jazz education Infusing Non-Traditional Elements
Into a Traditional Music Program Doug Syme, WMEA State Chair, Jazz Education
In an era where music programs are suf- fering from cutbacks and competing for student attention with a myriad of other activities, “bridging the gap” is a subject of which we should all be keenly aware. I have seen figures in the last several years that claim anywhere from 50-85 percent of all high school students nationwide elect not to take music. While there is no one reason for this, as music educators we must acknowledge our part in this phenomenon and work towards reversing this trend.
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We know students love music and partici- pate in a plethora of extra-curricular musi- cal activities. We also know school music programs have an enormous “unwritten”
curriculum, helping students in a variety of ways, both musically and non-musically. The question is how do we bridge the gap between extra-curricular and academic music programs while still maintaining educational integrity? I decided to develop a list of things educators can do to try to attract students to their school music program. Most of them are a mindset or a minor curricular adjustment that could help us “bridge the gap.”
Embrace Your Students’ Musical Tastes In my opinion, one of the most neglected areas in music education is listening. While musical literacy and performance/ rehearsal techniques are important, most
students will encounter music primarily as a listener. Proper listening can be taught just as effectively as any other aspect of music education. This should also include listening to music introduced by students. Discuss the positive and negative aspects of the music, make historical connections, etc. I have a motto in my classroom: “Fundamentally, there are only two types of music – good and bad.”
Embracing your students’ musical tastes also helps to validate their opinions and shows that, as educators, we are not stuck in a myopic, single-minded view regard- ing music. Rather, we need to show our students that we, and music itself, are con- stantly evolving. I often tell my students, “At this point in your life, you should be music junkies. Listen to as much good music, in all styles, as possible.”
Musical Literacy
I will admit though I was brought up in a very traditional manner musically, read- ing music before thinking about anything else, and I am torn when it comes to the topic of musical literacy. While reading music, following a conductor, etc. are important, particularly if you want to at- tend college for music, are they really the most important part of being a musician? Feel, listening to others in the ensemble, sound, intonation and overall musician- ship are elements necessary to any musical experience a student may encounter.
I say this because attention to other mu- sical details can help bridge the gap to extra-curricular ensembles. Being musical and playing/singing in tune are important whether it is school band/orchestra/choir, a rock band, a rapper, a singer-songwriter, or any other number of musical ventures. If a student sees that school music training can directly apply to their extra-curricular musical activities, then we have a better
54 April 2016
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