Social observations for why teach music?topics.maydaygroup.org/articles/2017/Regelski_2017.pdf · options concerning the attraction of music education as a career. The praxial theory

TOPICS for Music Education Praxis

2017:02 http://topics.maydaygroup.org

ISSN: 2469-4681

Article URL: http://topics.maydaygroup.org/2017/Regelski17.pdf © 2016, Thomas A. Regelski

Socialobservationsforwhyteachmusic?

ThomasA.Regelski

HelsinkiUniversity

Abstract:Thisaccountfocusesonthevalueofmusicandmusiceducationasasocialpraxis.Withthatinmind,itexploresfiveinterrelatedtopicsandthecriteriafortheirpraxies.First,whatmusic“is”;thenananalysisofindividualmusiclessons;next,thechallengesofgeneralandclassroommusic;fourthly,issuesinvolvingensembles;andfinally,thereasonsforchoosingacareerinmusiceducation.Frequentreferencestonewpraxialtheoriesofmusicareassumedtobefamiliarinrecentscholarship,andthevalueofmusicandmusiceducationisofferedasareminderoftheimportance,ineachcase,ofmusiceducationasfocusedonmusicing,notonaestheticabstractionsandpremises.Thisisasurveyoftheimpactoftheory,ofwhatevervintage,anditsrelevancetopraxis,notanexaminationofnewresearchwhichisbestexploredinthesisterjournalACT.Andthetheoryaddressediswellpositionedtoimpactpraxis,forthosewholookbeyondstatusquopractices.

Keywords:Praxis,musiceducation,curriculumtheory,musiclessons,generalmusic,musicensembles,andmusiceducationcareers.

Introduction1

Theoverallissueaddressedhereisthesociallyrelevantaspectsastowhyitisimportantto

teachmusicinschools.Andofthereasonstocommittoadvancingmusicinsocietyviapublic

schoolmusiceducation.Itmayseemunusualtoaskreaderswhoarein-serviceand

prospectivemusicteachersaboutWhyTeachMusic?However,itseekstoidentifysomeofthe

importantissuesthatareatstakenotalwaysthoroughlyexaminedenoughintermsofsocial,

pedagogicalandcurricularproblems,notthattheycaneasilybeseparated.

http://topics.maydaygroup.org

Regelski, T.

Footnote

1. This study is an elaboration of 4 short articles on the topic of “Why Teach Music?” originally published in the Finnish Journal of Music Education (2012–2013), here extended for international readers, especially in- and pre-service teachers.

TOPICS for Music Education Praxis 2017: 02 •Thomas A. Regelski

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ThisanalysisisofferedinbehalfofseveralofthefocalpointsoftheTOPICSagenda:not

asnewfindings:thatisnotwhatthisjournalisabout.Infact,instead,keepingwiththe

TOPICSagenda,whattheoryhascontributedtothebestofcontemporarypraxis—muchof

whichhasnotprofitedfromexistingtheory—shallbeshown.However,thosewhoassume

thatwhatisexplainediswhattheythinktheyareteaching,shallbequestionedbyexamplesof

alternatives.Thefocusis,then,therelationoftheoryandpraxis,andthecontributionof

praxistotheory.Ifsomepointsseemnottobe“new”tosomereaders,theyhopefullywillbe

toothers.Itseemslikelythatmanyreaders,especiallypre-serviceteachers,willnothave

consideredmanyoftheseobservationsaboutthestatusofmusiceducation.These

“observations”areoneofthefocalpointsofTOPICS,correspondingatleasttothe“O”inthe

TOPICSagenda.But,intruth,allofthefocalpointsareinplay:

T=varioustopicsofinteresttopractitioners0=observationsarguedtowards“actionforchange”inpraxisP=policies,principles,andproceduresrelevanttoimplementingchange.I=innovationsthatpromisetomakeanotable,positivedifferenceintheeverydaypraxisofmusicteachersinallfields,atalllevelsC=curriculumtheoryandstudiesnowtypicallymissinginthescholarlyliterature S = strategies from current praxis for improving instruction, evaluation, teacher accountability, student assessment, and the like (but not methodolatry and related ‘how to’ rhetoric)

Musicteacherstoooftentakeforgrantedwhattheyteachandwhytheyareteaching

it—whyschoolmusiceducationisimportanttopeopleandsociety.Theytakeastheir

unexaminedcontextthatmusic’svalueinlifeandschoolisaesthetic.Itisdifficultforthemnot

toassumethis,sincethishasbeentheprevailingpremiseoftheirundergraduate(andoften

in-servicegraduatestudies)and,oftenbasedonpersonalhistory,thereasonstheybecame

teachers.Muchofwhatisofferedhere,forpre-andin-serviceteachers,areobservationsand

applicationsofwhatwealreadyknowandhavelearnedfromprevioustheorizing—especially

praxialtheorywithitspragmaticemphasisonlife-longresultsforstudents.Theproblemis,


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howeverwellrespectedthesepraxialtheoriesmaybeintheabstract,theyarenotoften

observedinpraxisacrosstheprofession.

Unfortunately,students,administrators,andtaxpayersdonotnecessarilyacceptmusic

teachers'assumptionsforthebenefitsofmusicas“aesthetically”beneficial.Thistopichas

beenexaminedagainandagainintheliterature,andanotableresult,inmanyplaces,isthe

lackoftaxpayerorgovernmentrecognitionandsupportformusiceducation.Thisarticlewill

surveyandanalyzefivekeyissuesthatpraxialtheorysuggestsneedstobeconstantly

examinedandarticulated,especiallyovertimeasschoolsandmusicschange:whatmusicis,

teachingitinindividuallessons,ingeneral(classroom)musicclassesandensembles,and

optionsconcerningtheattractionofmusiceducationasacareer.Thepraxialtheoryinvolved

isseenintheanalysisofeachofthesituationsofmusiceducation:theirneedsandtheir

presumedbenefits.

Music

Tobeginwith,andaguidingfeatureofthediscussiontofollow,istheverybasicquestionof

whatmusicis.Thisquestionisnotlookingforaformaldefinitionbutforathoughtful

clarificationastowhatistobetaughtand,mostimportantly,towhatpragmaticends.A

typicalanswerintheassumptionsofmanyteachers—basedontheircollegiateexperience—

leanstowardsmusicasafineartthatissaidtoexisttosupposedlypromoteaesthetic

experienceandconsistsofamuseum-likerepositoryof“GreatWorks”(orworse,

contemporaryimitations2)thatareperformedto‘transmitourculturalheritage’andthatare

enjoyedmainlyinraremomentsofleisure.

However,whatistaught,why,andhowitistaughtwillbeconsiderablydifferentif

musicisseenmorebroadlyasalivingsocialpracticethatisdown-to-earth;thatisacentral

ingredientinthesocialfabricofanysocietyandinthelivesofindividualsactivelyengagedin

themanyformsofmusicing(Elliot1995;Small1998spellsitmusicking).3Andwheremusic

appreciationisthusseenempiricallyinthewayspeopleactuallyusemusicintheirdailylives,

Regelski, T.

Footnote

2. Imitations, since school-based literature usually fall far short of artistic and aesthetic merit. Aesthetes are the first to denounce that the literature of school music performance ensembles falls short of the aesthetic merit they extol.

Regleski, T.

Footnote

3. Some critics want to debate the primacy of Elliott versus Small. They can do so in their own research. The point here is that both agree that music is a verb form: something done for a musico-social purpose. Small’s spelling stresses “musick” as understood as praxis in ages long ago, and Elliott’s stresses “music” as a collective noun, emphasizing multiple praxies. While the differences beyond spelling can be entertained (Small, emphasizing somewhat more the social dimensions of practice, and Elliott a bit more concerned with this or that praxis as a community of musicians may understand the differences of musical praxis). The important variable is for both that “music” was newly considered as a verb form—a “doing.” Thus the emphasis is not on what music “means” but what it “does” personally and socially. I leave it to others than in this TOPICS framework to debate the differences; or, frankly, what difference it makes theoretically or practically. It seems to me that, by definition, this or that musical praxis—say of jazz or heavy metal— is always a matter of the social variables of a community of practitioners that brought it into being to begin with and sustain its development. I prefer to accentuate those social variables, as against any claim against pure, absolute, music—or to who claims title to the verb form.


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therebybothtransmittingculture(thepast)andtransformingsociety(thefuture).As

ChristopherSmallnotes,“musicisfirstandforemostaction[i.e.,praxis]...inwhichallthose

presentareinvolvedandforwhosenatureandquality,successorfailure,everyonepresent

bearssomeresponsibility(Small1998,9–10).”Inotherwords,musicisdeeplysocialinits

genesis,impacts,andmeaningsandvariablesaccordingtotheneedsitserves!

Turningtoscholarshipinthesocialsciencesinsteadofthespeculationsofaesthetics,

therecanbenodoubtthat“musicinhumanlife”(Kaemmer1993),“musicineverydaylife”

(DeNora2000),“musicassocialtext”(Shepherd1991),“musicallifeinachangingsociety”

(Blaukopf1992),and“ethnicity,identityandmusic”(Stokes1997)areamongthemanysocial

valuesthatfarexceedtheusualunderstandingofmusicasfineartandhighculture4—that

music’sprofundityisitsimportanceandrichnessfordailyliving—andisseenexactlyinits

ever-presentimportancetothelifewell-livedeverydaybyordinarypeople.Musicisso

omnipresentthatsometimeswecan’tavoidit(e.g.,Christmasseason)andmoreandmoreitis

heard‘onthego’withmobiledevices.Thustherecanbenoquestionthatmusicisfarmore

importantthanjustanoccasionalleisure-timepursuit.Consider,forexample,itsrolein

religion,ceremony,socializing,nationhood,ethnicity,identity,self-actualization,andthelike

(see,e.g.,Kaemmer1993).

Yetmusicteachersofteneitherfailtonoticethispervasiveimportance,orseemintent

oncounteringmassandpopularmusicswithwhattheyinsteadconsidertobe“goodmusic”

(see,incontrast,Strinati1995,1-50;Carroll1998;Gramit2002,63-92insupportofthe

valuesofpopularandvernacularmusics).Thefocuson“goodmusic”—thoughoften“school

music”literature—toooften,toooftenhastheeffectofisolatingmusicalstudytotheschool

yearsortheindividuallessonornextconcertwithcarryovertoadultlifebeingminimal,ifany

atall.Incontrast,then,thepraxial“goodness”ofmusicisproperlymeasuredbythepragmatic

criterionofwhatitis“goodfor”inpeople’slivesandhowwellitservesgoodendsthatare

alwayssocial.

Regelski, T.

Footnote

4. These and other references are not just “old” but “classical” in establishing the theoretical and praxial historical framework of what is to be described. They come from music history, the history of ideas, the philosophy of music, and are backed by important publications in cultural history and cultural studies. They, in fact, exceed the taken for granted assumptions usually marshalled to qualify music and music education—usually according to aesthetic ideology—as a product of the eighteenth century Enlightenment and its flowering in the 19th century. The history of ideas in philosophy goes back to the early Greeks and remains current it its relevance, despite the expectations of those who expect research to provide “the latest” findings. TOPICS is not, according to its stated criteria, devoted to the “latest” research to thinking that is currently relevant. Posed another way, praxis as informing theory is a source of confirmation or critique and advances theory for those who follow. This article attempts to show the bases of good praxis in theory and to contribute those findings to others. It fits all of the T.O.P.I C.S criteria covered in this journal.


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Individual(studio)lessons

Studentsofallagesusuallyhavevariedreasonsforstudyinganinstrument,somenotas

advantageousasothers.Forinstance,sincetheriseofthebourgeoisclassinthe18th–19th

centuries,beingabletoperform(usuallyonpianoorvoice)hasbeenseenasasocialgrace—

oratleast,alongwithliteratureandtheotherarts,asignofgoodbreedingandclassystatus.

Homestoday(manyfewerthanyearsagowheneverymiddleclasshomehadapianowhere

familydivertissementwascentered—thus“divertimento”)havereplacedhausmusickwithTV

andcomputergames.Nonetheless,keepingwiththebourgeois(middleclass)ethosofthe18th

centuryandlaterchildrenarethusoftenpromptedbytheirparentstotakemusiclessonson

thatbasisalone,eventhoughthisparentalmotivationistoooftenineffective.Teachers

should,therefore,worktopromotethepersonalmusicalrewardstobegainedthroughstudy.

Advocatesof“nopain-nogain”pedagogywillfindstudentsfailingtoexperiencemostofthe

benefitsandpleasuresthatstudyingmusichastooffer.Thisisnotnewadvice,butitisrarely

observedinpraxis.Theresultisanenormousnumberofstudentswhoquitlessonsduetothe

lackofmusicalpleasuresofpracticingandinterestsintheliteratureassigned.

Musicteachersalsocanrunafoulofotherpedagogicalpracticesthatoftenwork

againstpromotingthedispositions,attitudes,andskillsneededtosupportlifelong

involvement(andmotivatedpracticing).Forexample,someteacherstreatlessonsasthough

eachstudentwillormightseekconservatorytraining—thisdespitethefactthatprofessional

careersarelimitedtoaveryfewhighachieversandareverycompetitive.Arelatedproblem

assumesthatstudentswill(orwantto)engagein“presentational”solorecitalsratherthanin

variouskindsof“participatory”performancesthatpromotesocialmusic-making(Turino

2008,23–65);orthemanyformsofchambermusicavailableinsociety(e.g.,garagebands,

“barbershop”singing).Alessonpredicatedonnurturingapresentationalrecitalistisalltoo

likelytobypassmanyofthemusicalpleasuresthatkeepmoststudentsactivelyperformingas

adultsandthatcontributetothemusicallifeofsociety.Forexample,thepedagogyofRobert


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Pace(e.g.,1988)demonstratesausefuldistinctionbetween,forexample,amusiclessonanda

pianolesson.Thepurposeofthelatteristopromotetheformer,notanend-in-itself.Thus,in

additiontoclassics,studentslearntoimprovise,uselead-sheets,accompany,compose,sight-

read,listen,andplaybyear.Theybecomebroadlyeducated“musicians”withmusicianship

skillsthatenableanddisposethemtocontinuetopracticeandtoplayasamateursfortheir

ownmusicalpleasuresandwithothers.Andanywhoaspiretoprofessionalcareerseasily

gainacceptancetoadvancedstudy—ofteninadvanceofotherswhohavehadlessear

training.

Anotherdifficultyariseswhentechniqueisdrilledasanend-in-itselfviascalesand

exercisesintendedtopromotetechnicalfacility,butthatlackmusicalvalueandthusinterest

tostudents.The“discipline”ofsuchstudyisoftenoff-puttingformanystudentswhoare

mainlymotivatedbymakingmusicperse.Whentheycannotconnectthegainsfromsuch

purporteddisciplinetotheincreasedmusicalrewardsoftheirperforming,theirpracticing

andprogresssuffers.AsnolessanartistthanpianistandconductorDanielBarenboimpoints

out:

IstudiedwithmyfathertillIwasaboutseventeen....Myfatherhadanobsessionaboutwantingthingstobenatural.Iwasbroughtuponthefundamentalprinciplethatthereisnodivisionbetweenmusicalandtechnicalproblems.Thiswasanintegralpartofhisphilosophy.Iwasnevermadetopracticescalesorarpeggios...[only]thepiecesthemselves.Aprinciplethatwashammeredintomeearly,andwhichIstilladhereto,isnevertoplayanynotemechanically.Myfather’steachingwasbasedonthebeliefthatthereareenoughscalesinMozart’sconcertos.(QuotedinBooth1999,88).

Thus,theissueisnotwhethertechniqueisimportant:itcertainlyis!Theproblemisfocusing

ontechniquemechanically,asanend-in-itself,whichiscounterproductiveformoststudents.

Whenwell-chosenliterature“practices”techniqueinauthenticmusicalcontexts,then

studentsdirectlyunderstandtheconnectionoftechniquetotheirincreasedmusical

pleasures.Theconnectionbetweentechnicalskillandimprovedrewardsisperfectlyclearto


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studentathleteswhowillinglyfocusonskillsintheirpracticesessions;butittoooftenisnot

cleartostudentmusicians.

Ateacher’sinsistenceonisolatedskilldrillsfallsondeafearsifstudentsdonot

experiencethemusicalrewardsofthepromisedprogressfromtechnicalstudy;andthus

negativelysuffertheteacher’sclaimsofvalueforsuchpracticing,orignoreitintheirdaily

practicing—or(moreoften)quit!Conservatoriesanduniversityschoolsofmusicarefilled

withtheveryfewstudentswhohavesubmittedtosuchrigor;theremainderofthosewho

havestudiedhaveeschewedanyfurtherengagementwithpracticingorperforming.Their

teachers(afatemanygravitatedtoratherthanengageinthecompetitionofmusic

performanceasacareer),oftenvisitonstudentsthesameregimethathelpedthemtoelite

levels,withlittlethoughttowhatislostinthenameofdisciplineandtechniqueover

performancethatisatlevelsthatsuitandrewardlifelongamateuring(Regelski2007).

Ironically,seekingthepleasuresofmusicalsooftengovernbadpracticinghabits:

studentsthusplaytooquicklyinordertoenjoythemusicattempo.Theyarenotparticularly

botheredbyerrorsorsloppytechniqueandjuststopandbeginagain(overandoverateach

problemarea),withoutreallycorrecting(orevenidentifying)thetechnicalormusical

problematstake.Ofcoursetheselectionofrepertoryisimportantinthisregard,too.

Techniqueshouldbederivedfromanaptselectionofrepertoryandstudentsmustenjoythe

musictheyarepracticingandthusappreciatethatthetechniqueatstakehasdirect,positive

consequencesfortheirmusicalpleasures.Thentheyunderstandtheneedforpracticingwith

amusicalgoalinmind,notjustrepeatingpassagesorfillingassignedpracticetime.

Qualityofpracticeismoreimportantthanquantity.Andgiventhebusylivesof

students(andadultstudents),efficientandeffectivepracticingisanimportantkeyto

practicingatall!Practicingisitselfaskillthatneedstobetaughtandimproved,notjust

assigned.Forexample,considerthepedagogicalpraxisofteacherswho,duringeachlesson,

havethestudentidentifyashortpassagethatneedsattention.Thestudentthenpracticesit


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for2-3minuteswhiletheteacherobservesthestudent’sstrategy(orlackthereof)andthen

givesadviceformakingthepracticingmoreeffective.

Themusicchosenforstudybecomescriticalifastudent’smotivationforstudyand

practicingisinner-directedbythemusic’sintereststothemratherthanother-directedby

parents,teachers,orcompetition.Innerdirectedstudentsdon’tpracticejusttofillassigned

minutes,orsotheydon’tembarrassthemselvesinthenextlesson,orsimplytoavoidbeing

scoldedbytheteacher:theypracticetoactivelyseektoenjoytheir“work”andthustheir

musicalpleasures.Teacherswhounderstandthisatleastgivestudentssomechoiceof

repertory—oftenbydemonstratingitforthemwiththeintentofinfluencingtheirchoices,but

alsoofaurallymodelingthedesiredmusicaloutcome.Suchanauralintentionandimageisa

basisforhelpingstudentsidentifyproblemsinthefirstplaceandforwantingtoovercome

them.Thisisanadvantageofpedagogieswherestudentspracticewithexcellentauralmodels

inmind(i.e.,intheirear).Multiplemodelscanalsobeprovidedviarecordings;where

studentslistentorangeofinterestingoptionsandchoosenewliteratureonthatbasis;while

themodelsalsoinformtheirindependentmusicianshipandartistry.Suchlistening,ofcourse,

isitselfamodelforlifelongpleasures,evenforthosewhodonotcontinuetoperformas

adults.Teacherswhoofferachoice(fromarangeofstyles,genres)shouldnotbesurprised

whenstudentsaremoreaccomplishedwiththemusictheychosethanwhattheteacherchose

forthem!

Differencesinthemusicalsatisfactionsaffordedbycertainperformancemediahave

notalwaysbeenwell-thoughtoutbybeginningstudentsortheirparents,ortakeninto

considerationbyteachers.Firstofall,unlikestandardorchestralinstruments(orvoicestudy),

othermedia(e.g.,piano,accordion,guitar,banjo)aremusicallyself-sufficient,requiringno

accompaniment;thuspracticingismoremusicallysatisfyingthanpracticinganisolatedpart.

Secondly,practicingcertaininstrumentscanannoyneighborsandthusmustbescheduledat

certainhoursratherthandonewhenmotivatedorconvenient.Thirdly,studentswhodonot


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gettoperformtheirsoloswithpianoorotheraccompanimentaresimplymissingmuchof

whatthemusichastoofferholistically.Teachersthusbenefitstudentswhentheydevelop

theirpianoskillssothattheycanaccompanystudentsintheirlessons.Thiscanimportantly

affectstudentmotivation.

Thisproblemalsoraisesquestionsaboutsoloversussocial(i.e.,participatory)

performancewherecentralpleasuresareprovidedsimplybymakingmusicwithothers—

whetherornotpubliclyperformed.Take,forexample,thethreemotherswhogottogether

twiceaweekforseveralhourstoplayallthemusictheycouldfindforpiano,flute,andoboe—

whiletheirbabiesrestedinthebedroom.Studentswhoareorientedtothevaluesandvirtues

ofchambermusic(ofallkinds)learnfromthefirstabout“musicassociallife”(Turino2008;

alsoseeBooth1999)inwaysthataremotivatingandrewarding.Modelsforengagingyoung

studentsinchambermusicsexist(Eskelinen&Jääskeläinen2000;2008)anddeservefar

moreattentionfromteachers.Arrangementsareeasilymade.Firstofall,theprospectof

rehearsingandplayingwithothersmotivatesstudentstobemoreresponsiblewiththeirown

practicing.And,ofcourse,thepleasuresofchambercombinations(invariousgenres,duets,

trios)arereadilyaccessibleoutsideofschoolandthroughoutlifewithoutthescheduling

problemsforadultscreatedbylargeensembles.

Finally,notasatechnologicaloruniversalcurricularsolution,teacherswhohavenot

exploredever-evolvingmusictechnologyaspartoftheirgeneralofferingmissoutwiththeir

studentsonthemanyattractionssuchmusicingholdsforstudents.MIDI-instruments,for

example,canbepracticedanytimeandholdforthcreativepossibilitiesnotreadilyavailable

withacousticinstruments.Accompanyingsoftwarethat“follows”thesoloistaddsan

importantdimensiontostudents’musicalpleasuresandmakespossiblealifeofperformingat

home.Composingsoftwareeducatesstudents’musicalthinkingandinner-ear,and

familiarizesthemwiththekindsofdecisionsthatoccupycomposersandthatperformers

profitfromconsidering.Performingtheirowncompositionsforpeersandaudiencesalso


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motivatespractice.Play-listsofliteraturethatsamplesstyles,genres,performances(etc.),can

beofferedtothemforMP3andotherlisteningmodes.Theseeducatestudents’musicianship

andartistry—and,importantly,theymodellisteningasavaluableformoflifelongmusicingof

itsown.Producingeachstudent’spersonalCDofmusicwhen“mastered”(i.e.,beforemoving

ontonewliterature)inspirespracticeandimpressesparentsandgrandparents—amusical

equivalentofartprojectsthataredisplayedonrefrigeratordoors.Anditrepresentsashort-

termgoalforthestudent,nottomentionsomething‘tangible’aboutwhichtheycanfeela

senseofaccomplishment.Attentiontosuchbenefitsofmediainaclassdoesnotcommitthe

teachertoauniversaltechnologicalperspective(though,that’sexactlywhatistheproblem

withtheuniversalfocusontechniqueontraditionalinstruments),onlytousingwhat

resourcesexisttoadvancecurricularintentions.Recordingsofliterature(asperformedby

professionals,butalsobypreviousstudents)canbemajorfactorinrewardinginterest,ascan

creatingorperformingwindarrangementsof,say,Bach’sliterature.

The"goodlife”livedinkeywaysthroughmusicingisthusafirstmajoranswertothe

mainquestionof“Whymusicsshouldbetaughtinschoolsandwhyindividualsshouldchoose

toteachit?”The“goodlife”inquestionisalifeenlivenedthroughmusicing.Whenmusical

studyhasa“shelflife”ofonlytheschoolyearsandthusfallsshortofmotivatingthekindof

lifelonglearningandappreciationseenintheusestowhichmusicistypicallyputinlivingthe

“goodlife,”muchofwhatmusichastoofferhasbeenlost.Teachingthatfocusesonpromoting

favorabledispositionsandmusicalindependenceformeaningfully-chosenmusicinginadult

lifemakesacontributiontothestudentsandtothemusicworldatlarge,inallitsdiversity.

Teachingpredicatedonnarrowpremisesorlimitingtraditionsisbestre-thought,then,in

termsofjusthowimportant,justhowpervasivemusicalreadyisinpeople’slives.Thus,the

musicworldatlargewillgrowandwillprofoundlyinfluenceindividualsandsociety.Music

teachersarethusbestfocusedonavalueaddedcriterionofwhatthey,throughtheirteaching,

havecontributedtothatmusicworldandtoindividualstudents'musicallives.Teachingthat


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failstoadvancetheimportanceoflife-longmusical“amateuring”(Booth1999)isself-

defeatingandfutile.

SchoolMusicEducation

Toreview,earliermusicwasdescribedasasocialpractice,notasan“imaginarymuseumof

musicalworks”(Goehr1992),acollectioncontemplatedonlyonrareoccasionsofleisure

time.Itsimportancetomostpeoplethuscomesnotfromitsraritybutfromitsveryabundant

dailycontributionstothequalityoftheirlives.Musicingofallkindsis,then,acentralresource

“thatcanbeharnessedinandforimagination,awareness,consciousness,action,forall

mannerofsocialformation”(DeNora2000,24);ameansbywhichindividuals“producetheir

socialsituationsandthemselvesasselves"(6).Theresultisanabundanceof“musics,”eachof

whicharises,fromthefirst,inconnectionwithdifferentsocio-personalconditionsorneeds

thatbringitintobeing,tobeginwith.Anymusic,andthisorthatpraxis,remainstiedtothose

originatingsourcesandneeds,anditcontinuestoservecurrentpracticesandtopromoteits

ownevolution.

Regardlessofthesociety,musicissuchanaturalpartofhumanlifeandsocentralin

people’severydaylivesthatwemightwonderwhatpurposesareservedbyteachingitin

schools?Inthatregard,itisalotlikelanguage.Bythetimechildrenbeginschool,boththe

verballanguageandmusicallanguageoftheirenvironmenthaveprofoundlyeducatedthem

inductively.Musically,they“understand”thesystemoftonalityintowhichtheyhavebeen

born.Schoolingaspirestobuildonthispreviouslyinformal,inductivelearninginorderto

promoteevengreaterfacilityandtooffermoreoutletsforpersonalandsocialagency.

Theinclusionofformalmusicinstructioninschoolshasbeenrationalizedonmany

groundsandhasattemptedtoserveavarietyofoftennoble-soundingandoftennon-musical

ideologicalpurposes,5usuallyadvancedonthebasisofaesthetictheorizingabout18thand

19thcentury“classics.”Whilethehistoryofmusiceducationreadsdifferentlyineachcountry,

severalvariablesareconstant.Whatfollowsisahistoryofideas,notgiventotheappetitefor

Regelski, T.

Footnote

5. Discipline, cooperation, team-work, aesthetic this and that, and, of course, as a social activity to be “good at” in school. The list goes on and on.


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“recent”research.Historyisupdated,butwhatfollowsisaprecisofacceptedculturalhistory

todate(whichdoesn’tchangequickly)butisnowwellappreciatedamongmusic

educationalists.

First,the18thcenturyEnlightenmentresultedinthesystematicstudyofmusicthat

wouldleadto“amorehighlycultivatedsociety”(Gramit2002,94;seealso121–22).Secondly,

theEnlightenment’snewscientificidealwastoanalyzeanobjectofstudyintoitspartsand

labelthem:tonamewastoknow.Thuswasmusictransformedfromasocialpracticetoa

discipline—bothinthesenseofadisciplineofstudy,andadisciplineofthemindandbodyas

describedbyFoucault(see,e.g.,Gramit2002,106–07)thatbecamethe“musicappreciation”

movementinschools(McCarthy1997)andelsewhere(e.g.,musicjournalism);andthatwas

tiedtothe“sacralization”ofculturebyaesthetictheorizing(Levine1988,85-168;Shiner

2001,187–224)andtothecreationofahierarchyof“high”and“low”art(Gramit2002,27–

62;Levine1988).Teachingmusic“concepts,”data,andterminologyand“facts”frommusic

historyandtheoryasbackgroundknowledgeforthecultivationofgoodmusicaltaste(Gramit

2002,104)wastheconsequence,apracticethatcontinuesinclassroomstoday.Third,initial

effortsareoftenfocusedonteachingsinging(Gramit2002,96).Then,withgaininginterestin

instrumentalmusic—“pure’”musicwithoutwords,withitsideologiesofaestheticformalism

andabsolutemusic(i.e.,“foritself”)—gainedsupremacyinthemusicalhierarchyintheearly

19thcentury(Gramit2002,121–22).Beingeducatedmusically“requiredacultivationthat

inevitablyexcludedbyfarthegreaterportionofthepeople(124)”despitetheeffortsby

schoolsandconcertassociationsataudiencedevelopment(Levine1988,178–198).This,too,

remainsaprobleminmanysocieties,withaudiencesfortheclassicsgreyinganddwindling,

especiallywherenotsubsidizedbygovernments.(Asofthiswriting[2016]severalmajor

symphonyorchestrasintheUSAareonstrikeorotherwisestarvedoffundsfromthereduced

salesoftickets).Finally,schoolmusicisbutonemusicalpraxisinthewidermusic-world,butit

toooftenexistsasanislandofitsown,cutofffromthevibrantmusicinggoingonoutsidethe

schoolroomandday.


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Musicasasocialpraxisisconstrainedbyvariousaspectsofformalschooling,whichis

itselfasocialpractice.Traditional(functionalist)socialtheoryseesschoolsastransmitting

“approvedculture”andreproducingthesocioeconomicandpoliticalstatusquo.Incontrast,

transformationmodels(e.g.,criticaltheory,symbolicinteractionism)seeschoolsasplaces

wherelearningisconstructed(notreproduced)and,thus,asplaceswheremeaningismade

(notpassed-on,ready-made).Manyofthepracticesassociatedwithschoolingthusoftenhave

profoundsocialimplications.Forexample,studentsaretrained(ortamed)tofollow

authority—principals(headmasters)andteachers,ofcourse,butalsotheorganizationofthe

schooldayintosubjects,periods,movingfromclasstoclassaccordingtothedemandsofthe

clock,andsoon.Manysocialcriticsworrythatsuchresultsleadmoretoobedientworkers

andcompliantcitizensthantoeducatingmindsandpromotingsocialprogress.

Inparticular,theorganizationofschoolingaccordingtoformalacademicdisciplines

hashadaprofoundimpact.Tobeginwith,whatisincludedinschoolinghastheimprimaturof

scholars,educationadministrations,andpoliticalleaders:itisthe“approved”knowledge

mentionedearlier.However,studentsnonethelessactuallylearnthatwhatisnotincludedis

notapproved!Thisso-calledhiddencurriculum6thusteachesinadvertentlywhatsocietydoes

notvalue(alongwithlearningthevariouscontrollingandsocializingroutines,mentioned

earlier,thatarenotthedirectfocusofinstructionbutthatstudentslearntoobey).

Furthermore,thesesubjectsaretaughtas“introductions”totheacademicdisciplinesas

thoughfortheirownsake,ratherthanfortheirpragmaticusefulnesstostudentsandsociety.

Thisleads,ofcourse,tothecomplaintsofmanystudentsthatschoolis“merelyacademic”and

pragmaticallyirrelevant.

ItisimportanttonoteinthisconnectionthattheAcademyinancientAthenswas

wherePlato’sIdealismtaughtthatideasorconcepts(Idealism)weremore“real”thantheir

physicalcounterpartsintheempiricalworld(i.e.,Realism).Complaintsbystudentstodaythat

schoolingis“merelyacademic”reflectthecontinuation—overthesehundredsofyears—of

thisIdealisttradition,aswellastheaccompanyingscholasticrationalethatstudyingthe

Regelski, T.

Footnote

6. This term seems to be a problem for some. It is a standard term for learning that is not intended in what is taught but learned despite other aims. In music, students learn that their favored musics are not approved by the virtue of not being in the accepted curriculum. But much more is involved: response to bells for the change of classes and much more of the routines of schooling are argued to be in effect of more lasting impression than the overt curriculum Students learn to be manipulated by school protocols as preparation for their lives as workers. It was amazing to me that some reviewers had no idea what this this term has been accepted. All the more to worry that teachers (and preservice teachers) they teach don’t have a clue. For details of what music education readers and reviewers don’t seem to know about this very important theory for teaching praxis see Kathleen Bennett de Marrais and Margaret D. LeCompte (13– 14, 244–247) The theory points out a major problem in schooling, the long-term effects of effect or impressions students get from the content—what is offered or not—and the ‘training’ involved in the routines or regimen of their schooling.


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varioussubjects“exercises”and“disciplines”themind,evenifwhatisstudiedisnot

otherwiseveryusefulinitselftomostgraduates.IntheUSA,student’srequirementsfor

“generaleducation”studiesincollegiatemusicdepartmentsareusuallyseenbymusic

studentsastakingtimeawayfrompracticingandrehearsing.Ultimately,withmandatory

universalschooling,arivalryarisesastowhichsubjectsgetincludedinschools.Giventhe

knowledgeexplosionassociatedwithcomputersandtechnology,thiscompetitionhas

resultedinsomeimportantchangesinschooling,oftenattheexpenseofcertaintraditions.

Thereisanincreasingdanger,then,thattheinclusionofschoolmusicinschoolsisatrisk

fromtherapidexpansionoftherangeofotherschoolstudies.Thisthreatisseenwhereschool

musicisreducedgreatly,wheremusicallyun-orunder-trainedteachersareassignedtoteach

music,andwheremusicstudiesareincreasinglyrelegatedtothesidelinesaselectiverather

thanrequiredstudy.

General(classroom)music

“General”music,asitiswidelyknown,stemsfromtheeducationaltheoryofbeing“generally

well-educated”—theimplicitgoalofuniversalschoolinginmostcountries.Thus,itis

predicatedonrequiredmusicstudyinthegeneraleducationofallstudents.Unfortunately,

thisconceptisnotwell-understoodbymusicteacherswhooftenmistakeitasmeaning“music

ingeneral”—alittleofthis,anintroductiontothat,asuperficialsamplingof“activities”for

“experiencing”conceptsaboutthetraditional“elementsofmusic”andothersuch

abstractions.

Thisisperhapsallthemoreaproblemwhereitisknownaselementaryschool

“classroom”music.Inthattradition,asmentionedearlier,elementaryschoolinstructionin

singingwaswidelyintroducedinthefirsttwodecadesofthenineteenthcentury.Inmany

placestodayitisstilltheprimaryfocusofgeneralmusicclasses.However,singinginvolves

threeinterdependentskills:vocalproduction,pitchmatching,andreadingnotation.Whenthe


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beginner(ofanyage)isconfrontedwithallthreeatonce,thelasttwofrequentlyconflictand

readingmusicvocallyisdifficultwhenthestudentcannotvocallymatchpitcheasily.Andeach

skillrequiresagooddealofindividualattentionthatisoftendifficulttoprovideinclassroom

instruction.InJapan,thetwoskill-setsgetsociallyseparated:beforeenteringschool,most

childrenlearntomatchpitchandarepertoryofactionsongsontheplaygroundsoftheir

apartmenthouses(called“mansions”).Thustheemphasisinschoolisonmusicreading,

which—inthebestsystems—istaughtbylearningtoplayrecordersandbylearningnew

songsfromnotation.

Varioussolfeggiopracticesareemployedwithvaryingdegreesofsuccessaroundthe

world,yetalldependonpitch-matchingasthefirststep.Wherethereisplentyofsingingin

thehome,church,andcommunity,theskilliseasilylearnedandreinforced(e.g.,Japan).

Whereitisnot(e.g.,theUSA),manyneitherlearntomatchpitchnortoreadmusic,despite

usually7+yearsofschoolsinging.Thisissad;wealwayshaveourvocalinstrumentwithus

allthetimeandsingingisoneofthemostrewardingofallperformancemedia,asisshownin

countrieswithstrongchoirtraditions(e.g.,Estonia)andwherekaraokeispopular(e.g.,Japan;

onsingingseeRegelski2004,190–212).

WiththeriseofthedisciplinesofmusicologyandmusictheoryaftertheEnlightenment

and,fromthefirst,theirorientationtoaestheticsandintellectualideas,camearevaluationof

instrumentalmusic“whichreversedthelong-standinghierarchythatfiguredvocalmusic,

bothinsacredgenresandinopera,assuperiortoinstrumental”(Gramit2002,121).While

singingcontinuedasaprimaryfocusingeneralmusicclasses—andprobablyremainsso

todayinmostplaces—listeningnewlybecameacurriculargoal,particularlywiththeriseof

thepublicconcert,theinventionofrecording,andthearrivalofrecordingtechnologiesin

schools.Thuscultivatinglistening“comprehension”and“goodtaste”servedasthebasisfor

themusicappreciationand“musiceducationasaestheticeducation”trendsinmany

countries.


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Itisnotunusual,then,toseesingingalongwithlistening,moving,and‘creative

activities’ingeneralmusicclasses.Theseactivitiesseemtobemoreorientedtoward

educatinglistening‘appreciation’thantopromotingmusicianshiporcreativity,however.Or

atleast,anycriteriaofmusicalskilldevelopment(musicianship)aredecidedlysecondary,if

involvedatall;andcomposingasapersonalmusicalpastimeoftenseemsnottobenota

focus.Anyandallmusical“activities”(asteacherstendtocallthem)areseenasautomatically

educativeontheassumptionthattheyareinevitablyaestheticandthus,somehow,someday,

willadvancestudents’aestheticresponsivenessaslisteners.Thereissimplynoevidencethat

thisisthecase.

So,thereisoftenadecidedsuperficialitytomuchthatgoesoninclassesunderthe

teacher’ssupervision,asanassumptionthatmusical“activities”havebeenautomatically

aestheticandthereforebeneficial.Andoftencurriculumrequirementsformusicarefulfilled

simplybyoccasionallyincludinganymusicalactivitiesintheschoolday.The“ArtsinGeneral

Education”banner,forexample,rationalizesthemainvalueofmusicandarteducationas

goodforteachingothersubjects,therebysacrificingwhatartandmusichavetoofferin

themselves.And,inmanycountries,musiceducatorstrytolegitimategeneralmusicactivities

asinfluencingthedevelopmentofthebrain’scognitivefunctioning—thedubious“Mozart

Effect”claimsthatmusicmakesstudentssmarter.And,supportersseemtohavelostsightof

thereasons—smarterbrainsornot—thatmusicexiststobeginwith:asavitalsocialpractice,

carriedoutviaanexpandingarrayofmedia,bypeoplefromallwalksoflife.Thatisone

importantanswerto“Whyismusictaughtinschools?”!

Ifschoolmusiceducationistoberelevanttothelifewell-lived,itneedstobuild

bridgestothemusic-worldoutsideofschool.Lessonsclaimingto“inform’”appreciative

‘aesthetic’listeningdonothavethisimpact;graduates’freemusicalchoicesremainlargely

unaffected.Thealternativeofteachingpopularmusicscomestomind.However,ifsuchmusic

isalreadypopularandappreciated,whatisgainedorimproved?—especiallyifteaching


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mainlyhasstudents“covering’”popularrockpieces;orifrockhistoryandtheoryaretaught

viathemusicappreciationparadigmasthough‘”background”toproperlyinformedlistening.

Yuck!Rockand“pop”musicsarealsosocialpracticesand,divorcedfromtheirpraxial

conditions(bytheclassroomcontext),superficialityloomslargewhentheybecomethemain

focusofschoolmusiccurriculums.

Studyingmusicalpracticescommoninasocietyornationisanoption.Despitetheir

ubiquity,understandingthepivotalroleofmusicincommonsocialpracticescanadvance

moremeaningfulparticipationandappreciation.Forexample,withoutgettingintothedetails

ofreligiouspraxis,religiousmusictakesmanyformsaccordingtodifferentreligions.

Religiouspracticescanbestudiedforthewaysinwhichmusicisapivotalfactor,notas

entertainmentduringtheservicebutasprayerthatappealstoparishionersandfocusesthen

onthereligiousmeaningsatstake.Worthnoticeandstudyarecommonpractices,suchas

musicforweddingsandotherevents,celebrations(holidays),ethnicidentification,socializing

(parties,dinners,sing-alongs),andmore.Whichmusicaltraitsaresuitableforcertainuses?

Why?Whatdodifferencesbetweenmusicsthatservesimilarfunctions(e.g.,weddings,

funerals)tellusaboutculturaldifferencesinthosefunctionsandwhopracticesthem,and

why?Whateventsaretraditionallymarkedbycertainkindsofmusic?Whichkindsofmusics

aresuitabletotheirsocialuses,andwhyorhow-so?Answeringthesequestions,leading

thoughtfulstudycanleadstudentstoarealizationofakeyroleofmusicintheirlives.

Musicjournalism,collectingrecordings,dancing(of“practiced”kinds),creating

focusedplaylists(etc.),canalsoprofitfromcurricularattention.Forexample,liststhatfeature

theimportantroleofmusicinaerobics(DeNora2000,89-102)orthatenergizesports

performance(i.e.,“musicasaprosthetictechnologyofthebody...thatextendswhatthebody

cando”[DeNora2000,102–03])—foruseforuseduringjogging,cross-countryskiing,evento

enhancework(DeNora2000,103–08)andforsocialagency(e.g.,parties,dinners,caroling).

Performancethatholdsforthpossibilitiesforalifeofamateurmusicingcanbe

stressed(seeRegelski2007).“Recreational”andethnicinstrumentstypicalforaregionor


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countrycanbeintroducedatanentrylevel—everythingfromguitars,toelectronickeyboards,

tolocallypopularinstruments(e.g.,dulcimers,banjo,andguitar)andMIDI-instruments(see

Knappenberger2016).

However,perhapsthereisnogreatersourceofresourcesthanthemusicapplications

(apps)forsmartphones,pads,andnotebooks.Thesearealreadywidelyusedandofferan

unimaginablerangeofmusicingforperforming,listening,andcomposing.“Everyonecan

makemusic,”inventorandentrepreneurGeWangbelieves,“andeveryoneshould”(quotedin

Walker2011).Forexample(atpresent,2015),hisapp“Ocarina”convertstheiPhoneintoa

flutelikeinstrument.Italsohas“arepresentationoftheglobe,withdotsthatlightuptoshow

whereintheworldsomeonewasplayingtheappatthatmoment.Withatap,youcanlisten.It

isalsopossibletoarrangeaduetwithanOcarinauserthousandsofmilesaway”(Walker

2011).Otherappsletyoucomposemusic(inwhateverstyle),uploadittoanInternetsite

whereothersalso“work”withthematerial,withtheoriginalcomposertakinginspiration

fromthesecontributionsinfinalizingthecomposition.Stillothercompositionsoftwareexists

forcreating,say,soundtracksforvideos,orforfree-standingcompositions.Othersprovidea

multi-mediaexperiencewheretheusercreatesandorganizessounds,andaccompanying

abstractvisualsreactdelightfullywiththemusic.Andyoucannowplaytheguitaronyour

cellphone.Thepossibilitiesarelimitlessandgrowingexponentiallybytheday.However,

thesearenotauniversalcure,assomanyteachersgiveinto,becausethemusicsinvolveddo

notusuallyleadtoeithercontinuedapplications(asmart-phoneensemble:doanyexist

outsideofschool?)oragrowthinmusicianshipthatserveslong-lastingenthusiasmfor

musicing.

Studentsofcourse,arealreadyinvolvedwiththistechnology,butcanbeturnedonto

newappsinclass,perhapswithcross-peercoaching,asinterestandabilityinanappspreads

throughaclass.Andmanystudentsalreadyownthese“instruments”and,afterexperiencing

theirpleasures,otherswillwanttoacquirethem.Asourunderstandingof“music”expands


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fromtheimaginarymuseumof“works”toalivingartthatenhanceseverydaylife,sodothe

countlesspossibilitiesformeaningfulmusicing.Thetechnologiesofthepast(instrumentsand

recordings)certainlyremainrelevant,butthemusicalfutureishappeningtodayandgeneral

musicclassesareideallysuitedtotappingintothisfuture.Failuretodosomaywellriskthe

continuedexistenceofgeneralmusicinschools(seeGouzouasis&Bakan2011).

Ensembles

Thequestionatstakeofwhymusicshouldbetaughtinschoolsandforwhatreasonisnot

raisedheretoanswertheever-growingurgencytoengageinmoreadvocacyofmusic

educationinschools.Theneedistoreconsidersomeofthetakenforgrantedassumptions

thatoftenleadtounsuccessfulteaching;tostudentswhodon’tpracticeorquitlessonsor

ensembles;and,perhapsworstofall,tomusicteachingthatdoesnotresultinmakinga

musicaldifferenceintheactionsandchoicesofstudentsoutsideofandaftergraduationfrom

school.Inotherwords,thequestiongoesdirectlytohowtoavoidtheneedforadvocacy!

Wehavealreadyseenthatmusicingisamongthemostimportantofallthesocial

practicesthatsustainanysocietyandculture—andnotjusthighculture.Aspraxis,then,

musicfillseverydaylifewithmeaning:or,moreprecisely,variousmusicsareputto“use”in

thelivingoflife,andsuchuses—i.e.,thechoicesmadeforengaginginvariousmusical

practices—areempiricalevidenceof“musicappreciation.”Evenattendingconcertsofclassical

musicisimbuedwithawealthofsocialelementsthatarecentraltotheexperience—

everythingfromthesemioticsofthespace(e.g.,hearingjazzinachurch,orreligioustextsina

secularconcerthall),toaudiencebehavior(e.g.,clapping,intermissiondiscussions,dress

codes)andthe“interactionalsynchrony”(Benzon2001,42)throughwhichemotionsand

meaningsarecoordinatedandattunedtobyaudiences.Suchaffectivesynergyexistseven

whenwearelisteningarhometothemusicthatwelikeincommonwithothers—i.e.,the

musical“tastepublics”towhichwebelong.


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Understoodinsuchterms,musicisaprimarysourceofsociality—ofallkinds—and,

thus,isakeycontributiontothehealthandwell-beingofsociety.Itisamongthesocial

practicesthatbringpeopletogether,anditsvariousstylescreatesub-culturesthatevenmore

particularlyfocusonsocialitythroughmusic.Musicisbasictothelifewell-livedatall

socioeconomiclevelsofsociety,whetheritisconcertmusicforjustlistening,ordancemusic,

ormusicforethniccelebration,orworship,orahostofothercentralhumanpracticesin

whichmusiciscentral.Itisagravecurricularmistake,then,tonarrowtheimpactofmusic

educationonlytotheschoolyearswhen,amongthemostimportantneedsistoextend

music’ssocialroleandvaluethroughouttheweboflife.

Sadly,thetrendisoftenintheoppositedirection.Moreandmoreadvocacyisneeded

tolegitimatemusiceducationinschoolsandinmanycountries.Furthermore,forexample,a

surveyinGermany(TheLocal,Dec.7,2012)showsadeclineofhomemusicmakingof30%in

4years,downtoonly17.7%—thisinacountryotherwiserenownedforitsactivemusicallife.

Somereasonsforthishavebeenexploredearlier.Elsewhere,butparticularlyintheUSA,the

focusisonensembles,perhapsthemajorconcernofmusicteachersinpresentingtheirefforts

tothepublicandtoothermusicteachers—animportantsocialvariable.Ofconcern,then,is

curriculumandpedagogythatcanfailtoprepareorinclineensemblememberstocontinue

makingmusicthroughoutlife—anactionidealthatisworthadvancing.Aswithanyaction

ideal(e.g.,goodhealth,goodfriend),thereisnoutopiangoalthatcaneverbereachedonce

andforall.Butitservesasadirectionforimprovementofmusiceducationcurriculumand

pedagogyand,thus,ofmusic’sroleinsociety,thatshouldbeclearlytiedtohowandhowoften

peopleusemusictoenhancetheirdailylives.

Largeensembles

Largeensembleshavetypicallybeenthemajorfeatureofschool-basedmusiceducation.They

certainlyfulfillthesocialityforstudentsthatmusicaffords—althoughsometimesnon-musical

socializing(talking)cangetinthewayofrehearsing!Suchensemblesalsoacquaintstudents


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withaliteraturetheywouldn’totherwiseencounterthatisexperiencedpowerfullyas

personalandembodied:they“feel”it.Collectiveintentionalityisatalsoatworkthat,underthe

bestofcircumstances,haseachmemberfocusedonasharedmusicalgoalorresult.Such

intentionalityisthe“about-ness”ofanaction,what(individuallyorcollectively)itisfocused

onbringingabout,oris“goodfor.”Whenstudents’intentionalityisnotfocusedonmusical

resultsandlearning,thegrowthofmusicianshipisnegativelyaffected.Whenthe

intentionalityisonlyfocusedonpresentingthenextconcert,skillsanddispositionsarenot

learnedthatareconducivetoparticipationaftergraduationorincircumstanceswherethere

arenoconcerts—recreationalperformanceathome(see,e.g,TheLocal,Dec.20,2012),orin

communityandsocialgroups(chambermusicsofvariouskinds).

Typically,however,schoolensemblesareengagedin“presentationalmusic”(see

Turino2008)—thatis,musictobeperformedforaudiencesthat,asidefrombeinglisteners,

arenototherwiseinvolved.Thisneedto“present”musictoanaudiencethusrequires

considerablerehearsaltimeandfocusedpractice,evenunfortunately,drill:criteriathatcan

leadsomestudentstooptoutofparticipation.“Participatorymusic”(Turino2008),in

contrast,hasasitsgoaltheparticipation(insomeform,ifonlyclappingorplaying/singing

along/dancing)ofthosepresent.Thereare,ofcourse,someparticipatorybenefitsforstudents

developmentallythatareassociatedwithpresentationalpractices,buttheaudience/ensemble

distinctioniscentral:Themusicneedstoberehearsedtoastandardthattheaudiencefinds

interesting,competent,andrewarding.Thefocus,then,isontheperformanceandoneach

member’scontributiontotheend-result—theconcert—notonthesocialvaluesofparticipation

leadingtoit.

Thisisnotthemostfruitfuleducationalenvironmentforindividualstudentsto

developtheskillsanddispositionsneededtosustainafulfillinglifeofpersonalmusicmaking.

Oneproblem,ofcourse,isthatitispedagogicallydifficulttoattendtothedevelopmentof

individualskills(musicreading,technique,dispositionsforthefuture,etc.)inlargegroups.As

result,performingX-yearsofconcertliteratureoftendoesnottypicallyresultinadvancingthe


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musicianshipandmusicalindependenceneededtomakemusicinothercontextsoratother

timesinthefuture.There’salsotheproblemthat,whileensembleparticipantsexperiencethe

“whole’”aurally,theyareengagedonlywithonepartofthatwhole.Dependingonthetypeof

ensembleandthepartinquestion(3rdtrombone,2ndsoprano,etc.)thisobviouslyhasseveral

potentialliabilitiesforpromotingstudent’sskillsandmusicalmotivations.

First,practicingone’spartaloneathome(oreveninasectionalrehearsal)lacks

holisticcontextandisoftennotfullymusicallysatisfyingandthuscanleadtolessthan

effectivemusicalresults.Consequently,thegrowthofthestudents’musicianshipis

jeopardized,asistheirindividualcontributiontothemusicalwhole.Secondly,thevarious

partsoftenhavedifferentmusicalbenefitsandinterests:Somepartsareclearlylessmusically

rewardingorchallengingthanothers.Thus,whenasectionisinactiveformanymeasures,

students’attentionoftenstraystosocializing.Thirdly,andperhapsmostworrisome,

individualscan“hide”behind“leaders”orwithintheirsections.Theymayenjoytheoverall

musicalresult,butas“followers”theydon’tacquiretheskillspossessedbysectionleaders.

Thisassumes,ofcourse,thattheleadersreallyaremusicallycompetenttolead.

Unfortunately,thisisnotalwaysthecase,andsome‘leaders’areover-confidentintheirskills

andendupleadingtheirsectionsastray(Zadig,2011).

Thisiswhy,withlargeensembles,theaveragingeffectsoflargenumbersusually

producesanoverallmusicalresultthatisbetterthantheabilitiesofmostindividualsinit.This

leadstotheeducationalmisappraisalbyteachers,evenaudiences,thattheabilityof

individualperformersisasgoodasthecollectiveresult—whichisrarelythecase.(In

contrast,asdiscussedbelow,chamberensembleswithoneortwopersonsperparthavelittle

placeto“hide,”andeachperformermustmakeacompetentcontributiontotheresult.)And,

finally,studentsaredeprivedoftheopportunitytomake—andthuslearntomake—decisions

andmusicalchoicesontheirowniftheteacher/directorismakingallthemusicaldecisions.

Thisalsohasnegativeconsequencesformusicalindependencethat,ifstudentsaretobe


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musicallyactiveelsewhereandatothertimesinlife,shouldbeamajorpraxialgoalof

teacher/directors.

Thesedisadvantagescanbeminimizedbycarefulselectionoftheliteraturetobe

performed.Firstly,doesitpromotemusicianshipskillsthatcanbeusedinfuture

circumstances(including,butnotrestrictedto,futureperformancesoftheensemblein

question)?Doallpartspresentsignificantmusicalchallengesofthetypethatcontributeto

eachstudent’smusicianship,oraresomepartsrewardinginthissensewhileothersareless

interesting?Doestheliteratureacquaintstudentswithmusicsthatwillinformtheirfuture

performingandlisteningchoices?Howmuchrehearsingwillittakebeforethestudentscan

begintoenjoythemusicratherthanstruggle,collectivelyorindividually,withtheirparts?If

theresultsbecomemusicalandmusicallysatisfyingonlyastheconcertapproaches,thelong-

termbenefitsarelikelytobesmall.Musicwell-chosenintermsofthepresentabilitiesofthe

ensemblecanbemoremusicallysatisfying.Andeducationallyproductive.

I’veusedtheterm“teacher/director”tostressthat,inschoolsatleast,arehearsal

shoulddomorethanjustfocusonnotationandinterpretation.Theteacher/directorneedsto

planforrehearsaltechniquesandlearningexperiencesthatadvancethemusicianshipofeach

individualintheensemble—notjustforthenextconcert.Thechosenliteraturefacilitates

suchacurriculumofpromotingmusicianship,butitisnotmusicallyoreducationally

sufficienttowarrantbeingthecurriculumonitsown—especiallygivencomplaintsaboutits

musicalqualityfrommusicians.So,thenumberofconcertsayearisnotacurriculumforlife-

longengagementwithmusicbygraduates!Furthermore,arangeofliteratureneedstobe

sampledifstudentsaretobeacquaintedwithabreadthofmusicalstylesandchallenges.

Chamberensemblesfromwithinlargeensembles

Inadditiontoofferingvariouschambergroupsthatexistontheirownmerits(i.e.,duets,trios,

andthelike,especiallywhereaschoolcannotofferafullrangeoflargeensembles),suchas

forthefewstringstudentsfewwhocanbebenefitedbysmallstringensembles—duets,


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trios—thataretypicallyoverlooked,oneusefulteachingpracticeistoform(orencourageto

form)chambergroupsfromamongthemembersofthelargeensemble.Thesegroups(with

oneortwostudentsperpart)canselecttheirownliteratureandrehearselargelyontheir

own.Theteacherthenactsasanoccasional“coach,”butthestudentsmakemostmusical

decisionsandapplymusicalcriteriawithonlyoccasionalinput(andcorrection)fromthe

teacher.Intermittingly,therehearsalperiodofthelargegroupcanreservesometimefor

shortrecitalsbysuchgroupswheretherestofthelargeensembleisthentheaudience,thus

promotinglisteningskillsandmotivatingtheirowninterestsalongsimilarlines.Concertscan

featureperformancesbythesechambergroups,therebyprovidingvarietyandreducingthe

totalnumberoflargegroupworksneededtopresentafullconcertprogram.7

Consideredinreverse,wereitnotfortheemphasisontraditionallargeensembles,

mountinganensembleprogramwouldbestbebasedonrangeofbountifulsmall,chamber

ensemblesofvariouskinds,coachedbytheteacher(orthemostadvancedstudents)sampling

awidearrayofliterature.Thesegroups,then,areassembledseveraltimesaweekfor

performanceoflargeensembleliteraturewheretheybringalltheskillsofreading,and

musicianship,tobear,withfewerrehearsalsneeded,toproduceexcellentmusicalresults—

withthebenefitsforthefuturestudentsasadultsofthepleasuresofthechamberensembles!

Whenthiskindofpedagogyisemployed,theteacher/directorwillsurelyfindthatthe

competenciesthatstudentshavedevelopedintheirchamberpraxiswillimprovetheir

contributionstothelargeensemble,thusmakingitsprogressmoreefficientandeffective.For

example,oneteachergaveuphisscheduled5dayaweekchoirrehearsalto3timesaweek

voice/classgroupsof12singersinavarietyofsoloandchamberliteratureandmusicreading

ofthatliterature;andinonlytwooftheremainingweeklyrehearsals,asexpected,thechorus

wasimmeasurablymoreefficientandeffectiveinlearningnewmusic.Theydidn’tneedthe

lostrehearsaltimebecausetheyhadprogressedasindividualmusicians.

Regelski, T.

Footnote

7. Beware: a former student, obviously new to her positions who followed this advice of chamber groups in her first Christmas Concert was criticized by her male colleagues in the city school system for being unable to “put on a full band concert” without out the “padding” of the chamber groups. Change comes hard.


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Mostimportantly,suchexperience,aspartofpraxialtheory,willhavemodeledakind

ofmusicingtheycanenjoyasadults.(Busyadultsarefarmorelikelytobeabletofindor

maketimeforsuchsmallgroups:Problemsofagreeingonrehearsaltimesforlarge

ensemblesoftenexcludemanyprospectiveparticipants.)Thusthepleasuresofsuchsmall

groupmusicingcancontributetothedispositionsofmemberstocontinuewithsuchmusics.

Whenthesegroupssampleanarrayofdifferentmusics,membersarealsobecomingeducated

aslisteners.Becausetheirindividualpartsaremoreexposedthaninthelargeensemble,they

aremoreinclinedtoimprovetheircompetenceandaremorelikelytobemusicallyrewarded

bytheirinputtothemusicalwhole.Thus,theirmusicianshipanddispositionsforperforming

arebothadvanced.

Ensembles,largeorsmall,acquaintstudentswithmusicstheywouldotherwisemiss.

Buttheworrisometendencyisfortheirmusicingparticipationtoceaseuponleavingschool.

Benefitthatisonlyexperiencedduringtheschoolyearsistotallymissinginsuchaprogramof

presentingconcertsandclaimingthatalastingmusiceducationishappening.Ifensemble

teachers/directorsaretocontributetoagoodlifethroughmusic,ensemblesmustbemore

thanmerelyschool-basedsocialactivities.Theyneedtofacilitateandmotivatethe

intentionalitythatshowsappreciationthroughthelifelongincorporationofmusicinthelives

oftheirmembers.

MusicTeachingasaProfession

Asanimportantreminder,earliermusichasbeenadvancedaspraxis—asacentralandvital

socialpractice.Thus,importantly,itismuchmorethansimplyacollectionof‘works’for

passivecontemplation.Instead,inallitsdiversegenresandtypes,itisamajorsourceofactive

sociality.Thus,itsimportancetoteachersandstudentsgoeswellbeyondsoundingformsof

anymoment,toincludethemanysocialpracticesinwhichtheroleofmusicisakey

ingredient:Takeawaythemusicandthepracticeeitherceasestoexistorischangedradically.


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Forexample,allthat’sneededfordancingisadrumbeat,butwithouttherestofthemusicthe

experienceisvastlydifferent.

Oneresultofthisthispraxialviewhasbeentofocusonmusicasa“doing”and,thus,to

thecoiningoftheterm“musicing”(or“musicking”thatemphasizesthesocialdimension)to

stressitsactiveroleincreatingidentity,community,andsociality.Thus,onceagain,

appreciationisnotastateofminddependentonacquiringorunderstandingbackground

knowledge:itisanempiricalmatterofhow,when,where,why,andhowoftenindividuals

engageinmusicinginordertoenrichtheirlives.Appreciation,then,isproperlyseeninthe

musicalchoicespeoplemakeformusicintheirlives(Regelski2006a).Acorollaryofthis

principleistheneedformusiceducationtomakealastingdifferenceinthelivesofstudents

outsideofschoolandasadults(Regelski2005).Thispragmaticcriterionrejectsclaimsthat

experiencesofmusicalschoolingautomaticallyresultinan“aestheticeducation”—whatever

thatmeansintermsofpracticalresults—thatsomehow,sometimehaslastingvaluefor

students.

Regardingmusicasavitalhumanpraxisnaturallyleads,aswell,toregardingmusic

teachingasanimportantsocialpraxis.Aspraxis,teachingmusicinvolves,therefore,much

morethanjustroutinecompetencewith“whatworks”methods.Instead,teachingtakesona

socialandthusethicalresponsibility(Regelski2012a).Aspraxis,then,teachingexiststoserve

theneedsofstudentsand,byextension,musicalsociety.Failuretohavesuchanimpactor,

worse,bringingaboutnegativeresults,amountstomal-praxis(i.e.,professionalmalpractice).

Thisethicalresponsibilitymakesadecisiontobecomeateacher—inourcase,ofmusic—

particularlyconsequential.Docandidatesaspiretoagoodlifeofteachingmusic(Regelski

2012b),toadvancethecauseof“goodmusic,”topromotewhatever“appreciation”meansto

them,orsimplyasapleasantwayofmakingalivingviamusic?

Considerableexperienceovermanyyearsofteacherpreparationhasrevealedarange

ofmotivesstudentsoftengivefor“Whyteachmusic“andforseekingcareersinmusic


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education.Mostappearreasonableatfirst.However,predictablepit-fallsthatbearserious

examinationoftengetoverlookedbyprospectiveteachersofmusic.Thiscanleadtoproblems

thatcompromisegoodteachinganditspersonalandprofessionalrewards.

Whenaskedtheirreasonsforenteringthemusicteachingprofession,afrequent

answeroffirst-yearstudentstoldmewhenaskedis“tosharemusicwithstudents.”That

soundssimpleandpositive.Butwhatifthesupposed“sharing”doesn’teasilytakeplace—for

example,whenstudentsdon’tpracticeormisbehave?Italsooftenassumesthatthemusicin

questionisthenotesonthepage.Suchteachingeasilyresultsinteachingstudentstomerely

translatenotationintosound.Oragain,toapianolessonforexample,thatbecomesskill-drill

ratherthanamusiclessonviathepiano.Anddoes“sharing”simplymeanthatsimplyengaging

studentsinmusicalactivitiesnecessarilyamountstoaneffectivemusiceducation?What,

beyondthefunandinterestofsuchmomentsofmusicalsharing,wouldconstitutea

pragmaticvalueadded(Regelski2006b)toeachstudent’smusicallives?Routinizedsharing

canamounttomechanicalteaching,goingthroughthemotions,amusical“recessperiod”that

focusesmoreonwhattheteacherdoesratherthanonwhatthestudentsareabletodo

musically—atall(newly),better,morefrequently,orwithgreaterreward—asaresultof

teaching!Ifwecomparesharingmusictosharinglove,thentheactionidealimpliesmuch

morethanistypicallyconsideredbymusicteacherswhoseloveofmusicisnotautomatically

sharedwithstudentsbythelessonstheyoffer!

Anothercommonansweraboutchoosingacareeris“becauseI’mgoodatmusicand

havealottooffer.”Withoutdoubt,musicteachersmustbemusicallyaccomplished;butthey

mustalsohaveothercompetenciescentraltoteachingeffectiveness,suchasknowledgeof

howstudentslearnanddevelop.And,infact,somemusicteachers,especiallythosewhowere

“naturals,”don’tknowhowtocopewhenstudentsdonotlearnaseasilyastheydid—whichis

alltoocommon.Thismotiveforteachingcanalsorunafoulofeitheranegativeoutlookabout,

orgivinguponstudentswhoarenotasmusicallymotivatedastheteacherwasatthatsame


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age.Anditisarealitythatallteacherslovetheirsubjectsmorethanstudentsnaturallydo.

Thus,someteachersmaketheirsubjectsinto“work”forstudents.Remember?Andthatisa

challengeformusicteachersaswell.

Someteachingcandidateshaveenjoyedtheirownschoolmusicexperiences—often

unrelatedtomusicingoutsideoftheschool—andsimplywanttocontinuewithsuchmusical

pursuitsasteachers.Suchteachersview,“schoolmusic”asitsownself-sufficientmusical

praxis,amusicalendinitselftheywanttocontinuetoenjoy.Theydon’trealize—orwishto

consider—thatmostoftheirpeerswhentheywereinschooldidnotrespondinthesame

positivewaytothesameteaching.Orthattheincreasinglyjeopardizedstatusofschoolmusic

revealsanadvocacycrisisthathasthepublic,schoolofficials,andotherscallingintoquestion

itsvalueandcontinuedexistence.

Similarly,theexpressedgoalofsomeprospectiveteacherstowanttobe“justlike”a

favoritemusicteachercanfailtonotethatnotalloftheirfavoredteacher’sstudentsthrived;

thatallstudentsdidnotfavororprofitfromthatteacher.Thismotivationcanthusoverlook

thecriteriaforhavingfavoredamusicteacher.Beinga“goodteacher”isnotunlikebeinga

“goodperson”:itisacomplicatedmatterandnotonethateasilysubmitstoimitation.Yetthe

observationiscommonthat“teachersteachthewaytheyweretaught”and,asaresult,

teachingisaveryconservativeprofession:changeisoftenglacial.Combinethattendencywith

“conservatory”influencesonmusicteachers(passedonbytheirmusicaltraining),anditisall

tooeasyforsometeacherstogravitatetothemostmotivatedorbeststudents.Suchmusic

teachersarelikethedoctorwhocomplainsthatthepatientsaresick,orthepilotwho

anticipatesonlygoodweather.

Musicteachersoften“do”theirsubjectssemi-professionallyoutsideofschool,unlike

mostotherteachers.Infact,thepreponderanceoftheirtrainingisfocusedonbecominga

musician(i,e,performer).However,themistakenassumption(learnedfromtheirmusic

professors)isthatagoodmusicianisautomaticallyagoodteacher(thusjustifiedbytheir


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pretenseaspedagogues).Thiscanleadtotheproblemwheremusicteachers“perform”their

ensembleslikeanorganistperformstheorganpipes.Theirfocus,then,ismoreonthemusical

resultsforthemselves,ratherthantheeducationalbenefitsforensemblemembers.Theytake

forgrantedthattheexperienceofperformingmusicisautomaticallyaestheticandtherefore

educative.However,formanystudentssuchexperiencesareregardedasschool-basedsocial

activities,andanycarry-overtolifeoutsideofschoolandasadultsisthustypicallymissing.

Anothervariableistheso-calledpsychological“needforachievement”(nAch)—the

needtoberecognizedasbeinggoodatsomething.Thisoftenexplainswhyyouthgetinvolved

invariousactivities—music,sports,hobbies—duringtheschoolyears.Butasamotivationfor

alifeofmusicing,itfadesinimportancewiththearrivalofadultlifeandresponsibilitiestobe

agoodproviderorgoodparent.

Astrainedmusicians,somemusicteachersaretemptedtoprotectmusicfrom

students!Theyarethusquicktoberidofthosestudentswhosecontributiontotheoptimum

musicalresultisproblematic—insteadofredoublingtheireffortswithsuchstudents.They

cantendtotreattheirstudentsasproto-musiciansinthesamewaytheywereduringtheir

universitymusicaltraininganddemandthesamekindofdedicationtomusicalexcellence.

Competition(forseating,withotherensembles,forsolos,withotherschools)oftenbecomes

anend-in-itself,madeallthemorenotablebythefactthatmusicteachers’effortsareoften

publicinawaythatmostotherteachingisnot.Thiscanbeareasonwhychambergroupsthat

arenotconductedinpublicbytheteachertypicallyhaveanegligibleroleinmostschool

musicprograms,eventhoughtheirmusicalandeducationalbenefitsaremany.Thatis

unfortunate;suchgroupspromoteadispositionfortheperformingthatismucheasiertofind

ormaketimeforinadultlifethanisthecasewithlargeensembles.

Manyteachersrelyoncompetitiontomotivatepracticing.Yettheeffectsof

competitioncanbenegativeforindividualstudents,especiallythosewithtentativeorweak

self-concepts.Nonetheless,oncetheconditionsofcompetitionaremissing—notably,after

graduationfromschool—motivationtocontinuepracticingandperformingdisappears.Such


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teachersarealsomorelikelytoresorttovariousquestionablemeans,suchasembarrassment,

tomotivatestudents.This,ofcourse,isaproblemowingtothepredictablyunstablenatureof

manystudents’duringtheyouthandadolescentyears.

Someteachersentermusicteachingsimplybecausetheyexcelmusically.Onthisbasis

they“settle”intoamusicalcareerasteachers.However,whilethiscansometimesbe

reasonable,thequestionthathasbeenraisedovertheyearsremainsoneof,“Doweteach

musicorstudents?”There’snoreasonthattheanswerneedstobeeither/or;clearlybothcan

andshouldbeserved.Butifthemainfocusisonthebenefitsfortheteacher’smusical

interests,itbecomestooeasytoignorethestudents’musicalneedsandbenefits.

Thereareseveralmorepotentialproblemswiththisdisposition,asidefromtheethical

implications.Thefirstariseswhenstudentsentermusicinordertopursueamusicalcareer,

butdon’twanttosubjectthemselvestothefiercecompetitionandrisksmusiciansfaceinthe

marketplaceforjobs.Thesecondinvolvesparentswho,similarly,realizethatmusicalcareers

arerisky,agreetosupporttheirchildtostudymusiconlyontheconditionofbecominga

musicteacher.Inbothinstancesofenteringtheprofession,itisalltooeasyforsuchgraduates

toregardteachingmerelyastheirjob—ameansofmakingaliving—ratherthanasamission

to which they are called as teachers.Thiscanalsoleadtothenotuncommonsituationof

musicianswhohavenotthrivedasprofessionalsandwho“fallback”onmusicteachingasa

wayofmakingtheirliving.Despitetheirmusicalskills,thisoftendoesnotresultinadvancing

students’musicalgrowth.

Arelatedproblemcanbetheattractiontoteachingasalifestyle.Itisstable,generatesa

decentstandardoflivingandusuallyallowsteacherstospendmoretimewiththeirfamilies.

However,andagain,whilethiskindofvisioncanseemreasonable,itcanleadteachersto

ignorestudents’needsratherthantheirown.Then,suchteachers(ofanysubject—everyone

hasexperiencedatleastone)operateonauto-pilot,orasthoughworkingonassemblyline.

Thequalityoftheirownlivesistheirfocusandgettingthrougheachdayandschoolyearwith


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thefewestproblemsistheirimmediategoal—notthefuturewell-beingoftheirstudents,

musicalandotherwise.Manyburnoutandtoomanystayinteaching.

Perhapstheantithesisofsuchadispositionis,inmyexperience,therareprospective

musicteacherwhosimplyenjoysworkingwithyoungpeopleandalsoenjoysmusicandhas

musicalandpeopleskills.Theirdispositionisfarlesslikelytoresultintheproblems

mentionedearlierbecauseitfocusesonthestudentswhilenotignoringtheself-interestsof

theteacher.Asimilarmotivationforenteringmusicteaching—althoughaltogetherveryrare

inmyexperience—isthedesireexpressedtobebetterthanthosemusicteachersthe

candidatehadinschool.Theseindividualsoftenrealizethattheysucceededmusicallydespite

poorteachingbutthattheirpeerswerenotsolucky.Theyaspiretobecometeachersbecause

ofacommitmenttoteachingexcellence—notjustofofferinginstruction,butofpromoting

notableandrewardingmusicallearning.Unfortunately,bothdispositionscanbeconfronted

andconfoundedbythemanyeverydayproblemsofschoolingasaninstitution.Butsuch

teachersoftenfindthatmeetingandovercomingsuchchallengesisitselfoneoftherewards

ofgoodteaching.

SummaryandProvocation

Nodoubt,thetypicalprospectivemusicteacherhasmultiplemotivations.However,

failuretoconsiderthekindsofpossibilitiesraisedhereisalikelyreasonforburn-outorfor

ineffectiveteaching—orboth!Prospectiveteacherscanbebenefited,then,frombeing

forewarnedofthevariousproblemsthatcanariseaftertheybegintheircareers,andthenare

preparedfortheshockofdisappointmentofunpleasantrealitiestheyhadnotpreviously

considered.Itistothebenefitofbothteachersandstudentsthattheimportantpraxisof

musicisadvancedbyteachingpraxisthatiseffectiveandmusicallyrewardingforboth

studentsandteachers.

Theanswertothequestionofwhyanyoneshouldbeinterestedinteachingmusicin

schoolsisthusprofoundlyloadedwithvalues,thepotentialofwhichtoooftengoesunnoticed


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bymusicteachers.Someprospectiveteachersmayhaveinitialimpressions.Butmostothers

whohaveparticipatedinschoolensemblesasasocialactivitydon’tnoticethelackofmusical

differencemadeintheirlivesgoingforward.Upongraduationtheirinterestceases.The

answertothisimportantquestioncan’tbeprovidedinthissurvey,butitresidesinbeliefthat

musicissociallyimportant,thatitisamajorfactorinthelifewell-lived,andthatmusic

teachershaveanobligationtobringmusicintothelivesofstudentsinawaythatwouldn’tbe

thecasewithouttheirefforts.Anythinglessrisksethicalproblemsof“using”studentstothe

teacher’sownmusicalinterests.

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1 This study is an elaboration of 4 short articles on the topic of “Why Teach Music?” originally published in the Finnish Journal of Music Education (2012–2013), here extended for international readers, especially in- and pre-service teachers. . 2 Imitations, since school-based literature usually falls far short of artistic and aesthetic merit. Aesthetes are the first to denounce that the literature of school music performance ensembles falls short of the aesthetic merit they extol. 3 Some critics want to debate the primacy of Elliott versus Small. They can do so in their own research. The point here is that both agree that music is a verb form: something done for a musico-social purpose. Small’s spelling stresses “musick” as understood as praxis in ages long ago, and Elliott’s stresses “music” as a collective noun, emphasizing multiple praxies. The differences beyond spelling can be entertained (Small, emphasizing somewhat more the social dimensions of practice, and Elliott a bit more concerned with this or that praxis as a community of musicians may understand the differences of musical praxis). However, the important variable for both is that “music” is newly considered as a verb form—a “doing.” Thus the emphasis is not on what music “means” but what it “does” personally and socially. I leave it to others than in this TOPICS framework to debate the differences; or, frankly, what difference it makes theoretically or practically. It seems to me that, by definition, this or that musical praxis—say of jazz or heavy metal—is always a result of the social variables of a community of practitioners that brought it into being to begin with and sustain its development. I prefer to accentuate those social variables, as against any claim against pure, absolute, music.


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4 These and other references are not just “old” but “classical” in establishing the theoretical and praxial historical framework of what is to be described. They come from music history, the history of ideas, the philosophy of music, and are backed by important publications in cultural history and cultural studies. They, in fact, exceed the taken for granted assumptions usually marshalled to qualify music and music education—usually according to aesthetic ideology—as a product of the 18 th century Enlightenment and its flowering in the 19th century. The history of ideas in philosophy goes back to the early Greeks and remains current it its relevance, despite the expectations of those who expect research to provide “the latest” findings. TOPICS is not, according to its stated criteria, devoted to the “latest” research to thinking that is currently relevant. Posed another way, praxis as informing theory is a source of confirmation or critique and advances theory for those who follow. This article attempts to show the bases of good praxis in theory and to contribute those findings to others. It fits all of the T.O.P.I C.S criteria covered in this journal. 5 Discipline, cooperation, team-work, aesthetic this and that, and, of course, as a social activity to be “good at” in school. The list goes on and on. 6 This term seems to be a problem for some. It is a standard term for learning that is not intended in what is taught but learned despite other aims. In music, students learn that their favored musics are not approved by the virtue of not being in the accepted curriculum. But much more is involved: response to bells for the change of classes and much more of the routines of schooling are argued to be in effect of more lasting impression than the overt curriculum. Students learn to be manipulated by school protocols as preparation for their lives as workers. It was amazing to me that some reviewers had no idea what this this term refers to. All the more I worry that teachers (and preservice teachers) they teach don’t have a clue. For details of what some music education readers and reviewers don’t seem to know about this very important theory for teaching praxis see Kathleen Bennett de Marrais and Margaret D. LeCompte (1998: 13–14, 244–247) The theory points out a major problem in schooling, the long-term effects of effect or impressions students get from the content—what is offered or not—and the ‘training’ involved in the routines or regimen of their schooling. 7Beware: a former student, obviously new to her position who followed this advice of having chamber groups in her first Christmas Concert was criticized by her male colleagues in a city school system for being unable to “put on a full band concert” without out the “padding” of the chamber groups. Change comes hard. ThomasA.Regelskiis“DistinguishedProfessor”(Emeritus),SUNY,FredoniaNY.HehasaMaster’sdegreein

choralconductingandaPhDinComparativeArts/Aesthetics.Hehastaughtchoralconducting,andmusic

educationmethodsandfoundationscourses.HehasbeenavisitingprofessoratAichiUniversityinNagoya,

Japan,theSibeliusAcademyinHelsinki,Finland(onaFulbrightAward),HelsinkiUniversity,andwasa

researchfellowatthePhilosophyofEducationResearchCenteratHarvardUniversity.Heistheco-founder

oftheMayDayGroup,andfromitsinceptionuntil2007,waseditorofitse-journal,Action,Criticism,and

TheoryforMusicEducation.Inadditionto105journalarticlesandchapters,heisauthorof6books,most

recentlyABriefIntroductiontoAPhilosophyofMusicandMusicEducationasSocialPraxis(Routledge,

2016).HelecturesoccasionallyattheSibeliusAcademyinHelsinkiandisadocentatHelsinkiUniversity.

Documents

Social observations for why teach music?topics.maydaygroup.org/articles/2017/Regelski_2017.pdf · options concerning the attraction of music education as a career. The praxial theory