Professional Documents
Culture Documents
Williams
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An Outdated Model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
www.nafme.org 53
would benefit from allowing students to
learn from their own creative decisions. THE YOUNG MUSICIAN’S TEXTBOOK
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
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
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
5. Instruments
Photos
Events
AU HSER!
ic New
s BOTTINE OV m Makeover
MAKE Rootroni OUR EVEN
T
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
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
Listening
In Tune lessons,
vide video
<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,
SOU
musi
caliv
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
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
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
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
www.nafme.org 57