sonably deny the student access to varying points of view… Shall not deliberately suppress or distort subject matter rele- vant to the student’s progress” (National Education Associa- tion, 2013). The National Association for Music Education (1996) echoes these ethical standards in their position state- ment on religious music in the schools: The study and performance of religious music within an educational context is a vital and appropriate part of a comprehensive music education. The omission of sacred music from the school curriculum would result in an incomplete educational experience.


Clearly, these professional organizations support the study of religion and religious music within the public schools. However, critics of this practice cite the First Amendment claiming that inclusion of religion in school curricula does not uphold the intended separation of church and state. Un- derstanding the law will enable music educators to make in- formed decisions regarding this complex and controversial issue.


The First Amendment and Separation Of Church And State There are two clauses in the First Amendment that clarify the Court’s position. The establishment clause states, “Congress shall make no law respecting an establishment of religion...” which in essence prevents the formation of a national reli- gion. The free exercise clause, “Congress shall make no law … prohibiting the free exercise (of religion)”, means that the government cannot interfere with individuals rights to be- lieve and practice religion (First Amendment Center, 2011).


According to the First Amendment Center, the U. S. Su- preme Court has interpreted the law to mean that, “…public schools may neither promote nor inhibit religious belief or nonbelief.” Thus, while public schools may not indoctrinate students or attempt to influence their beliefs, public schools may teach students about religion. An important distinction to keep in mind is that schools sponsor the study of religions, not the practice of religions (First Amendment Center, 2011).


Based on the Supreme Court’s ruling, teaching about reli- gion in the public schools does not conflict with the intent of the First Amendment or the idea of separation of church and state. However, lack of knowledge or misunderstand- ing of the law, a desire to maintain political correctness, or personal insecurities may prevent many choir teachers from taking advantage of this opportunity. The following guide- lines describe criteria for studying and performing religious music in the choral classroom.


Religious Music in the Choral Curriculum: Suggested Guidelines Various guidelines incorporating the study of religions and


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performance of religious music are available. See the re- sources listed below for access to more detailed informa- tion. For this article I highlight three criteria educators may use as touchstones for evaluating the inclusion of religious music in their repertoire: purposeful educational objectives; balanced and quality repertoire; and a safe, supportive class- room environment.


First, the educational objectives must be purposeful and clearly stated. Actual instruction about a religion should be part of one’s objectives. Such goals and objectives might in- clude comparing and contrasting different religious beliefs, traditions, or celebrations. Understanding the role of music within different religions is another legitimate educational goal. Justifying the inclusion of religious music simply be- cause it is a substantial part of Western choral music tradi- tion is not enough. However, purposefully teaching about the role and historical impact of choral music on Western civilization would fulfill this criterion.


Once educational objectives have been established, educa- tors must consider whether musical selections represent a balanced and quality repertoire. In the choral setting, the repertoire is the curriculum, thus it should reflect a wide va- riety of musical styles and genres. Over the course of a given year, the number of religious songs that are learned should be proportionate to the numbers of styles and genres taught. Selecting quality music regardless of genre or style while avoiding tokenism is important. Including a poorly written Jewish Chanukah song simply to balance the inclusion of Christmas songs sends the wrong message.


Finally, teachers will want to consider the classroom envi- ronment. Teaching about religions through the performance of sacred music will be most successful if the choral teacher creates and sustains a classroom environment in which stu- dents feel safe, where their differences are valued, and their beliefs honored. Recognizing that Christianity is the domi- nant religion in the U.S. but that not all students may be Christian will help teachers plan meaningful experiences. Teachers who take time to discover students’ beliefs and family values, then plan repertoire, activities, and perfor- mances that are respectful of these differences have the po- tential to positively impact students’ learning.


Choosing to include the study and performance of religious music in one’s choral program can be a difficult decision. Nonetheless, I believe it is our moral and ethical responsi- bility to do so. With thoughtful planning, purposeful reper- toire, and a supportive classroom environment it is possible to broaden students’ understanding of religion’s role in the human experience while fostering tolerance and respect for the beliefs of others. Our students deserve no less.


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