Article

The non-traditional music student in secondary schools of the United States: Engaging non-participant students in creative music activities through technology

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Abstract

This article discusses the 'non-traditional music' (NTM) student in secondary education in the United States as a unique population of students who are 'non-participants' in traditional music ensembles. Through the use of current music technology, teachers are offering technology-based music classes (TBMCs) and are successfully engaging NTM students in performing, recording and composing. Eight attributes are proposed to characterize NTMs. An estimate of the non-participant music population and the validity of the proposed NTM attributes are examined through an analysis of anecdotal and empirical data from several extant studies. The results suggest that these attributes reasonably describe NTMs with some modification. NTMs are in the sixth through twelfth grades, do not typically participate in traditional performing ensembles, and most likely do not read standard music notation. More than 67 per cent of these students may play an instrument or sing, 28 per cent have an active music life outside of school, and many aspire to a career in music industry or performance. There is also evidence that TBMCs are motivationally beneficial to academic- and discipline-challenged students. Revisions to the set of attributes for NTMs are offered and suggestions for future research are proposed with special attention to parallels in music programmes internationally.

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... ndary public schools (Allsup, 2016;Fonder, 2014;Miksza, 2013;Shuler, 2011a). Other scholars recommend wholesale changes to secondary curricula such as reductions in large ensemble course offerings and increases in alternative music courses and/or methodologies to encourage school music participation (Kratus, 2007;Randles, 2015;D. A. Williams, 2011;D.B. Williams, 2011). ...
... in school-based music programs and others do not (Fonder, 2014;D. A. Williams, 2011). Some scholars suggest underrepresented groups of adolescents do not participate in secondary school music classes because the current secondary music curricula are very different from their own musical lives and interests (Cavicchi, 2009;Kratus, 2007;Reimer, 2015;D.B. Williams, 2011). They argue music education programs do not offer modes of music-making that are reflective of the technological environment, listening habits, or musical interests of young people (Kratus, 2007;Regelski, 2014;D. A. Williams, 2011;D.B. Williams, 2011). In an effort to address broader types of music activities, music education scholars h ...
... ry different from their own musical lives and interests (Cavicchi, 2009;Kratus, 2007;Reimer, 2015;D.B. Williams, 2011). They argue music education programs do not offer modes of music-making that are reflective of the technological environment, listening habits, or musical interests of young people (Kratus, 2007;Regelski, 2014;D. A. Williams, 2011;D.B. Williams, 2011). In an effort to address broader types of music activities, music education scholars have developed alternative music education programs to provide spaces for students to engage in nonformal and informal learning practices (Clements, 2010;Hallam et al., 2008;Powell, Krikun, Pignato, 2015;Randles, 2015). ...
Thesis
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This study was conducted to better understand the musical and personal characteristics of students inside and outside school music programs. Therefore, the purpose of this study was two-fold: (1) to identify patterns of musical activity from an adolescent school population; and (2) to examine the demographic, environmental, and personal beliefs associated with different patterns of musical activity. Participants for this study were students from two high schools and one middle school in Salt Lake City, Utah (N = 855). Individuals completed a researcher-designed music participation index to measure levels of musical activity. The musical activities were categorized by three separate domains: formal (school/private lessons), nonformal (community music), and informal (home music). Data from the music participation index were analyzed using latent profile analysis, which is a quantitative technique that enabled the researcher to identify hidden or unobserved (latent) patterns (profiles) of musical activity. Results revealed six distinct profiles of musical activity. Students in Profile 1 (21%) reported below average rates of musical activity in each domain (i.e., formal, nonformal, informal). Students in Profile 2 (24%) listened to music at average rates but showed below average rates of participation in almost every other domain. Students in Profile 3 (22%) reported above average desire for music participation but did not actually participate in very many musical activities. Students in Profile 4 (8%) showed above average rates of informal musical activity while demonstrating little participation in formal or nonformal activities. Students in Profile 5 (17%) reported the most involvement in formal and nonformal activities. Finally, students in Profile 6 showed above average involvement in every informal music domain and relatively high rates of formal and nonformal music participation. The majority of students from this sample (67%) reported average or below average rates of music listening and little performing or creating musical activities in any domain (i.e., formal, nonformal, informal). These findings may have implications regarding the amount of students outside of school music programs who are interested in engaging in school- based music activities. The music participation profiles were also compared on the basis of several demographic, environmental, and personal belief variables.
... The direct use of technology to facilitate music students' learning has been found to more commonly occur in general music settings, and to vary to some extent based upon regional and geographic differences (Dammers, 2012;Jinright, 2003;Reese, 2002). A notable departure from these findings is the recent growth of technology-based music classes (Dammers, 2012;Williams, 2012). Dammers (2012) found that 14% of high schools in the United States have computer-based music classes, and that 50% of these had been created since 2005. ...
... However, they rated the preservice teachers' preparedness to teach a middle or high school technology-based music course somewhat lower. Music classes that are completely facilitated through technology are growing in numbers (Dammers, 2012;Williams, 2012). Dammers (2012) found that the increasing number of technology-based music classes in high schools in the United States were developed and taught by experienced teachers who were in their third decade of teaching. ...
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... erlying issues related to enrollment trends in music classes are more complex. For example, one of the primary justifications and sources of evidence for questioning the relevance of current secondary music curricula is high school music enrollment patterns, specifically, a perceived decline in enrollment in high school music classes (Kratus, 2007;D. B. Williams, 2011). However, as cited previously, widespread declines in secondary music program enrollment has likely not occurred (Elpus, 2014). Furthermore, extant research indicates that a number of factors likely influence the general participation rates in secondary music classes. Relevant factors include but are not limited to: (a) access to high-q ...
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... 'The multitude of apps that allow one to be expressive without requiring an understanding of notation or other musical formalities make the iPad in particular extremely accessible' to people of all abilities (Criswell 2011: 32). Music teachers can use technology to reach students who do not participate in traditional ensembles, do not sing or play instruments, do not read standard notation or may otherwise be unmotivated or struggle in school because of discipline issues or special needs (Williams 2012). ...
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... Though many people continue to learn to play keyboard, reading paper-based standard notation, technology can serve as an alternative tool for learning. The proliferation of electronic keyboards available in consumer outlets evidences its popularity as one of the world's most favoured musical instruments (Williams 2012). With the popularization of electronic keyboards, it is timely to consider some of the implications surrounding current and emerging practices related to keyboard instrument learning. ...
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... 23). Williams (2011b) described the " non-traditional music student " as someone who does not or cannot find success in traditional ensembles. Through the use of technology, though, music educators could create opportunities to engage these students. ...
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... This relates directly to the interest of the students and takes advantage of the exploration of the iPad. (Penny, Exploration Reflection 2) Like teachers in previous studies, they began to consider the iPad as a tool to reach out to nontraditional music students (Williams, 2011) and include contemporary styles of music relevant to the students (Dammers, 2009(Dammers, , 2012. ...
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... Focus groups conducted with participants' parents identified a number of core themes which build on our existing knowledge regarding the potency of the iPad interface. Given that technology is increasingly prominent in education (Pegrum, Howitt, and Striepe 2013;Pegrum, Oakley, and Faulkner 2013;, including music classrooms (Criswell 2014;Williams 2011;Greher in press), parents' comments provided support for implementing this technology with students on the autism spectrum specifically. Those with ASD are often particularly attracted to technology and computers, perhaps due to their predictability and rule-based functioning (Hillier et al. 2011). ...
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