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1. We know a lot more now than in music history I.
2. We place an emphasis on things that are culturally significant to our own lives. Nostalgia is also important; not just the music itself.
3. The music we picked reflects a level of cultural familiarity that we experience.
4. A lot of the words we consider significant were composed between 1775-1875.
5. German composers (composers trained in this tradition) are over represented in the timeline.

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1. Exploring music outside of US and Europe, think about economic and social rules of other countries to see why Music was not expanded as widely, inequalities, such as race and gender identity, are a factor that the world is still struggling with in all aspects of life including music

2. Ask experts, natives, musicologists, etc, include things in history classes and theory classes to draw similarities across countries

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1. To begin thinking outside of the box, you have to start from your own place of knowledge, even if that knowledge is very "in the box". You have to know what things you already know, and understand WHY you already know these things. From there you can expand upon what you already know by recognizing your own internal biases and gaps in your knowledge and repertoire.
2. As stated before, don't do things because that's the way tradition has dictated us to do it. Start with traditional ideas, but force yourself to think outside of that once you have come to a general understanding. To take it out of a musical aspect and make it clearer, I'll use a baking reference. You can't understand the individual differences and characteristics of Indian cuisine if you aren't familiar with your own culture's. To truly appreciate other cultures, you have to thoroughly expose yourself to your own first and move from there with an open mind.

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1 (maybe 2?): To explore the musical works that do not typically fall under the Western tradition, there are many considerations regarding what is and what is not "the box." Being intentional about including music of diverse backgrounds allows for greater opportunity to study repertoire that falls outside of our traditional viewpoints. Giving students or clients a more diverse experience provides a more holistic educational and cultural experience. To say that one way is right and the other is wrong is ignorant, and many Western composers have looked at the lesser known musical backgrounds for influence in their works. To find repertoire, it can help to look at where some of these composers got their influence and explore music of those regions.

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1. Using other aspects of the culture that surrounds the non-western music to teach
2. Teaching music from other regions (non canonically "classical") to children and students to help normalize music that has been set to the side.

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1. By exposing young children to "foreign" sound/music so that in their formative years they are accustomed to more diverse sounds and can appreciate it more, even if it's not culturally dominant in Western America.
2. Be willing to be uncomfortable. Swim beyond the mainstream.

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One of the most dangerous statements in the human language is- "that's the way it's always been done." If history courses, concert programs, and sessions are designed in such a way to simply mimic what has come before it, then much of the historical context of the "under-represented" pieces and genres will be lost to this history. The canon of "popular music" is often designated by which items are most popular or widely discussed; those that are not face a fate of less recognition, discussion, and study. Just because a "standard text" for study is popular and well-written does not mean that it can be the "end all, be all" for study. Instead, it is imperative to look deeper and reach for texts that are rarely studied, explore genres that are rarely performed, and program such works in order to increase visibility- and, perhaps, to alter the landscape of contemporary musical canon.

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1. Stepping outside of the box in regards to performance is as simple as avoiding the limitations often set by region. 2. Teaching music in this way would allow for such inclusiveness.

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All music is worthy of studying. Just because some music would not be performed in large music halls or opera houses houses doesn't mean it wasn't important to the culture of that time.
1) In a therapy setting we would refer to Haefali's article to encourage a client who may be discouraged in their music abilities and open theirs eyes to different ways to play music.
2) Merging "old" and "new" music to create new ways of teaching easily forgotten material.

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Perform and plan for works that fall outside of the classical canon, whether that is a piece of orchestral music that is based around a different set of ideas than the classical western ideals or even just performing folk or pop music from other, non-western cultures.
Teaching and learning about art music more inclusively requires a reinterpretation of what "important works" are. If we continue to only place emphasis and importance on music based on the Western European tradition, then the teaching of music will continue to be based on those same traditions. If we instead shift at least some of the focus to the developments in different parts of the world at the same time, we might find that art music outside of the classical canon will find a new place in both classrooms and performance halls.