Building your A.R.C.
One question I field frequently is why I lead with being an advocate in music education among the four roles that are listed. It might seem that of those four roles I value (advocate, composer, conductor and educator), that the area of advocacy could be insulated or compartmentalized from the other three. The reality – as many in the profession would recognize – is that different roles a music educator assumes can inform each other on a regular basis. As I consider the areas Advocacy, Repertoire, and Conducting, I see those four roles emerge and manifest themselves in different ways among these three areas.
Each area communicates. Like many things in music, each area holds unique, distinctive features. At points each area reflects an aspect of the other that is essential to remember. Finally, each area is important for directors of any level of band to consider in how we might best serve our students and the good of music education.
Advocacy has become an essential area of emphasis for the band director in 21st century music education. Through efforts in advocacy, a director can communicate the value of our art to students, parents, other teachers, administrators, and stakeholders in education. Repertoire, through the efforts of both composer and conductor, also communicates but slightly different. It is through repertoire that many band directors communicate enduring musical concepts to their students. It is through repertoire that the composer can also communicate those enduring concepts, but also provide new and emerging concepts that advance and challenge the current musical insight of the ensemble and director. Finally, conducting also communicates to the ensemble, and at times to the audience, the very essence and energy of the art of music.
While each area communicates to those who encounter it, it is vital to remember the unique aspects that each hold. Through efforts in music advocacy a band director can make strides to politically and socially advance the art. All pieces of repertoire must serve a purpose for the school band. In the area of repertoire, it is important for band directors to remember both the academic endeavors within the art, as well as the artistry that can grow from academic endeavors. Pedagogy and artistry need not be distanced from each other. They can exist in unique and meaningful ways within each piece of music, regardless of age level. Finally, through gesture, facial reaction, and demeanor a band director can outwardly show both emotionally and physically the expression of the art.
Each area is reflective in part of the other two. In advocacy efforts, band directors can reflect both the value of artistry and pedagogy. It is through choices in repertoire that a band director can demonstrate their priority for artistry and pedagogy. The choices a band director makes as a conductor reflect both interpretation and insight into pedagogical and artistic concepts. These reflections serve as a reminder to band directors that one role or area must be able to inform the other.
From my perspective, I view these areas as holding equal importance. While some directors may not see themselves as a composer, it is reasonable to ask to view themselves as musician. Holding oneself accountable for artistry can only be accomplished through actively creating and making music as an individual and with others. Advocacy is important to me as it demonstrates to all stakeholders and critics how necessary music education is for a 21st century student. Repertoire is important to me as it demonstrates our interest in growing the mental, emotional, and physical dimension of our students through meaningful musical experiences. Conducting is important to me as it demonstrates our personal commitment to the craft, and how we might best express the music we share with our students. Each area can make a difference in the lives of our students, and each area deserves our care and attention as we develop as leaders.
