Reaching Beyond the Score to Show That Music is Universal

One of the many aspects of teaching music in ensemble classes that is significantly different than teaching algebra or English or biology is the lack of a prescribed textbook. While other classes start the year with information laid out by chapter and verse in the selected text – subject to the unique skills and creativity of the teacher – music ensemble courses have to start the year with just the music and one or two warm-up books.

That music must not only provide the opportunity for the ensemble director to teach new techniques, terms, skills, keys and time signatures to their musicians, but it must be geared toward a performance in the future. A program that is too easy will be prepared well before the concert and the students will become bored, and their learning stagnant.

Music that is too difficult will not be properly prepared by the concert date and the students will be embarrassed or, worse, unable to perform it. The music program selected in August must be just right by December. And then the music educator has to do it all over again, selecting another complete program for the next performance that again meets those various requirements.

And unlike each classroom that has a fairly consistent level of knowledge and skill among the students, a music ensemble director must also consider the wide differences in skill level not only between sections in the group, but within each section as well. Music selected that will challenge the first chair musician who is a senior and all-state caliber would overwhelm the last chair freshman who just started to play last spring. So, proposing to add one more layer to the significant challenge in selecting two, three or more programs per school year for the ever-evolving skill level of an ensemble seems too much. However, there are few limits on what music educators will do for their students and their music.

Look at how it might connect to what your classroom colleagues are doing with your students during their other classes. Continue to consider the educational value of the music, the enjoyment it would generate among your students in preparing it and the entertainment it will provide for your parental audiences. But also look for connections that will add value to your program for your students and support for their efforts in their other classes. And once you start looking, the possibilities become more apparent and easier to make.

How might the lyrics of one of your pieces be used to help your students understand the foreign language they are learning down the hall? Besides simply including a piece written in French or Spanish or Latin or German in your programming choices, have your colleagues who teach those subjects come to your rehearsals and assisted your students in their enunciation and diction. And was one of your students who is more advanced in that subject provide the translation and helped your students carry the emotion of the words – not just the consonants and vowels. Are there lyrics that were based on poetry being studied in their English class or by an author who is on their reading lists? Have some of your students read works by the same author to your ensemble or shared research on the author so your performers can convey more through their performance than just the notes and words?

Is there music that represents a country or civilization or culture being taught by your social science colleagues? Music flows through American History, European History and World Cultures, and there are arrangements ranging from medleys of folk tunes to band versions of symphonic works that will allow you to highlight a timeframe or period or historical event for your students.

The inclusion of period or cultural instruments in your program allows your students the opportunity to explore new ways of expression while examining how the music of the time or place, performed authentically, flavors the history, culture and personality of the region or country or race. And programming works commissioned by others for a specific purpose, event or memorial reminds your students of how music connects us all, over time and distance and color.

There is a piece of quality music that your ensemble can master for performance for every other subject they take, including algebra and biology. Music inspired by artwork, artwork inspired by music, popular songs of any era that helped shape the era, music performed in protest or remembrance, heartache or jubilation, performance pieces written by exacting standards or completely formless.

The simple addition of one piece in your next program that will allow you and your students to connect to another class, another colleague, another subject will enhance their learning during two periods a day. Don’t miss the opportunity to advocate for music education by showing your school community and your supportive audience what we all know to be true – music is universal.