Music Education

This past July, the warmth of the Portuguese summer and the backdrop of the Lisbon sea welcomed a diverse group of teachers and young musicians from social action music programs across more than ten countries. Amidst varied accents and curious glances, a shared energy became palpable—the excitement of face to face meetings among people who had been able to interact with one another only virtually during their four months of preparation. There was also the shared enthusiasm of people doing what they love most: teaching and making music together.

Imagine that you are walking up a staircase that leads to a school entrance, and you notice a sign that says, “ramp located at the back door.” Okay, so the sign and the ramp make the building technically accessible—but a person who can’t use stairs has to go all the way to the back of the building, locate the ramp, and hope that the door is open.

What if, instead of a staircase in front and a separate ramp in back, the architect had created a walkway that incorporates stairs and ramps all in one place?

This is the foundational metaphor of Universal Design for Learning, or UDL.

Every year, a joyous gathering of over 2,000 children and hundreds of teachers and chaperones transforms the sunny city of Gothenburg in mid-June into a grand musical jubilee: it’s the Gothenburg Symphony’s youth orchestra festival, Side by Side.

For the last eight years, I’ve coached violinists for the YOLA National Festival. Each summer, it is a remarkable thing to walk into the first sectional on the first day and witness an exceptional level of preparation from 18 violinists who, for the most part, don’t know each other and have never played together—a group of students that have made a commitment to each other before even meeting one another. This is what defines the YOLA National Festival: the dedication and integrity of all participants, a spirit that lives in the YNF students and also in the staff and the incredible faculty who return each summer. It is a special and profoundly devoted community, something I have not witnessed elsewhere.

If music is the universal language that brings people together, one would assume that this truth would hold for music education as well. But often, unfortunately, our field can pull people apart into seemingly oppositional camps. Over the course of my career as an arts education leader, I have witnessed many of these schisms, as well as their resolutions. I’d like to share three such dichotomies here.

What is music education for?

Big news from the Miami Music Project’s Teaching Artists Training Institute! They just received a whopping $1.3 million grant from the Paul M. Angell Family Foundation, offering multi-year support to increase the social impact of teaching artists in music education.

A year ago, I received a phone call asking me if El Sistema USA® wanted to partner with a commercial mission to space called Polaris Dawn. I was as surprised to get this call as you probably are to hear about it. My first thought was: Why El Sistema USA?

In 2014, arts education in the Netherlands was in a dire state. In particular, music education had suffered from years of budget cuts in primary schools. There was an increased focus on the “case subjects,” such as language and math, as well as changes in the teacher training colleges, where only one or two modules of music education remained in the curriculum. 

Research is beginning to show how much new technology can benefit students in the music classroom. David Knapp’s recent study, published in Research Studies in Music Education, offers a few good reasons why music educators should be outfitting their classrooms with digital audio workstations (DAWs).