research
“The band, orchestra or choir room can be a safe haven for many youth
regardless of their level of musical success.”
population that often crosses socio- economic, cultural and social clique boundaries within a school. Music may not be a universal language8
but bonds that it can build often last long beyond school.
A renewed interest has developed in the concept of community music experiences that allow individuals who may have be- gun musical study in school to continue using music as a form of enjoyment, social connection, and intellectual achievement. Community orchestras, wind bands and choruses are the roots of music education in the United States. Glee clubs were a source of musical enjoyment, musical development and socialization particularly around the period of the world wars.9
They
brought people together often to sing patriotic music, which helped to bolster morale at home and abroad. Local musical ensembles continue to give concerts on holiday celebrations, for cultural festivals in our communities and to perpetuate mu- sical “war horses” that should be known and understood by one and all.
If our musical development began before birth, and has been nurtured across the years of our lives, then maybe it should be like a marriage, “’Til death do us part.”
Notes:
1. Priest, J. (2010). “Research Review: Fetal Responses to Music.” Perspec- tives 5(2), pp. 20-24.
Wisconsin School Musician
Lawrence University APPLETON, WISCONSIN
2. Sandra Trehub is one of the foremost researchers on music and infant development. See Trehub, S.E. (2006). Infants as Musical Connois- seurs. In G.E. McPherson (Ed.), The Child as Musician: A Handbook of Musical Development. New York: Oxford University Press (pp. 33-49).
3. P. Campbell (2010) Songs in Their Heads, 2nd
Edition. New York: Oxford University Press.
4. See Hallum, S. (2006). Musicality. In G.E. McPherson (Ed.), The Child as Musician: A Handbook of Musi- cal Development. New York: Oxford University Press (pp. 93-110).
5. Mills and McPherson emphasize the wealth of musical opportunities that are not tied to reading musical notation. See Mills, J. & McPherson, G.E. (2006). Musical Literacy. In G.E. McPherson (Ed.), The Child as Musician: A Handbook of Musical
Development. New York: Oxford University Press (pp. 155-171).
6. Mark Tarrant’s research offers inves- tigations of many issues of adolescent identity in relationship to musical choices.
7. Morrison, S. (2001). “The School Ensemble: A Culture or Our Own.” Music Educators Journal 88(2), pp. 24-29.
8. While this phrase has been used for a long time, music is understood differ- ently across the world and cannot be considered universal.
9. M. Mark & C. Gary (2007), A His- tory of American Music Education. New York: Rowman & Littlefield.
Sheila Feay-Shaw is associate professor of music education at UW-Milwaukee. Email:
feayshaw@uwm.edu
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Post Crescent photo by: Sharon Cekada
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