“Creating Musical Flexibility Through the Ensemble”

Article critique

This article challenges the relevance of the traditional music program and poses some interesting questions.  Why can’t students be performers and composers? How can we meet all of the standards if we only focus on performance?  How do we balance these things? Mr. Schneider highlights the challenges of building a new music program, through his experience,  and offers great “outside of the box” solutions that can help programs of any size.  

On the subjects of musical discipline, technique, theory, and composition; Mr. Schneider points out that students should be able to transpose and cover parts when needed.  The expectations should not be limited to just being there and playing your part well.  Students should know their instrument well and develop a good ear.  They should all have a good understanding of melodic and harmonic theory and be able to compose their own music.

As a member of a large powerhouse high school band, I was never exposed to any of the concepts above except for listening and developing a good ear..  There was no apparent need for me to play another part other than my own and there was no time for theory.  The expectation was: you will play your part well and help ensure we get superiors and win.  Win, win, win.  There was no time for switching parts around or discussing theoretical concepts.  Downbeat was five minutes after class starts and horns were away five minutes before the bell.  Rinse and repeat.  The results were great for the music program and school district.  Many of my classmates went on to college level music programs and/or professional careers in music.  I went directly into the Marine Corps Music Program.  That being said; I​ ​agree​ ​that​ ​students​ ​should​ ​be​ ​as​ ​well​ ​rounded​ ​as​ ​possible.  I could have benefited from the methodology that Mr. Schneider outlines in all four areas.  It certainly would have helped my overall musicianship.  There have been times in my career that would have been easier if I was armed with more of those tools.

How do we know is someone is a good musician?  This question probably elicits a wide spectrum of responses, as it should.  I’ll be fairly straight forward with this.  

The answer is in the audience.  Smiles, foot tapping, swaying, grooving, dancing, etc…..A good musician will connect with and move the audience, even if the audience is just a friend in the room.  I don’t think there are many “great” musicians, but there are many “good” musicians that constantly seek improvement….and that’s what makes them good.