It’s Not Music Education’s Fault.
By Daniel Jackson, Graduate Music Fellow
While public school music education is important for exposing young children to and fostering an understanding of classical music, it cannot reverse the genre’s significant decline in cultural relevance. Historically, American music education heavily relied on classical music in the curriculum from its inception through the early twentieth century; however, classical music never became the most “popular” genre in American society, although I would argue that some people’s understanding of “popular” often aligns more closely with the concept of “valued.”*
Moreover, although twentieth-century initiatives aimed at enhancing diversity, equity, and inclusivity in school music programs have increased access to culturally relevant styles and practices, Western classical aesthetics remain prevalent in American public schools. Thus, one could infer that while an emphasis on classical music in school music programs may support its proliferation, its decline is attributable to more significant underlying factors.
A Brief History of Music Education
Public schools initiated choral music education in the 1830s to enhance music literacy and vocal skills for religious services and community engagement: emphasizing Western classical music ideologies as “good music” and more scientific than rote-based folk music of American origin. Pioneers like Elam Ives Jr. and Lowell Mason championed Pestalozzian principles, which promotes vocal music as vital for intellectual, physical and moral development. Despite initial setbacks from the Civil War, advocacy for music’s inclusion in curricula grew, as indicated by U.S. Bureau of Education surveys in 1886 and 1889 that showed increasing interest and support from administrators. The Industrial Revolution fostered competitive music performance festivals in the 1910s, with John Dewey promoting music’s role in skill evaluation through performance opportunities. These festivals utilized rating systems sculpted to evaluate skills, knowledge and literature based on the Western classical tradition.
The 1960s marked a turning point, with the U.S. moon landing shifting focus toward the arts through President Johnson’s Great Society initiatives. The 1967 Tanglewood Symposium highlighted the need to diversify music education. However, despite expanded offerings, the curriculum remained primarily focused on Western classical music, largely due to the training of pre-service educators. This focus led to limited exposure to non-classical music, perpetuating the Western Classical canon. In 1999, the Housewright Symposium emphasized the importance of music education for all students and the need for inclusive, culturally diverse programs.
Where are we now?
Despite challenges in fostering inclusivity, efforts to broaden culturally responsive practices have resulted in a marginally diminished emphasis on Western classical music in many curriculums. However, this shift has not substantially affected declining attendance at classical concerts. Most college music programs prioritize the classical canon, creating a trickle-down effect in public schools. Graduating high school seniors must be proficient in the Western classical tradition to participate in college ensembles or audition for music majors. Furthermore, research indicates that many music educators feel inadequately prepared to teach beyond the classical tradition.
While 92% of public schools offer music courses, high school enrollment in these programs has declined since the 1960s, and budget cuts to arts education present further challenges for teachers. Public indifference toward the defunding of these programs remains prevalent. An article I read from a 1960s music educators’ journal described Americans as largely inaesthetic or inartistic. While these claims may surprise some, they come from music education professionals who have researched cultural trends to advocate for music education and address its decline, which they have witnessed firsthand. If you are reading this, you may have a strong interest in the arts and a solid knowledge of classical music. Typically, our interests shape our social networks, which can amplify biases and obscure the reality of being part of a cultural minority. In short, “Birds of a feather flock together.”
Rather than assume the declining enrollment in school music programs has led to reduced interest in classical music, I propose an alternative theory: the growing disinterest in school music reflects a disconnect between our diverse global population and the adherence to Western traditional philosophies in music education. Americans are not inaesthetic or inartistic; rather, they do not see themselves represented in the music they study. While Americans have created genres like folk, blues, jazz, rock and roll, rap, R&B, gospel, and others, many of these are marginalized or diluted in the curriculum. I believe this phenomenon stems from a) a socially hierarchical society guided by Western ideology on aesthetic beauty in art, b) and a lack of culturally authentic and responsive training within college music education programs.
After over 20 years in music education, one phrase I dread hearing from high school students is “school music,” as it often denotes music that doesn’t resonate with their cultural vernacular. Even when the styles align or the music is relevant, Western classical aesthetics dominate teaching and performance practices, resulting in an inauthentic learning experience and presentation. I do not believe that music education causes a decline in interest in classical music; rather, it helps maintain the genre’s cultural relevance. However, does the strong connection between Western classical traditions and public-school music education hinder long-term participation in and support for these programs? In other words, does the emphasis on Eurocentric aesthetics and educational philosophies negatively impact interest and participation in school music programs, potentially affecting knowledge and engagement into adulthood? I feel uncomfortable providing an answer to this question since I’ve done little research on the topic. Nevertheless, I feel quite confident in proclaiming that although music matters, culturally relevant musicking matters more.
*For instance, the Grammy Awards may be viewed as more prestigious or valued compared to the American Music Awards (AMAs), yet the AMAs consistently rank as the most-watched broadcast. While Grammy nominees and winners are determined by a committee of music industry professionals based on established criteria of production and musical quality, AMA winners are chosen based on chart-topping hits and the preferences of the general public.
