The most pervasive musical element in term of correct interpretation by both composers and conductors was in regard to tempo.  Other commonalities existed across both conductors and composers (notably by Barnes, & Camphouse) including utilization of recordings, becoming familiar with a score through a secondary instrument (piano or voice were mentioned frequently), and that over time our interpretation of a piece may change because of new perspectives or personal experiences.  It would seem to me that the process by which one learns a score varies widely across known experts in the band world, and is a highly personalized decision based upon your pedagogical training.  Choices of meter, key, and tonal and rhythmic patterns are sufficed to say objective, but in matters of overall general expressive musical elements, tempo seems to be a common focus because of the great variability for which it can possess.  It is interesting to note that a number of conductors and composers both concede that a performance tempo can differ from the ideal (marked tempo in the score), and that the adjusted tempo of the performance can still result in a quality or reputable performance.  In some cases it is a matter of ensemble technique that will prevent an ensemble from being able to achieve the demands printed in the score, but it is obvious in the writings that conductors and composers acknowledge this and are able to recognize when other elements are brought to the best possible quality which contribute to effect interpretation.

Another commonality that seems to exist across many of the composers and conductors is they concede that there is a limit to what musical notation can convey, and at times there are ambiguities that may not make sense during score study.  Hopefully these moments of questions and uncertainties can be answered by the director as he looks at the work he is studying, compares it with other known pieces by the same composer, and compares the current piece against stylistic practices of the time or pieces of similar musical structure.  I believe it is worth noting that here that this process the conductor is going through for just one piece of music is not so far removed from the idea of comprehensive musicianship whereby the musician immerses him/herself in studying music from multiple perspective, each perspective contributing to a greater understanding of a larger picture. Andrew Boysen Jr.’s (Camphouse, 2007, p. 11) comments perhaps summarize the idea best as he asserts that the notation in the score should support the conductor’s musical decisions.  It follows that the performance is the very best attempt by an ensemble and conductor to represent what they believe to be the composer’s intent.

Flexibility as it relates to letting the music “live in a certain place” as Giroux states (Camphouse, 2004, p. 80), gathering insight from the ensemble not previously considered as Kirchoff suggests (Williamson, 2008, p.53), and, as Hunsberger observes, understanding each ensemble has an “optimum tempo” (Williamson, 2008, p.37), also seems to an important aspect of interpretation.  The modern conductor must have in his arsenal of abilities an understanding to be flexible as his perspective may change while working on a piece with his own students, but find a new perspective when asked to conduct the group of a colleague or an honor ensemble.  Getting back to the idea of tempo, both the music and the ensemble must find the tempo at where they can ideally perform.  I believe this is the reason why at times pieces are adored by one ensemble, and despised by a group 12 miles away – optimum performance tempo of the music and the ensemble do not converge.  Part of this problem may be related to that, but it might also have to do with directors being afraid to vary from the printed score even when it might be more educationally sound to do so (emphasis added, duplicity implied).  A discussion for another day – but this isn’t math or science with one right answer – and some directors are chasing a trophy  on the wall and it is easier to play it safe.  While McBeth and Giroux go as far to say that composers are sometimes indicating the wrong metronome markings they include on a score, Camphouse and McBeth agree with Jack Stamp that composers are not always the best interpreter of their own work.  James Barnes recounts a story about Verdi and Toscanini that is a reminder that one’s inner musician is critical for a conductor’s interpretation that is truly “in the spirit” of the composer’s intent.  Jack Stamp (Miles, 1998) discovered during his college experience that although Stravinksy was held in high regard compositionally, others did not feel he was the best interpreter of his own work!

The final aspect of interpretation that seems to be a shared concern of importance between composer and conductor is that of feeling, emotion, and passion.  To a degree, many of the composers explicitly mention important aspects of feeling, expression, and emotion in the interpretation of their work.  No matter what reason a composer decides to put “pen to paper”, their works are a product of their experiences, beliefs, surroundings, and creative ideas – and those experiences are at times attached to significant feelings, emotions, or expressions.  As stated by my friend and colleague Dr. Joseph M. Pisano, a composition conveys a concrete thought such as the liberation one’s country, an emotional thought such as the liberation of one’s heart, or a spiritual thought such as the liberation of one’s soul.  The composer is literally molding a conceived idea or a feeling into a sonic musical existence.  The passion of music becomes interpreted correctly when the conductor understands and enjoys the music, and is able to get the students in the ensemble to “reproduce those feelings” as Hilliard states (Camphouse, 2007).  Sam Hazo’s experience with Paul Thornton’s band demonstrates the importance of connecting the music to the lives of the students.  Paula instructed her students to write a meaningful life experience to the sound of the music in the margins of their music – it created in every student a way to connect their life stories to the music in which they were engaged in performing.  I would be interested in knowing just how many of those little anecdotes written by her students were emotionally charged or connected.  Robert Sheldon states that in order to convey passion (emphasis mine), a conductor must possess technical means and the wherewithal and self-confidence to do and say whatever is necessary to get the ensemble to respond (Camphouse, 2002). Frank Ticheli shares that the conductor must find meaning in the work, and believe in it passionately (emphasis mine) (Camphouse, 2002).  When asked about it, Mark Camphouse’s opinion is that “Passion (emphasis mine) comes from believing in the music long before a conductor ever steps on the podium…If a conductor has passion for the art of music and for playing great literature, his performance will have passion…” (Brown, 2001, p. 13).

Many conductors have written about helping the ensemble recreate or realize the interpretation of the composer’s intent, and rarely do they discuss a performance that was devoid of feeling, emotion, or passion if it was achieved.  Can we forgive a less then perfect performance that lacks emotional expression? My feeling is that many would agree yes.  I am not saying technical accuracy and precision may be tossed out – they are part of our responsibilities as educators to ensure that students have mastered.  But we might also be aware that there is another side that is beneficial for the student to experience, and that through our own authentic interpretation we may be able to unlock the emotion, passion, and feeling in music for the benefit of our students (Help them find the love!).  As Craig Kirchoff (Williamson, 2008, p. 54) states so eloquently, “Without such passion, there is no communication…and not even any real music.”

Brown, J. S. (2001). Mark Camphouse creates music with the passion of a performer. The Instrumentalist, 56 (6), 12-15.

Camphouse, M. (Ed.). (2002). Composers on composing for band (Vol. 1).  Chicago: GIA Publications.

Camphouse, M. (Ed.). (2004). Composers on composing for band (Vol. 2).  Chicago: GIA Publications.

Camphouse, M. (Ed.). (2007). Composers on composing for band (Vol. 3).  Chicago: GIA Publications.

McBeth, F. W. (1992). Interpretation: Unlocking the drama in music. The Instrumentalist, 47 (5), 14-18.

Miles, R. (1998). Teaching music through performance in band (Vol. 2). Chicago: GIA Publications.

Williamson, J. E. (2008). Rehearsing the band. Galesville, MD: Meredith Music Publications

Our eventual performance on March 12^th by all the ensembles was superb.  It was probably the best concert I have put together in my 14 years of teaching.  Other program selections included Wagon Trail by Julie Giroux (excellent work), Cumberland Cross by Carl Strommen, and Cajun Folk Songs 2 by Frank Ticheli.  I am so proud of what they accomplished in the rehearsal hall, the auditorium, and now, as I begin to review the submissions for the interdisciplinary unit, in the computer lab.

The one main goal of the class last summer was to explore ways in which we as educators can help students make more authentic connections between the music we study and other subjects like art, music, history, and poetry.  The National Standards for Music make it pretty clear that we should be teaching students to understand disciplines outside the arts.  My view of the profession of band directors is that it must include becoming heritage bearers of the American Wind Band.  When that is translated into every day teaching, we must seek ways to help our students make more authentic connections with the music performed by the large ensemble.  It is no longer enough to just get music ready for the concert and adjudication or festival (Though noble goals they are).  We must find ways to engage them beyond the notes on the page so that their memories not only include the wonderful music they performed and studied but how that connects to their everyday lives and the culture in which they are living.

You can visit the website that I prepared by clicking here.  It was my first experience using iWeb, and the ease of use the software provided was appreciated since I am – as the commercial says – “PC”.  I am especially appreciative of Tracy Sevin, the technology coach in the building where I work, who provided me with a very easy way to collect the assignments from the students.  All the students are submitting their work digitally via Rcampus.  Within 15 minutes, I had registered myself as a teacher, set up 3 sections of classes, and provided links to the website and the learning activities.  The students are currently preparing their work in a Word Document, and then using a simple attachment option can send me the file electronically.  While we have used several of our rehearsal periods for the ensembles to access the computer lab, the beauty of this entire assignment is that it can be accessed and completed outside of school time.

Though very new to Rcampus, I am very impressed with their ease of use for both students and teachers.  A regular classroom teacher who creates projects for their students would be able to utilize Rcampus on a more regular basis.  It would provide a way for students to submit recordings for a playing exam or audition material, but there are issues of accessibility outside of school (several of my students do not have the internet), a student having the ability to record a sound file, and integrity of the person making the recording.  None of my students will be printing out any work – everything is handled through digital submission.

The student feedback so far has been very good.  Many of the upperclassmen have commented that the break from playing once every couple of weeks since January has made them refocus the next time a rehearsal begins.  I am planning on doing a post project survey to gauge their perspectives, and the open response section should provide some very interesting results.  The possibilities for future interdisciplinary projects are really endless, but it does take research outside our realm to bring authentic connections to the students.  I hope this sparks some interest and curiosity amongst our profession as move our 20^th century ensembles into a 21^st century educational setting.

Additionally, I recently received a recording of Pirates!, a multi-movement work that will be available from FJH in the Summer of 2009.  The recording is from the Nassau Division 4 Honor Band that Drew conducted back in January.  If you get the chance, click here to here this group of freshmen and sophomores swashbuckling away!  The students did a wonderful job under Drew’s conducting.  My thanks to Drew and the Directors who programmed this piece for their festival!

One of my more critical beliefs about music education is its responsibility to be an integral force in shaping, educating, and influencing culture and society.  Similar to the thoughts of Reimer (2003), I believe that music education has a responsibility to make our students aware that music is a universal experience, the meanings drawn from music are contextual to the culture in which they occur, and that through exploration and study of other culture’s musical forms and practices students can come to a better appreciation, understanding, and value of the music indigenous to their own culture.   While I believe that some exploration and study of music of other cultures is a worthy endeavor, we are limited by our shared experience of that culture’s music, and we must be sensitive that our instruction through the represented medium in our culture may in fact not accurately represent the accepted practices of the culture from which the music originates (Jorgensen, 2003).  If we can recognize this limitation and seek means by which we are able to bring a better understanding to our students through authentic representation or performance, we demonstrate our commitment to the universal experience that music offers.  The respect and inclusion of music from other cultures is a valuable undertaking, but the profession of music education must also consider the many traditions and social values of our own culture in the music that is selected for study.  As a profession, our goal should be to provide an authentic musical learning experience for all involved and, in some cases, requires us to extend our research of appropriate music to many traditions, eras, styles, and genres as it might better reflect the desires of the community in which we teach (Rideout, 2005). 

            As part of our responsibility to educate and influence culture and society, we must develop and provide creative, responding, and listening opportunities “including but going beyond those that are readily available within the culture” (Reimer, 2003, p.160).  I will first address the opportunities within music that are engaged by the majority of the population, and later will discuss the importance of the opportunities found in the music which is engaged by a smaller portion of the populace.  I believe each side, for reasons of authenticity, aesthetic appeal, history, performance demands, and relation with aspects of the culture, is worthy of study for students at every grade level.  When music’s ability to contribute to moral conditions, regulate behavior or social norms, integrate society, enhance personal relationships, and promote social and political awareness are considered in addition to the reasons listed above (Alperson & Carroll, 2008), it becomes obvious how deeply music is integrated and functional within society and culture. My goal here is not to make qualitative judgments or imply preference, but rather to view music of our own culture from a broad perspective and illuminate reasons why there should be a diverse selection of music included for study.  The majority of my teaching experience in my career thus far has been as a high school band director and teacher of instrumental music.  The nature of this teaching position has required me to prepare soloists, chamber and small ensembles, and large ensembles of a traditional school setting for numerous public performances.  An additional part of my teaching duties includes instruction to students in a general music classroom, and although this portion of the student population does not have aspirations to enroll in one of the curricular ensembles, they are just as deserving as ensemble students to be engaged in musically meaningful ways (Reimer, 2003). 

            There is a healthy balance that needs to be achieved between the objectives of professional music educators and desires of students and community members on the music that is selected for study in education.  When the demands of the community are prevailing over the insight and experience of professionals education can be stagnant, and conversely when community values are ignored and the choices of the profession are substituted a definite rift develops between the two groups (Reimer, 2003).  In considering Reimer’s discussion on this very idea in his third edition, I believe that one of the more significant rifts that occurred between community expectations and professional aspirations has involved the exclusion of popular music from classrooms.  Reimer (2003) notes that “popular music” is engaged by the vast majority of the American populace, yet it has remained largely unused in the music classroom or rehearsal hall by the profession of music educators who seek to help their students make a meaningful connection with music.  British philosopher Kevin D. Skelton (2004) offers an interesting perspective on the idea of engaging students in studying music that I feel would be beneficial for the profession to consider.  He says,

            “Unlike most disciplines, students continuing to post-secondary education in music are likely to have undertaken private instruction in their principal             instrument, if not also in history and theory.  For this reason, it is my rather extreme opinion that pre-university music education would be served better by catering to the average students.  Such a focus would encourage more people to engage with music at a level of some personal importance throughout their lives. By this I do not mean a ‘dumbing-down’ of the curriculum, but rather a shift in focus that could benefit the musically proficient as well as the musically interested.”

While this statement is not meant to dismiss the value or heritage of existing performance ensembles within the school, educators must recognize that many students are already deeply immersed in some styles and types of popular music.  Providing opportunities to create, listen, and respond to music the student can identify with because of its familiarity creates a learning atmosphere that is energizing, refreshing, and responsive.  Skelton (2004) further advocates that our profession should seek to recognize the role music plays in each student’s life, and our classroom and curriculum should also seek to promote an increased and more diverse role outside the limits of school.  As Woodford (2005) suggests, students should be reminded of the significance of expanding their musical and social perspectives, while learning to live in a society where people’s values, morals, and beliefs differ from their own.  It is through the study of this music that we can challenge students to consider cultural, political, social and moral issues that have been central in many different styles of popular music, and come to a better understanding of the performance practices and traditions that have set it apart from other styles of music in our culture. 

            In my role as an instrumental music educator, I select music for educational study with opportunities for creating, listening, and responding going beyond what is provided by the culture utilizing music of various folk traditions, instrumental music of Western classical traditions, and Jazz music traditions.  From a historical and cultural perspective, this music has always been associated with the repertoire of music for school bands, and those ensembles retain unique characteristics that demonstrate its virtues.  The virtues of this ensemble are found as you examine its home within the school structure, the youthful spirit and energy of its members, the constant educational process eventually growing into a public product, and psychological/emotional needs of the participants as novices who are confronting complex musical challenges to their emerging self-image (Reimer, 2003, p.283). By examining the significant and meaningful music of previous generations of music educators and incorporating them into instruction, it instills a sense of the heritage that instrumental music has created among performers, conductors, and listeners.  As a profession, we should continue to preserve and present music that best represents this heritage in our instruction, and also seek new examples that extend the spirit and contribute to the advancement of our heritage.  In our search to present repertoire that answers this calling, we should also, as Reimer (2003) points out, not force our ensembles to study a “varied repertoire of music” at the expense of compromising our artistic integrity.  Over the past ten years, there has been significant collaboration among conductors, composers, and educators to identify individual pieces within the repertoire of Western bands that represent authentic, well-crafted, educational, and culturally and stylistically diverse literature that should be considered for study.  The efforts of projects like, but not limited to, the Teaching Music through Performance in Band series, Composers on Composing for Band, and Bandquest have yielded a considerable educational resource to those in our profession that are charged with educating, preserving, and advancing the heritage of instrumental music.  

            The short end is that this is not a process whereby we will see the results in one year.  I am distressed over the number of colleagues I have already known that have left the profession because it was a fight in which “they didn’t know where to start”.  We must find ways to retain members in the profession so that in time they see the fruit of their labor.  I am distressed when I learn of concerts and programs where musical expectations are far removed from the community in which it is situated.  We must find ways to preserve the heritage of instrumental music as it exists so that our audience is rewarded aesthetic, educational, and entertaining moments.  We cannot always fight the war of financial support for music education, though it is one which we should be aware.  We must be advocates that build knowledge, respect, and appreciation for our fine and performing arts programs within the schools.  We must take the responsibility to educate our communities on our value so that no school administrator or board of director for a community group will ever think “well, we have to have this music program”.  I want them to NEED this MUSIC program like a fish needs water.  This issue is bigger than me, and even bigger than the ME Blogger Movement.  But we need to be having this conversation with our colleagues about this responsibility. I’m in. How about you?

References

Alperson, P. & Carroll, N. (2008). Music, mind, and morality: Arousing the body politic.  Journal of Aesthetic Education, 42(1), 1-15.

Camphouse, M. (Ed.). (2007). Composers on composing for band.  Chicago: GIA.

Jorgensen, E. R. (2003) What philosophy can bring to music education: Musicianship as a case in point.  British Journal of Music Education, 20(2), 197-214.

Reimer, B. (2003). A philosophy of music education: Advancing the vision (3^rd ed.). Upper Saddle River, NJ: Prentice Hall.

Rideout, R. (2005). Whose music? Music education and cultural issues. Music Educators Journal, 91(4), 39-41.

Skelton, K. D. (2004). Should we study music and/or as culture? Music Education Research, 6(2), 171-177.

Woodford, P. G. (2005). Democracy and music education: Liberalism, ethics, and the politics of practice. Bloomington, IN: Indiana University Press.