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“Inclusion of Student Selected Repertoire in Secondary Instrumental Programs“
Introduction/Abstract
Selecting repertoire is often one of the most daunting aspects of teaching music. When choosing music for students to perform, teachers must consider a variety of factors. Such factors include the musical quality and artistry of a work, the ability level of the ensemble, educational standards, concert assessment requirements, as well as the function or purpose of the piece. Additionally, it is imperative that music educators research the pieces they program, especially those outside of the Western music tradition. An accurate understanding of such works is essential to ensure authenticity of performance and avoid cultural appropriation. Music educators’ choices may be further complicated by a variety of limitations, including:
“national and local standards, concert themes, curricular units, historical standards of practice, student levels of technique and musicianship, age level, musical quality and style, historical obligations, and (of course) budget” (Rotjan, 2017, p. 1).
With all of the considerations and limitations that a music educator may face, it is not surprising that repertoire selection can be a significant challenge for teachers.
Though challenging, the act of selecting repertoire is a crucial one, as repertoire is a significant part of a teacher’s curriculum. The pieces selected by music teachers should be used to create a framework for students’ learning in order to provide quality, lasting musical experiences. If music teachers make a conscious effort to plan their repertoire as a curricular framework, the repertoire will foster students’ musical growth (Reynolds, 2000). The act of musical growth through meaningful, deep aesthetic experiences is only possible when music teachers “strive to select the finest repertoire” (Reynolds, 2000, p. 31). Selecting and performing high quality repertoire is essential for students to experience music in an impactful and memorable manner.
One method of repertoire selection that teachers may utilize is selecting repertoire that appeals to their students, particularly based off of what teachers believe hey know about their students and their preferences (Drop, 2006; Isbell, 2007; MacLeod & McKoy, 2012). Instead of assuming what students like, what if educators allowed their students to choose the repertoire that they perform? The inclusion of student selected repertoire in secondary instrumental programs can empower students, develop students’ musical identities, create an understanding of what constitutes as quality repertoire, demystify the repertoire selection process, and place the responsibility of learning on the students.
“It’s My Turn Now”: Closing the Gender Gap in Instrumental Jazz Ensembles
Introduction
Jazz serves as both an American musical tradition and an illustration of the diversity that exists within American culture. The combinations of various musical traditions and worldly influences, the ability of jazz to encourage integration of performers, and the limitless potential for creativity regardless of societal acceptance reflects the diversity of America present in the jazz genre. Though diversity is apparent in jazz, women are consistently overlooked in jazz history and current practices (McKeage, 2004). The lack of female presence in jazz is particularly evident in the membership of jazz ensembles in secondary schools and universities. A 1999 study of New Jersey high schools found that only 26% of jazz ensemble members were female (Barber, 1999). Similarly, Steinberg’s 2001 study calculated the number of participants at middle and high school jazz festivals, of which only 30% musicians were female (Steinberg, 2001). This disparity between gender representation tends to increase at the university level, of which female musicians can make up to a mere 20% of the jazz ensemble (McKeage, 2002). And while these studies may be viewed as slightly dated, current research is following similar trends. Boeyink’s 2012 study demonstrated that as the age level of the members in a jazz ensemble increased, the number of female musicians in the ensemble decreased, with female participation statistics ranging from 18% in college bands to 39% in junior high bands (Boeyink, 2015). Educators and jazz musicians alike have been grappling over the reasoning behind the decrease in female participation in jazz, particularly at the university level. This research paper aims to explore potential reasons to explain this gender gap in instrumental jazz, as well as provide recommendations to improve female participation in jazz ensembles from beginning bands through the university and professional level.
“Frederick Fennell’s Impact on Wind Bands & Music Education“
Brief Introduction
Frederick Fennell was an internationally recognized conductor and respected teacher within the field of music education. He is widely recognized for his leadership in the wind ensemble movement, and his innovative thoughts on instrumentation, programming, and ensemble sound that continue to impact ensembles on an international scale.
Fennell-Handout