Considering the nature of our current school music


options, possible enrollment issues in these programs, and emerging opinions about the non-traditional musicians who may be left out, numerous systematic changes might be considered. Are there new ways to continue to make current offerings more comprehensive? Are there new course offerings that could make overall programs more comprehensive and inclusive?


Implementation Options There are a number of important initiatives already


being implemented to alter the nature of traditional secondary ensembles. One example is the Wisconsin CMP model, with its emphasis on planning for comprehensive instruction discussed online and in a recent book (O’Toole, 2003). Another is the BandQuest series of music and band curricula, which distributes music and accompanying enrichment materials that are ripe for comprehensive and interdisciplinary study (American Composers Forum, n.d.). In addition, the International Baccalaureate (IB) program promotes a holistic and a global worldview in the study of music, emphasizing connections between art forms and “the creative cycle—a dynamic, ongoing process of sensing, planning, creating and evaluating art” (International Baccalaureate, n.d.). Encouraging these programs and others might help to keep traditional ensembles effective and comprehensive. The profession might also consider the development


of new, specialized courses within the school music curriculum. Possible courses could include secondary general music classes, which are already beginning to be implemented across the country. While the focus of these courses varies, they often emphasize different knowledge and skills and involve students in different roles than traditional ensembles (Gerrity, 2009; Green, 2002). This is fertile ground for students to work as composers/arrangers, improvisers, producers, pop/rock/folk songwriters, historians, and critics, roles often eschewed by traditional ensembles and even school principals (Abril & Gault, 2008). This is also fertile ground for students to take control and direction for their learning, which is also uncommon in traditional ensembles. Teachers who are currently in the field may move


toward a more comprehensive approach through incremental changes, instead of complete over-hauls in their teaching. Instead of a concert full of challenging repertoire taught through exhaustive, teacher-directed repetition, teachers may find room for a collaborative teacher/class composition. Instead of five days a week of teacher-directed rehearsals, one day per week might be dedicated to songwriting, or computer- aided composition, or improvisation.


Broad Concerns on Implementation Of course, changing the nature of traditional classes


or adding specialized courses raises numerous logistical questions. For example, how will new offerings be scheduled into the school day? How do we ensure that music teachers are prepared to work effectively in these settings? Also, will a more comprehensive list of course offerings offer students the chance to be well-rounded through participation in several courses, or will it stratify and isolate students? Can teachers


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encourage meaningful cross-over between musical courses? Also, the inclusion of student-directed, informal learning set- ups begs questions about teacher roles and teaching styles. How much and what sort of facilitation or input is most helpful in these alternative music courses? These are difficult questions that have been considered by numerous authors of late (Green, 2002, 2008; Rodriguez, 2009). Considering implementation of new approaches and


programs raises concerns about teachers. Because implementation starts with the current music teachers who may be asked to work toward structural change, the profession might take a close look at teachers’ “life-worlds,” defined by Alerby and Ferm (2005) as “the everyday world of our experiences, which we take for granted and where we live our lives” (p. 177). Instigating change would mean understanding music teachers’ microcosms from the inside-out. How do their relationships and incentives affect their willingness to embrace comprehensive reforms? Could teachers who prefer a solitary focus on performance skills be convincing to broaden their focus? The cycle of teacher education is another important


consideration. Recent authors have noted that paradigmatic change is difficult in music education because the profession is populated with teachers who instruct students in the manner they were instructed (Gerrity, 2009; Jones, 2008; Younker & Hickey, 2007; Kratus, 2011). This cycle can lead to “uncritically accepted” norms of behavior that can be conceptualized as “default settings” (Regelski, 2009). Therefore, substantive changes may need to start through reforming habits and behavior in teacher education programs.


Conclusions If music education is to keep moving toward


comprehensiveness, reflection on the past, present, and future is crucial. The acknowledgement that efforts in this direction have long been ignored by many in favor of the same traditional secondary programs can be disheartening. But the signs of change do seem to be fomenting new ideas. And in today’s increasingly digital world, teachers are surrounded more than ever by students who expect and deserve broader offerings. The time may indeed be ripe for change.


References Alerby, E., & Ferm, C. (2005). Learning music: Embodied music in the life-world. Philosophy of Music Education Review, 13(2), 177-185.


Abril, C. R., & Gault, B. M. (2008). The state of music in secondary schools: The principal’s perspective. Journal of Research in Music Education, 56(1), 68- 81.


American Composers Forum, (n.d.). BandQuest. Available online at http://www.bandquest.org/program/bandquest.


Cavicchi, D. (2009). My music, their music, and the irrelevance of music education. In T. Regelski & J. T. Gates (Eds.). Music education for changing times: Guiding visions for practice. New York: Springer.


Coalition for Music Education in Canada. (2005). First-ever Canadian report released on the state of music


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