with music education faculty and administrators over lunch to learn about the typical music school application, audition, and admissions processes; (d) visit with a financial aid representative concerning scholarships and need-based aid; and (e) tour the campus and music facilities. We also provided students with a packet of resource materials they could take home and share","PeriodicalId":44687,"journal":{"name":"Journal of Music Teacher Education","volume":"30 1","pages":"6 - 9"},"PeriodicalIF":1.1000,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1057083721995090","citationCount":"2","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Music Teacher Education","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1177/1057083721995090","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"EDUCATION & EDUCATIONAL RESEARCH","Score":null,"Total":0}
引用次数: 2
Abstract
In the late 1990s, one of my University of Colorado music education colleagues and I began conversing about the lack of racial/ethnic diversity within our student body and the music education profession writ large. Much of the literature of that period was focused on describing the teacher workforce, but researchers were struggling to pinpoint key factors contributing to the pronounced underrepresentation of teachers of color. A U.S. Department of Education report (Choy et al., 1993), for example, showed that 87% of female teachers and 90% of male teachers were White. In a companion report published 4 years later (Henke et al., 1997), researchers confirmed that far fewer teachers than students identified as minorities (i.e., nearly twice as many Black students as Black teachers, and over three times as many Hispanic students as Hispanic teachers). While there was some evidence of an inroad being made in the recruitment of Hispanic teachers to the profession, the vast majority (87%) of teachers still identified as White. Faced with those realities, my colleague and I applied for a university grant that would support a special outreach initiative modeled after the so-called “grow your own” programs. We partnered with high school music teachers in the Denver Public School District—one of the largest and most diverse school districts in the nation—to identify student musicians of color who exhibited an interest in and some attributes for music teaching. We provided transportation for students between Denver and Boulder and hosted them for a full-day campus visit during which they could (a) shadow a music education student through a portion of their daily schedule; (b) observe representative classes, lessons, and rehearsals; (c) meet with music education faculty and administrators over lunch to learn about the typical music school application, audition, and admissions processes; (d) visit with a financial aid representative concerning scholarships and need-based aid; and (e) tour the campus and music facilities. We also provided students with a packet of resource materials they could take home and share
上世纪90年代末,我和科罗拉多大学音乐教育学院的一位同事开始讨论我们的学生群体和音乐教育行业普遍缺乏种族/民族多样性的问题。那个时期的大部分文献都集中在描述教师队伍上,但研究人员一直在努力找出导致有色人种教师明显不足的关键因素。例如,美国教育部的一份报告(Choy et al., 1993)显示,87%的女教师和90%的男教师是白人。在4年后发表的一份同伴报告中(Henke et al., 1997),研究人员证实,被认定为少数民族的教师远远少于学生(即黑人学生几乎是黑人教师的两倍,西班牙裔学生是西班牙裔教师的三倍多)。虽然有一些证据表明,西班牙裔教师的招聘正在取得进展,但绝大多数(87%)教师仍然被认为是白人。面对这些现实,我和我的同事申请了一笔大学拨款,用于支持一项效仿所谓“自己种植”项目的特殊推广计划。我们与丹佛公立学区的高中音乐教师合作——丹佛公立学区是全国最大、最多样化的学区之一——找出对音乐教学表现出兴趣和某些特征的有色人种学生音乐家。我们为学生提供丹佛和博尔德之间的交通工具,并接待他们进行一整天的校园参观,在此期间,他们可以(a)通过日常安排的一部分跟随音乐教育的学生;(b)观察有代表性的班级、课程和排练;(c)与音乐教育教师和管理人员共进午餐,了解典型的音乐学校申请、试镜和录取流程;(d)与财政援助代表就奖学金和按需援助进行访问;(5)参观校园和音乐设施。我们还为学生们提供了一套资源材料,他们可以带回家分享