You are on page 1of 7

by David A.

Williams

The Elephant in the


Room
Abstract: Practically all teenagers find pleasure in music, yet the majority are not involved in
traditional school music ensembles. College requirements, the quest for high grade point aver-
ages, scheduling conflicts, uncooperative counselors, block schedules, students with too many
competing interests, or the need to work may limit participation in music classes. While there is
little music teachers can do to overcome many of these hurdles, the elephant in the room is the
very model we use for music education in the schools. The large performance ensemble was
established as the model for music education during the early 1900s and has remained relatively
unchanged for a century. Is this model a significant part of what is causing so few students to
enroll in school music classes? Recommendations are presented that must be considered as the
profession moves forward.
Keywords: alternative, curriculum, ensemble, high school, junior high, learning style, lifelong
learning, schedule
The large ensemble
may be one of the

T
here is a growing concern about the fu- enrolled in music classes in 1985. This num-
ture of American K–12 music education ber dropped to 14.9 percent by 1995 and 11.67 biggest impediments
programs, and much of the anxiety in- percent by 2005.3 If we were to project a 2025
volves enrollment in traditional large ensem- figure based on these data, enrollment would
to wider access to
bles.1 The concern is so great that we spend fall to under 7 percent. While this is just for music education in
considerable time trying to convince others of the state of Florida, there is little to suggest
the importance of music through advocacy ef- such trends are not similar in other parts of public schools in the
forts. In the introduction to her chapter on ad- the United States. United States. Will
vocacy in The New Handbook of Research on The extent of the problem is actually
Music Teaching and Learning, Liora Bresler masked here. To arrive at these figures, enroll- music educators
suggests that “the contemporary arena of ment for every music class is added together, so
school music often resembles a battleground, individual students enrolled in more than one
adapt in time?
concerned with survival.”2 music class are double-counted (concert band
Why do so few students take part in tra- and jazz band, for example). This suggests that
ditional secondary school music ensembles? the actual percentage of students enrolled in
Practically all teenagers find pleasure experi- music classes is smaller than indicated. Addi-
encing music, yet we know the greater major- tionally, these data include all music classes—
ity are not involved in school music offerings. not only traditional ensembles. We can expect
Recent data from Florida reveal a troubling that more alternate music classes (technology,
trend. Not only are music enrollments low, keyboard, world drumming, etc.) existed in
but they have been dropping as well. Accord- 2005 than in 1985, meaning enrollment in tra-
ing to Florida Department of Education data, ditional ensembles may have fallen even more
16.45 percent of high school students were dramatically than is implied here.
Copyright © 2011 National Association
for Music Education
David A. Williams is an associate professor of music education at the University of South Florida, Tampa. He can be contacted at DOI: 10.1177/0027432111415538
davidw@usf.edu. http://mej.sagepub.com

www.nafme.org 51
An Outdated Model
While there is little music teachers can
do to limit the aforementioned hurdles,
there is at least one issue that is too often
ignored, and that few within the profes-
sion seem willing to discuss. This ele-
phant in the room is the very model we
use for music education in the schools.
The large performance ensemble was
established as the model for music edu-
cation during the early 1900s and has
remained relatively unchanged for a cen-
tury. Is it possible this model is a signifi-
cant part of what is causing so few to
enroll in school music classes?
In many respects, this model has
been quite successful. The performance

TAP, TAP . . . level of our ensembles has been envied


by music teachers in several countries. It
has served important roles of public rela-
tions for and service to our schools. It has
(WHO'S THERE?) sustained the profession and has become
a prominent part of the secondary school
experience. The large-ensemble model
You are! Singing, dancing, playing, and making a difference has, in fact, become synonymous with
music education in schools—so much so
in children’s lives—and in your own. Teach our much-loved that it is difficult for most music educa-
research-based family and preschool programs, and enjoy the tors, as well as preservice music teachers,
to consider changes to the status quo.
support of our creative and energizing teaching community.
The model is so pervasive that new
There’s a workshop near you. concepts introduced into music educa-
tion are usually first thought of in terms
of how they can be added to current
ensemble offerings. Recent examples
of this include multicultural music and
technology, both of which function bet-
® ter apart from traditional ensembles as
THE JOY OF FAMILY MUSIC separate classes dedicated to the particu-
lar topic. Certainly there are advantages
to adding digital technology into a large
ensemble, although the true profit for stu-
(800) 728-2692 U MUSICTOGETHER.COM dents can be realized through new types
of classes devoted to contemporary tech-
nologies. It is the same with musics from
other cultures: in certain circumstances,
Certainly there is no single reason that who have tested poorly in areas such as using elements of other musical traditions
accounts for the situation in which the reading and math may be forced into extra can offer meaningful activities in tradi-
profession finds itself. It is evident that, in remedial courses. In either case, these stu- tional large ensembles, but again, the real
the push for academic excellence, some dents would have fewer, if any, opportuni- reward for students would be through a
students opt to enroll in multiple honors ties to elect music courses. Then there are specific course devoted to a particular
and advanced placement courses in hopes scheduling conflicts, uncooperative coun- style of music.
of raising their grade point averages and selors, block schedules, students with too So all-encompassing is the large-
increasing the likelihood of admission to many competing interests, or the need to group performance model that alterna-
preferred colleges. Additionally, students work. tives introduced as separate classes, most

52 Music Educators Journal September 2011


notably, guitar and keyboard courses, are in which most college music education An eighty-member ensemble might look
often approached and taught in ways that majors participated during their second- good from an advocacy standpoint,
closely resemble the design used in tra- ary school years, as well as throughout but not from an educational perspec-
ditional large ensembles—with neat rows their undergraduate experience. It is, in tive. It is essential that new models of
of students, reading notation, performing fact, the model in which most in-service music education allow for reasonable
the same piece at the same time, while and preservice teachers not only partici- class sizes equivalent to those found in
being conducted or led by the teacher. pated but also excelled. Bringing to oth- other academic areas. The issue we face
Since this is the model we know and ers the same triumphs we experienced is is creating demand for a sizable total
understand, it becomes the template for quite gratifying, and is an aspiration that enrollment in music courses, but this
new courses as well. It is quite likely there drives many to become music teachers. enrollment does not have to be in one
are better, more authentic paradigms for When we are passionate about some- class.
these types of offerings. thing, as many in our profession are
about traditional performance ensembles, 2. Student-Centered Learning
Other Alternatives it is easy to assume everyone else is simi-
The large-ensemble model places com-
larly infatuated. This is unfortunately not
Other countries have made consider- true. We know that the greater majority of plete control in the hands of the teacher,
able strides regarding alternate models of students choose not to participate in our a concept borrowed from professional
music education. A recent special edition traditional offerings, and most of them do orchestras where the conductor is in
of the British Journal of Music Education not because they find this musical partici- command, and the main goal is excel-
contains a series of articles describing pation uninteresting. Even many of those lent performance. In schools, where the
both research and practice in England,4 who do participate are less than enthusi- main goal should be student learning,
Sweden,5 and Greece.6 In a study pub- astic about the experience. We must do this model seems outdated in light of the
lished in 2000, researchers Charles Byrne better. We can do better. It is essential wealth of research concerning construc-
and Mark Sheridan reported on three that we offer interesting, relevant, and tionist learning theory and inquiry-based
decades of change in music practices in meaningful musical experiences for all learning.11 Such control over the class-
Scottish schools, where the inclusion of students that also allow them to develop room is important in the large-ensemble
a wider range of instruments and musi- lifelong musical skills. model, although not necessarily condu-
cal styles with alternate teaching methods cive to the best student learning. While
has resulted in a marked upturn in the many school music programs involve
numbers of students studying music.7 In
Opportunities to Consider solo and small-ensemble experiences,
research printed in 2006, Göran Folke- There are several possibilities that are which can allow individual students
stad studied different aspects of learning worthy of serious consideration as we some level of control, these tend to be
(including the situation, learning style, look to the future of music education short-term extensions to the real busi-
ownership, and intentionality) in socie- in the United States. Change is a worthy ness of the full ensemble. New models
ties outside Western cultures.8 Author goal, but we have to be brave enough to of music education should allow control
David Price, in articles published in 2005 venture into some unknown territory. We over the educational environment to be
and 2006, detailed the Musical Futures must be open to possibilities. Toward this extensively shared inside the classroom
project in the United Kingdom, which, end, here are several opportunities that by allowing students to experience self-
beginning in 2003, set out to devise new are available to us to improve the situa- directed learning, and peer-directed
and imaginative ways of engaging young tion in which we find ourselves. Oppor- learning.
people in school music activities.9 Teach- tunities, when taken in combinations,
ers in this project reported that Musical could help us realize interesting, relevant,
3. Musical/Creative Decisions
Futures had a positive effect on student and meaningful musical experiences for
participation and retention, student atti- students. In addition to control of the learning
tudes, self-esteem, and on-task behavior environment, the teacher in the large-
and that students developed a greater ensemble model is most likely making
1. Class Size
range of musical skills and were able practically all the musical and creative
to demonstrate higher levels of musical Large performing ensembles are an decisions. In this educational design, stu-
understanding.10 important goal of the present model, dents are most often reduced to techni-
Nevertheless, it is little wonder that and increasing class size is often a cians, simply carrying out the creative
the large-ensemble model of music edu- badge of honor for music teachers. Edu- wishes of their music director. Again, edu-
cation remains so ubiquitous in the United cational psychology suggests that large cational research challenges this model.12
States. It is, after all, the model that prac- class sizes are not educationally sound. While control of creative decision mak-
tically all current music teachers experi- Twenty students in a high school math ing is important for the large-ensemble
enced as students. It is the only model class is almost always better than fifty. director, new models of music education

www.nafme.org 53
would benefit from allowing students to
learn from their own creative decisions. THE YOUNG MUSICIAN’S TEXTBOOK

Additionally, students would benefit in UN G


M US IC
IA N’ S
TE XT BO
OK
intunemonthly.com TH E YO
UN G M US
IC IA
TH E YO
VOLUM MAY 2010

models where creative decision mak-


E 7 s ISSU N’ S TE
E8 XT BO
OK

ing plays a much more important role in TWO


m
hly.co
nemont
intu
HOWIN THE SINGERS BRASS MONTH
GET R VE LY
LY G OO DUETS
ONLY BREA
OUT! KS
MONTH
the process of learning, where compos- DRUM FOR A CAPELLA
GROUPS, IT’S ALL
IN THE VOICE WRITIN
WITH TH G
E
EYEDBLACK
ing/arranging/improvising are at least as A MIG
HTY
WINDXOPHONE
THE SA AIR FORCE
PEAS

FAMILY
important as performing and listening.
THE TRUMPET
FAMILY FLIES
HIGH ONE DA
Y

E
DRU A AT
WORM

ARCAED
KSHO
GIANT STEPS P

GLEE
IN REACH NEW HEIGHTS
BAND WITH COMPLEX A
STARTJUMP
INDIE W ANYTHE BIRTH AND LIFE

4. Formal Concerts TTEST SCALES FOR


S HO JAZZ

FIR
THE HOND SHOW N ROCK! OF A HIT SONG BY

MAROON 5
THE LA MENT CA
INSTRU
N
YOU CATO Teache
s Us Th
Following the professional model, school
HOW
LEARN VISE >> Be at Ever
O RT 1 singer Etta James >> Gu atbox Flute
IMPR >>PAR&B y Bod
FROM >> Playing saxophone under the big top >> Tip itar Great y Can
SITARSOURCEDIA >> School Jam winners and other NAMM news
r 2010 3
Dece mbe 8 t No.
s fo
$3.99 Vol. 8 t No. 6r Re
>>
Er
ic Clap Sing
ensembles focus on public performance.
March 2011
SX8 8 5 4 7 5 1 6 co to
THE , The rding Voca n
Vol.

inner! >> DJ Jazzy Jeff, Big Time Rush, The Listening List & more! UPC 8 8 4 0SW
940
IN $3.99 88535

NEY TO
8840
ver W nique ass Shout
UPC

A JOUR Makeo ique Tech monic’s Br Out Lols & Drums


ic Room
940
r’s Un ilhar More! 8840
88535 7_8_C
uds, &
>> Mus Compose ks into Ph on Little &
OV.in

More!
dd 1
8_6_cover_2.indd 1 1/27/11 1:46:08 PM

zz ea
>> A Ja Female Br Cruz, Shar
The educational goal becomes perform- >> First n Icon Ce
>> Cu ba
lia

ing an outstanding concert or obtaining 3/29/1


0 7:52:5

GET YOUR STUDENTS


1 AM

an exceptional rating at a contest. In this


model, the group result takes precedence
over individual needs, and the evalu-
ation of individuals is usually reduced
IN TUNE WITH THE WIDE
to whether or not students can perform
their part. The assumption that musical
WORLD OF MUSIC!
learning takes place through large-group In Tune Monthly is “The Young Musician’s Textbook” and the perfect
concert preparation is not documented. enrichment tool for middle and high school band, orchestra, choral and
general music students. In Tune keeps them reading about music and uses
When the measure of success remains at
a broad mix of contemporary and traditional content to reinforce the
the group level, there is no assurance that
virtues of practice, performance, collaboration, creation, and appreciation.
individuals within the group are devel-
oping musicality. New models of music For more information about In Tune’s student magazine sets,
education need to focus on individual books, Teacher Guide, Listening CD, and “ourmusicclass.com”
student musical learning where for- website (free for your music classes with an order of
mal, public performance is significantly 30 or more subscriptions), call 914.358.1200 x310,
reduced, if not eliminated, and replaced fax 914.741.1136, or e-mail info@intunepartners.com.
with a variety of methods where class-
room activities can be shared with others
in more meaningful ways.
To get your students
n for Botti
neau HS
Music
Assignmen
ts
Home
About
Us
Teacher’s
Message

In Tune, and get


your free website
destinatio
>> The online Videos

5. Instruments
Photos
Events
AU HSER!
ic New
s BOTTINE OV m Makeover
MAKE Rootroni OUR EVEN
T

Daily Mus WINSUltimate MusicElec cs


ey that is—
CALENDAR
In Tune d by Peav morning—sno80-mil w stormy from
e drive
presente dark and stormyset out on the Canadian border
8, 2009 ), to

and music CDs, go to


JANUARY and Olson
wood
Under Win-
pitch
It was a Tune’s intrepid
team (near the r Nancy ted
Carrie 1 Dakota music teache
Top when In Bottineau, North ver presen
Chris Brown Choice School
and Makeo donated by
People’s wood Minot to au High te Music Room gear yet
ners at Carrie Under award
Bottine Ultima best array of 3
Award
s: were In Tune Our , No- FOR MORE
Brown this year’sy Electronics. Pearl, Rolanded in
and Chris two People’s last 5 on,
by PeaveBuffet Cramp artfully display
s
awarded trophie Peavey, Pro-Mark was
Award

School instrumental ensembles have


Choice tion and
night. Calls On TOS
Rasca
l Flatts Its New OUR PHO
Design ’s 1
Fans To People
Cover: Rascal

intunemonthly.com
Album s,
RIESTakes Off
winner design
choice you to
Flatts, needs
OUR STO
album
for its new
the cover
1 u Music irilla
modo lorer ilit,
5
Unstop
pable. Bottinea Trip modo feui. et
Von Spring modolorer irilla g essnis.
ist Scott His
US FOR

employed the same instruments for over


Guitar Upcoming g essnis feumsectecin
OUR FOCRY
hes Au- ectecin feu
Heldt Launcfor Free: irilla wnis
feu feums dolut alit feum-
Audiobook modo lorer ullaorem
FEBRUA
Over Metal l- 5 irilla feu
how contro connis exer in
k, Mind
dioboo free for a limited Willis shows Concert modo lorerumisi.
le Von PRESSURE
R r Gary Winter irilla feu
feume
irilla feui.
availab FINGE e tone. aut
h Scott and teache improv modololorer modolorer auguerat
time througcial website. Bassist pressure can essnis eumrper andit prat. OS
sectecing feumnis OUR VIDE
offi
Heldt’s ling finger R
irilla feu orer irilla feu feums
D FINDE

or call Tia at
R CHOR strange new and
inven-
nce Auditions modol
acidui i.
GUITA and the nies or t excelle nsenis
iustrud vullaore feuis odiam
The goodfor sweet harmo piece of
interne and shows quism feuis
Looking d? This nifty imaginable keyon guitar. From
cillam, vullaore

one hundred years. The string and wind


Duisiam
Members diat odiam
tive discor to put in any those chords New Band acidui erosto
you feuis
THE ...
allows g for playing vullaore diat wissi.
TO HEAR the fingerin acidui erosto
HERE Gibson
.com. to pro-
CLICK S ne GuitarsMonthly
BASIC with Epipho In Tune
BENDINGteaming up from the
List is stories

Listening
In Tune lessons,
vide video

instruments used in school ensembles


e l Abou
t Us l Teac
her’s Mes sage
l Site Map
914.358.1200 x310
were once popular in our society. Begin-
ent l Hom
l Assi gnm
l Vide os
l Phot os
Even ts

ning in the 1970s, the use of these instru-


ments began to decrease in general, and
especially in youth culture, to the point
where they have practically disappeared
today. More students gain personal sat-
isfaction and meaning from performing to a core of acoustic sound, we are now 6. Musical Styles
instruments that appeal and intrigue faced with “the musical reality of pro-
them, and new models of music educa- duced sound.” She suggests, “We do not School ensembles were well established
tion must make use of newer technolo- need to replace the basic standards but in the United States by the 1920s. Up to
gies and instruments that are of interest we must rethink the approach to music. that time, the music they performed was
to students and are part of the culture in We must rethink its core, and we must a significant part of the musical society.
which they live. In a work published in expand it to include the core of produced As we well know, this is no longer true.
1997, Libby Larson stated that, in addition sound.”13 Today, most music performed by school

54 Music Educators Journal September 2011


could have success with classes based on
Latin or Asian musics. Students at many

WANT TO BRING schools could benefit from courses deal-


ing with different popular music styles

MUSIC ALIVE found in the United States, such as rock,


pop, country, or rap.
FOR YOUR
STUDENTS? CA
7. Traditional Notation

For over 30 years, band directors, choral


08= Large ensembles are bound to traditional
music notation out of necessity, as rote
learning in large groups is typically tedious
directors, general music teachers, and
29-8 maste B6N
r_CH_outs ' %&%
.indd
K

and can slow learning to a crawl. Students


1
da#'
.™
Cd#
-

librarians all over the country have used 3/19/1


0 11:21
:32 AM
involved with other musical styles and
Music Alive! to engage students and focus
instruments function very well without
their attention on an ever-expanding range
the need for learning standard notational
of musical subjects. Why not teach with an
award-winning, ready-to-use curriculum systems, and these musical involvements

<827
designed to support the hard work and often lead to advanced aural skill devel-

1 04;
dedication you bring to every class? opment. In traditional music education,

For more information about Music Alive! !02


D1;q understanding notation skills is usually
considered synonymous with music lit-
student magazine sets, books, Teacher Guide, eracy. Literacy in music, however, has a
29-7 maste
),
r_CHo
uts.indd  
1 6O
L
s
.O


SOU
musi
caliv

Listening CD, and “ourmusicclass.com” SUR L


e .com

SharonVIVOR
Jo nes
2/17/1
0 2:14:5
0 PM much different connotation in the greater
website (free with an order of 30 or more The
majority of musical genres throughout the
Connec
subscriptions), or to request a complimentary TEE
tion
world, and even in traditional forms of
sample issue, call 914.358.1200 x310, PO N
ThroP
the Yeugh
ars American musics, including jazz and rock
fax us at 914.948.4045, or e-mail
and roll. New models of music education
musicalive@intunepartners.com.
B4;4=
0
could benefit from involving practices

6><4
that emphasize aural development over
I
A VETE
RAN AC
TRESS
(AT 18!)
MAKES
NEW
written competence.
STRIDE
S AS A
SINGE
R
Selen
aCove
r4_RE
V.indd
1

Octo ber
$2.9 9 2010
Vol. 30

8. Lifelong Skills
UPC t No.
8840 1
88535
957
AME
USERN

LOGIN
8/18/1
0 9:06:3
Message 2 AM
Teacher’s

To get Music Alive! for your


Us
About
Musi c Home
neau HS nts
for Botti Assignme
nation
e desti

One important goal of education should


>> The onlin Videos
Photos
Events
AU HSER!
BOTTINE OV m Makeover
MAKE Rootron
T

students, including your


ic News OUR EVENR
Daily Mus WINSUltimate MusicElec ics
that is—
CALENDA

be helping students develop skills and


ey
In Tune d by Peav morning—snow stormy from
drive
80-mile border), to
JANUARY
8, 2009
and presente dark and stormyset out on the Canad ian
Olson
Underwood
pitch
It was a Tune’s intrepi
d team (near the r Nancy ted
Carrie Top Win- e 1 Dakota music teache
when In Bottineau, North l and ver presen
Chris Brown Choic Makeo donated by
People’s wood Minot to High Schoo Room yet
ners at Carrie Under Bottineau Ultimate Musicarray of gear 3
s: were award In Tune Our best , No- FOR MORE
Award Brown this year’sy Electronics. Pearl, Roland in
and Chris two People’s last 5 on,
by PeaveBuffet Cramp artfully displa
yed
s
awarded

free website and


trophie Peavey, Pro-Mark was

understandings they can make use of


Award
Choice tion and
night. Calls On TOS
Rasca
l Flatts Its New OUR PHO
Design ’s 1
Fans To : People
Cover Rascal
Album
winners, to design
choice you RIESTakes Off
Flatts, needs
OUR STO
album
for its new
the cover
1 u Music irilla
modo lorer ilit,
5
Bottinea
.
Unstoppable Trip modo feui. et
Spring modolorer irillang essnis.

throughout life. There is convincing


Scott Von
Guita rist His US FOR Upcoming
ectecing
essnis ecteci
OUR FOCRY
hes Au- feu feums

music CDs, go to
Heldt Launcfor Free: irilla wnis
feu feums dolut alit feum-
Audiobook modo lorer ullaorem
FEBRUA
Over Metal l- 5 irilla feu
how contro connis exer in
k, Mind
dioboo free for a limited Willis shows Concert modo lorerumisi.
le Von PRESSURE
R r Gary Winter feume
irilla feu lorer irilla feui.
availab h Scott FINGE e tone. aut
and teache improv modololorer modo auguerat
time througcial website. Bassist pressure can essnis eumrper prat. OS
sectecing feumnis feu feumsandit OUR VIDE
offi
Heldt’s ling finger R
irilla feu
D FINDE irilla
R CHOR strange new and
inven-
nce Auditions modolorer
acidui i.
GUITA and the nies or t excelle nsenis
iustrud vullaore feuis odiam

empirical evidence a very large percent-


The goodfor sweet harmo piece of
interne and shows quism feuis
Looking d? This nifty imaginable keyon guitar. From Duisiam cillam, vullaore
Members diat odiam
tive discor to put in any those chords New Band erosto
you feuis aciduiwissi.
THE ...
allows g for playing vullaore diat
the fingerin . erosto

musicalive.com
TO HEAR s to pro- acidui
CLICK
HERE Gibson.com S ne Guitar Monthly
BASIC with Epipho In Tune
BENDINGteaming up from the
List is stories

Listening
In Tune lessons,
vide video

age of students that begin participation


or call Tia at
l Site Map
her’s Mes sage

in secondary school ensembles cease


t Us l Teac
e l Abou
ent l Hom
l Assi gnm
l Vide os
l Phot os
Even ts

914.358.1200 x310 their musical involvements while still in


school or soon after leaving high school.
Aside from fond memories, there is lit-
tle indication that traditional music edu-
cation has much of an effect on musical
life after high school for most students.
Considerable thought should be given to
ensembles has become so esoteric that popular styles, including cultural/ethnic the enhancement of lifelong musical skills
perhaps the only way to categorize it is considerations of interest to students. when developing new models of music
“school music.” Little of this music has Many of these musical styles come with education. Helping students find rele-
relevance to the lives of students outside authentic learning and performance prac- vance between music study in school and
of school. To attract interest in music edu- tices that are not well suited to our tra- their musical life outside of school will go
cation programs, new models of music ditional large ensembles. Some schools a long way in the development of lifelong
education must include a variety of musi- might find an Afro-Cuban music course learning. Educator Lucy Green suggested
cal styles and genres and should embrace of great interest to students, while others in a 1988 study that allowing students

www.nafme.org 55
more autonomy over the learning environ- as we look to the future of music educa- Another example might be a com-
ment can have positive effects on learn- tion in the United States. I chose the term puter-based classroom where students
ing for life.14 Autonomy in several of the opportunities very carefully. The music would work independently and also col-
previous areas, including creative decision education profession is, and has been for laborate in small groups, copying and
making, instrument choice, and musical some time, facing various challenges that creating original music. Again, vocals
styles, could have a significant effect on may best be dealt with through change. and other instruments could also be used
the acquisition of lifelong musical skills. Change can be scary. But change can (including traditional instruments!). Mul-
If we expect music education to be taken also be an opportunity. I suggest that we timedia could be added through video,
seriously as a school subject, we must give are entering a very exciting time for the and elements of dance could be incor-
considerable thought to the enhancement music education profession as we deal porated. Ideally, students would activate
of lifelong musical skills when developing with potential change. I think we have their creative thinking skills and make
new models of music education. many great opportunities to make music artistic choices, and teachers would facili-
study in the schools as relevant as it has tate learning. Still another example might
ever been. We also have amazing oppor- take the form of a hip-hop and deejaying
9. Entry Level
tunities to help expand musicianship for course where students create their own
Once a student has missed the entry point all students, and to enhance the musical beats and songs, rehearse them in small
for participation in traditional ensem- culture of the United States. None of this groups, and perform for each other in the
bles, it is often difficult to break into the will be easily accomplished, but I have to class. The options are many and limited
system as a beginner. Few high school believe we are up to the challenge. only by our own imaginations.
programs (especially instrumental) have What might all this look like? One Another important option is an Inter-
serious options for students with no pre- example could be a guitar class where net-based music class. In a very short
vious performance skills. New models students learn primarily in small groups time, the Internet has changed the way
of music education must not only allow (two to four students), learning to play many people access information. It has
but encourage students to start music copies of music they choose and music literately changed how we live, and it is
instruction at any grade level and pro- they compose/arrange themselves changing what is meant by “school.” Our
vide opportunities for them to be placed (including vocals). The teacher would profession would be wise to think seri-
in small-group settings where students of help individuals develop technique, learn ously about Internet-based courses. A
various abilities and experience can learn stylistic characteristics (including move- music composition, songwriting, or music
with and from each other. ment), and lead students to representa- production type course would actually
tive listening examples. The performance work very well in an online environ-
10. Developing Functionality aspect of the class would be groups play- ment. Even a guitar class would be easily
ing for each other and discussing what attainable.
In traditional performance programs, it they did and how they did it. Other per- Any of these examples could also
normally takes several years of practice formance opportunities include use of include investigating the popular music
and study to achieve a functional level the Internet and informal presentations business, studying musicians and per-
on an instrument. Even with a full year of around the school. An obvious extension sonalities from within the musical styles
ensemble experience in a band, choral, or for such a class would be to include addi- covered in the class, and analysis of
string class, a student is not likely to have tional instruments such as keyboards, exemplary musical examples. Addition-
achieved a level of musicianship sufficient electric bass, and drums. A similar class ally, samples of musics of other styles and
to sustain musical activity if he or she stops could use iPads as instruments instead genres, including classical, could be used
in-school participation. Ideally, new mod- of guitars. The iPad (as well as similar to help students understand general sonic
els of music education need to help stu- devices) brings a whole new world of relationships within music.
dents reach a functional level of musicality possibilities to music performance. The Classes such as these, and no doubt
within one year or less, providing students touch interface is a big part of this, but there are many more possibilities, com-
who cannot or choose not to participate even more important is the ever-growing bine various aspects of the ten preced-
in school music classes for longer periods library of musical applications (apps) ing opportunities by limiting class size to
the ability to independently enhance their that are available. The variety of musical twenty to twenty-five students, allowing
musicality after they leave us. apps is truly amazing, and the array of students to choose the musical styles to
different sound possibilities is staggering. study, and then allowing them to choose
Never have so many sound choices been the instruments to authentically produce
A New Direction so easily accessible. Almost anything is this music. Students in such classes would
There are several opportunities for change possible when multiple iPads are played be responsible for their own creative
that are worthy of serious consideration together. decisions and would work cooperatively

56 Music Educators Journal September 2011


with other students, of varying experi- these classes today, they are fast becom- International Journal of Music Education
ence levels, and would regularly demon- ing noninnovative and now only scratch 36 (2000): 46–58.
strate what they are learning for others the surface of the possibilities. Whatever 8. Göran Folkestad, “Formal and Informal
in the class. Green provides an excellent we do, I hope we act quickly. The profes- Learning Situations or Practices versus
model of this setting from her research on sion’s reluctance to address this elephant Formal and Informal Ways of Hearing,”
British Journal of Music Education 23
informal learning.15 in the room has hurt us greatly and has
(2006): 135–45.
As a profession, should our goal be robbed countless numbers of students of
to perpetuate the type of musical experi- a potentially rich music education. 9. David Price, Musical Futures: An
ence we enjoyed as students, or should Emerging Vision (London: Paul Hamlyn
Foundation, 2005), http://www.musical
we adapt as necessary to reach new gen- futures.org; and David Price, Supporting
erations of students with musical experi- NOTES Young Musicians and Coordinating
ences that might be more meaningful and Musical Pathways (London: Paul Hamlyn
1. Lee Bartel, Questioning the Music
relevant to them? I suggest the answer is Foundation, 2006).
Education Paradigm, vol. 2 of Research
not necessarily “we should do both.” Cer- to Practice, a Biennial Series (Sydney, 10. Sue Hallam, Survey of Musical Futures
tainly there are schools where the tradi- Canada: Canadian Music Educators (report from the Institute of Education,
tional model is still very strong and needs Association, 2004); John Kratus, University of London for the Paul Hamlyn
“Music Education at the Tipping Foundation, 2005).
to continue in addition to new offerings,
Point,” Music Educators Journal
but just as certainly, there are schools in 94, no. 2 (2007): 42–48; and Tom 11. Howard Gardner, The Unschooled Mind:
which it no longer makes sense to con- Regelski and J. Terry Gates, eds., How Children Think and How Schools
tinue traditional instrumental and/or cho- Music Education for Changing Times: Should Teach (New York: Basic Books,
ral programs—and I would propose there Guiding Visions for Practice (New York: 1991); and Seymour Papert, The
Springer, 2009). Children’s Machine: Rethinking School
are more examples of the latter than the in the Age of the Computer (New York:
former. In fact, many school music pro- 2. Liora Bresler, “Research: A Foundation Basic Books, 1993).
grams would benefit from starting over for Arts Education Advocacy,” in The
New Handbook of Research on Music 12. Patricia Shehan Campbell, Songs in
completely with different types of music
Teaching and Learning, ed. R. Colwell Their Heads: Music and Its Meaning
experiences for students, experiences and C. Richardson (New York: Oxford in Children’s Lives (New York: Oxford
many students not currently interested in University Press, 2002), 1066. University Press, 1998); Lucy Green,
school music programs would find both “What Can Teachers Learn from
3. Data furnished by the Florida PK20 Popular Musicians?” in Bridging the
relevant and meaningful. Education Data Warehouse, http:// Gap: Popular Music and Education,
There are two issues keeping the pro- edwapp.doe.state.fl.us/doe/. ed. C. Rodriguez (Reston, VA: MENC:
fession from making significant strides The National Association for Music
4. John Finney and Chris Philpott,
in increasing enrollment and extending “Informal Learning and Meta-Pedagogy Education, 2004), 225–41; and
musicianship skills. First is this belief that in Initial Teacher Education in England,” Peter Webster, “Research on Creative
a secondary school music program must British Journal of Music Education 27 Thinking in Music: The Assessment
(2010): 7–19. Literature,” in Handbook of Research
include traditional ensembles, and sec-
on Music Teaching and Learning, ed.
ond is the belief that anything added is 5. Eva Gorgii-Hemming and Maria Richard Colwell (New York: Schirmer
exactly that—an add-on, not the serious Westvall, “Music Education: A Personal Books, 1992), 266–80.
music-making business found in the band Matter? Examining the Current
Discourses of Music Education in 13. Libby Larson, “The Role of the Musician
and choir. Students attracted to nontradi- in the 21st Century: Rethinking the
Sweden,” British Journal of Music
tional music classes can be just as earnest, Education 27 (2010): 21–33; Core” (plenary address to the National
sincere, and committed (if not more so) and Sidsel Karlsen, “BoomTown Association of Schools of Music National
as students who play trumpet or sing in a Music Education and the Need for Convention, 1997), http://libbylarsen
Authenticity: Informal Learning Put into .com/index.php?contentID=226
choir, and they deserve teachers who are
Practice in Swedish Post-Compulsory (accessed March 23, 2010).
equally resolute.
Music Education,” British Journal of
These attitudes are keeping the pro- 14. Lucy Green, Music on Deaf Ears:
Music Education 27 (2010): 21–33.
fession from making any real progress Musical Meaning, Ideology, and
6. Ruth Wright and Panagiotis Education (New York: St. Martin’s Press,
related to enrollment and musical par- 1988).
Kanellopoulos, “Informal Music
ticipation. Perhaps we are fifty years too Learning, Improvisation and Teacher
late. It would have been timely if we had 15. In particular, see chap. 2, “The Project’s
Education,” British Journal of Music
Pedagogy and Curriculum Content,” in
started adding substantial numbers of Education 27 (2010): 71–87.
Lucy Green, Music, Informal Learning
guitar classes, composition classes, and 7. Charles Byrne and Mark Sheridan, and the School: A New Classroom
popular music classes in the early 1960s. “The Long and Winding Road: The Story Pedagogy (Burlington, VT: Ashgate,
While we continue to debate the need for of Rock Music in Scottish Schools,” 2008).

www.nafme.org 57

You might also like