9.5: The Future of Music Education

Next, we provide a quick introduction to some of the challenges to progress in what tends to be a very traditional profession. The question is, whose tradition? A focus on Western European traditions in American schools raises concerns about equality and social justice. The changing demographics of students in American classrooms along with the evolution in how we create and consume music in the 21st century are but what happens in those classrooms has not changed much, despite numerous calls to do so, in many decades. Music is an important part of any culture and can benefit all students, but how that education is being delivered is the question.

Teacher Education Programs

In nearly all institutions, applied faculty make the decisions regarding scholarships and who is admitted to the music program. Initially, your performance skills are simply more important than what you bring to the table in terms of teaching. Sadly, this process, along with an almost complete focus on band, orchestra, and choir, have resulted in a lack of diversity among preservice teacher candidates. If musicians who can afford private study on the “right” instruments are the ones being accepted into teacher education
programs, it is likely that they will continue to perpetuate the stereotype when they become teachers. As you have already read, the focus on performance continues once you are admitted as well, with requirements for juries, recitals, and ensemble participation. All of this makes for strong performing ensembles, but does not embrace musical traditions outside of the privileged Western European tradition.

The good news is that the study of popular music, world music, and instruments beyond those found in traditional large ensembles are starting to be accepted, much in the same way jazz was once not recognized in academia (and now you can earn a doctoral degree in it!)

Reaching the “Other 80%”

In addition to the established choir, band and orchestra programs, today’s music educator needs to be prepared to meet the needs of a wide variety of students. Music education is offered (but not necessarily required) almost exclusively in the form of large ensembles at the secondary level. Jazz, chamber and other assorted select groups are common and necessary to further challenge “the talented few,” but what happens to the rest of the students? If we are to serve more than about 20% of our students, we must provide more varied opportunities for them to make music.

These opportunities might mean allowing students to focus on composition, listening, music history, guitar or keyboard. Secondary offerings might include mariachi, rock/fusion, steel pan, gospel, world drumming, recorder ensembles, etc. High school programs may also offer AP music theory, composition, guitar and keyboard in addition to choir, band and orchestra ensembles. In deciding what and how to teach, music educators should consider how students in their communities interact with music outside of school.

Many students interact with music outside of school for their own personal enjoyment. This music tends to be mostly non-classical. Concert attendance is no longer a big deal. We have many ways to hear anything we want to listen to without even leaving our homes. We no longer need to attend concerts to hear good music. We can easily make our own, too, with a guitar or keyboard. Today, the best-selling instruments are electronic keyboard and guitar. (Think about that – especially considering the cost of school band
and orchestra instruments.) We might even use electronic means or share our music digitally. This kind of interaction with music can lead to a lifetime of musical involvement.

In contrast, school music is often classical, composed by someone else, rehearsed for a one-time performance, and often focused on instruments that restrict musical involvement after graduation except in large ensembles. Choir, band and orchestra involve an elite few and tend to be autocratic. The conductor makes the decisions on repertoire and interpretation. The rehearsal can become more about carrying out the instructor’s musical ideas and less about students’ musical growth.

Honoring Tradition While Rising to the Challenge of the Future

Music education is about finding a balance between upholding traditions and embracing new ones. Live performance is not as important as it once was. Thanks to technology, musical communities can be formed by shared interest rather than physical proximity. Music teachers must be versed in the use of technology, arranging, and a wide variety of music from folk to Latin American to rock and pop. The ability to understand the contexts in which many styles of music are created is crucial in helping students to use music for personal expression.

The music curriculum must meet the needs, desires and abilities of students. It can and should be affected by available school and community resources. Music educators must be prepared to connect students with musical offerings in the community to avoid the divide between school music and music in “real life” to promote lifelong participation. We are not suggesting throwing away the amazing large ensemble tradition that is envied by others internationally; we humbly ask you to consider what could be if you believe music is an important part of the education of all students.

It is an exciting time to be a music educator! If you have taken piano lessons since first grade, you are well on your way. If your high school band director took you to every honor band in a five-hour radius, you have experiences that can greatly benefit you as a teacher. If your experiences include playing bass in a rock band, the profession needs you. If your experiences consist of gospel choir at your church, there is a place for you in school music education. If you learned 300 songs on guitar by ear, you have skills that will help make you an amazing music educator. Just as there are a variety of musical genres, there are an even greater variety of students in our schools who will benefit from your expertise!