PI 34 licensing and mentoring project
Teacher Authenticity and the Challenge of “Music for All” Judy Bond, WMEA State Co-Chair, PI 34 Licensing & Mentoring Project
As teachers commit- ted to sharing the art of music, we have the opportunity to enrich life for oth- ers even as our own lives are enriched by our art. Why did we choose music educa- tion as our pathway
for life? How can we encourage young musicians to explore and consider making a commitment to sharing the art of music through music education? In his book Let Your Life Speak: Listening for the Voice of Vocation, Parker Palmer explores the concept of “vocation,” asking whether we choose a vocation or we are called to our
vocation by finding what Palmer calls our “authentic selfhood.” The concept goes much deeper than finding a career path, and the amount of time it takes to find this “authentic selfhood” varies with each individual. The subtitle of Palmer’s book, “Listening for…” begins with two words that present important concepts: this is active listening, and it’s not listening TO the voice of vocation, it’s listening FOR the voice. There is a sense of mystery here – it’s not a check-off or how-to list, but something that may require searching and discovery.
Now the question you may be asking is, “What does this have to do with PI 34 Licensing and Mentoring?” Is there a
connection? Obviously I believe the an- swer is YES! I believe higher education faculty who teach and mentor under- graduate music education students and beginning teachers have an opportunity and responsibility to encourage students, beginning teachers and others who are preparing to enter the music education pro- fession to consider the profound meaning behind their decision to share music with others through music education. There are infinite ways of making music, responding to music and creating music, and what follows in this brief article is meant to suggest ways to think about current social justice aspects that may impact “the voice of vocation.”
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Two recent experiences led me to deeper exploration of this topic... First, an article by Eric Anderson, president of the Min- nesota Music Educators Association, titled “We Need to Ask the Hard Questions” (Anderson, 2016). In the article Anderson explores “the lack of diversity, equity, and inclusion in our school music programs.” He moves from philosophical questions about this issue to a practical question, “Do ALL students in my community, school and classroom have access to high quality music education regardless of their race, socio-economic background, religion, ethnicity, geographic location, sexual orientation and/or disabilities?” The question is directed to current music educators, but should also be considered by music teacher educators who are re- sponsible for preparing the next generation of teachers. How can we broaden the of- ferings and musical choices to give ALL students access to high quality music edu- cation? Will the next generation of music teachers be prepared to do this?
Shortly after reading the Anderson article, I had the opportunity to hear Jamie Grant, president and CEO of the Ordway Center for the Performing Arts, in St. Paul, MN.
January 2017
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