Music Appreciation As An Opportunity For Inclusion, Diversity, and Democracy Dr. Carol Shansky New Jersey City University Jersey City, NJ
W
hen inclusivity, diversity and democracy are discussed in music education our focus is on the welfare and experience of our students. This is important, of course, as those that may have been marginalized in the past should be and feel included and those privileged in the past can only benefit from this interaction. I argue, however, that our repertoire and our academic work has not kept pace. Of course, many school concert programs are increasingly populated by arrangements of music from other cultures and there is an effort to incorporate world instruments in music classes. Here, I focus in particular on what we are teaching in Music Appreciation classes, particularly in high school. Most textbooks that support this subject are really western music history surveys, with some sidebars that highlight world or popular musics. In addition, many well-meaning teachers believe that this is what the objective should be of a class such as this. All of this just underscores the lack of inclusion, diversity and democracy in what we teach by elevating western classical music to the primary landscape of the book or class. In that case, to “appreciate” music really means to be versed in the achievements of a group that is often not representative of those in our classrooms. I do not suggest that we not teach our students the innovations of Bach, Beethoven or Brahms, but instead encourage music educators to draw connections between the music that students listen to and music to which they have not yet been introduced. But shouldn’t the school music classroom be a place where students learn about music that they don’t otherwise encounter? Don’t their science and history JANUARY 2020
classes do just that? After all, how many students are conducting experiments at home or studying World War I in depth while hanging out with friends? A silly argument, of course, because schooling is supposed to expand your knowledge. Frankly, every time someone follows a recipe in the kitchen they are conducting a form of chemistry, for instance. A music class should also seek to expand and build on your knowledge, but not to the prioritizing of some musical styles over others. Many music teachers report aggravation over how to teach Music Appreciation as their students find the classical music focus boring and unrelatable. How can we show them the beauty of Bach and the profundity of Beethoven without losing them by the third week? What really is the point of this class? What can possibly be accomplished in the time frame of the class? My intention here is to spark your imagination about the possibilities for a more inclusive and diverse Music Appreciation class and my suggested exercises are just that; suggestions that may guide your thought process. Music is found in cultures world-wide, so why not start with why people engage in musical practice starting with the students in the room? It’s unlikely that students do not listen to some music. What are they listening to and why? To increase inclusivity and democracy is to let the students take the lead in examining their own musical experiences and preferences. What do they want to learn about music? What are they curious about? Besides in their ear buds, where else do they encounter music? This can lead to rich discussions and paths to follow.
29 TEMPO
