How do you program for ensembles? Jordan Randall Smith posted the following message on Twitter on 12/26/19 (along with some great connected questions):
Many conversations about programming in music education tend to focus on the “what” (the repertoire). So, questions about principles and processes are refreshing! I suggest checking out the thread for varied perspectives on programming music.
Here are some thoughts regarding programming music for an ensemble in an educational context. Consider these ideas as starting points to expand from focusing on the repertoire itself. You can also think of this as curricular inquiry.
Some Thoughts on Programming Music for Ensembles, Music Programs, and People
Consider Educational Commonplaces
Situate programming in relationship to and interaction with Jospeh Schwabs’s commonplaces in education. Schwab’s commonplaces include: subject content, ( i.e. repertoire) learners, educator, and milieu (the context). For instance, consider who is in the ensemble, their interests, needs, perspectives, skills, musical backgrounds, and funds of knowledge. Are ensemble members involved in programming the repertoire?
Ask: What type of environment and community do I want to foster? Consider how the ensemble and programming fit within larger contexts of wherever the ensemble is located such as other School of Music Programs, or local communities. Focusing on the music or repertoire (subject content) is also important. The key here is the interrelationship and interaction of all the commonplaces.
Consider Aims and Goals
Consider the aims and goals of the program (including your own), local communities, students/learners, related programs and contexts. Then, consider how programming relates to & can impact aims and goals. Keep in mind ethics and equity while reflecting on relationships between aims, goals, programming, and repertoire.
Consider Collaboration
Consider who else could be involved in collaborating. Invite some conversations to potentially inform programming. Ask: Whose voices could be included? Whose voices might be excluded, whether deliberately or inadvertently? The earlier in the process that conversations occur, the more possibility for organic and equitable collaboration. There’s a difference between choosing repertoire and then asking people to collaborate and asking people to collaborate and including programming the music as part of the collaboration.
Consider Images of Curriculum
Consider the images of curriculum that you and ensemble members enact through programming music (see William Schubert’s (1986). [affiliate link] Curriculum: Perspective, paradigm, and possibility) For example, What is the hidden curriculum communicated by the programming? Might the repertoire we program teach stereotypes and cultural tropes?**
Who is and is not represented in the programming? Does the programming contribute to cultural reproduction? Does the programming foster social transformation?
**See: J. Abramo (2007) Mystery, Fire and Intrigue: Representation and Commodification of Race in Band Literature or D. Bradley (2009) Global song, global citizens? The world constructed in world music choral publications Also see: C. Abril (2006) Music That Represents Culture: Selecting Music with Integrity. There’s quite a bit of scholarship on complexities of repertoire in relationship to issues of equity (and hidden curriculum) if you are interested.
Consider Types of Musical Engagement
Consider the types of musical engagement that are important to the community of ensemble members, their growth, and development. Then, consider programming in relation to (diversity of) engagement. For instance, how might programming music relate to the Core Arts Standards? Will ensemble members create original music? If so, how might that relate to programming and public performances?**
To what extent will ensemble members be involved in decision making? What ways might ensemble members engage in connecting w the historical socio-cultural context of the music? What types of interdisciplinary connections & engagement might be involved?
**For info and ideas on students creating music in and for ensembles see the book [affiliate link] Musicianship: Composing in Band and Orchestra edited by Maud Hickey, Alexander Koops, Clint Randles, and David Stringham or [affiliate link] Minds on Music: Composition for Creative and Critical Thinking by Michele Kaschub and Janice Smith.
Consider Presentational and Participatory Performance & Culture
Consider the degree to which any performances will be presentational or participatory and how programming factors in both paradigms? See Thomas Turino’s book [affiliate link] Music as Social Life: The Politics of Participation for a foundation on the concepts of presentational performance and participatory performance.
To delve into issues of participatory culture in music education consider taking a look at the article A brave new world: Theory to practice in participatory culture and music learning and teaching that Janice Waldron, Heidi Partti, Roger Mantie, and I co-authored. Also, check out some of the experiments around programming music and participatory culture that grad students and I explore in our ASU Digital and Participatory Culture in Music course.