Instrumental Ensembles in the United States

Traditional ensemble music education has historically been dominated by “the big three:” band, orchestra, and choir. Demographic shifts in student populations as well as long-time calls for expanded curricular offerings have led to the creation of alternative instrumental ensembles in schools. This review of literature will address the following questions: 1) What is an alternative instrumental ensemble? 2) What role(s) do alternative ensembles play in the larger school music program? and 3) What types of alternative ensembles exist currently? Alternative drum and percussion, guitar, marching band, mariachi, steel pan, string, and technology ensembles have been profiled in the literature. Further research is needed to determine how school demographic factors influence the inclusion of alternative ensembles, the role of teacher education, how the ensembles are formed, if regional trends exist, and what funding models are in place for the ensembles moving forward. Introduction and Research Questions A tension exists between supporters of traditional large ensemble music education and those committed to curricular reform. On one hand, traditionalists fear that attacks from both outside and within the profession may weaken their programs. On the other hand, reformers fear that without immediate action, music education may be eliminated from schools altogether. According to the traditionalists, the American large ensemble is a point of pride worth preserving. According to the reformers, the American large ensemble may be doing more harm than good. This tension has generated a spirited, if even sometimes vitriolic debate. In a plea to avoid “throwing the baby out with the bathwater when it comes to curricular reform (p. 49),” Miksza (2013), encouraged readers to consider the value that traditional ensembles have in students’ lives. Many music educators remember their own experiences with large ensembles fondly. Current students also seem to enjoy large ensemble participation. Change, according to Miksza, cannot be made at the expense of all that is working in music education. Fonder (2014), a collegiate band director and ardent supporter of traditional ensembles, described some supporters of reform as the “Ann Coulters of the music education world (p. 89),” perhaps because Fonder feels that reformers are causing controversy for controversy’s sake. The author continues, “The business of music education does not need gadflies, however, who distort what is working well in order to build upon whatever needs improving (p. 89).” With those harsh words, many in the reform camp took notice. Their replies, specifically to Fonder, demonstrate the degree of division between both groups. Articles by Williams (2011a) and Kratus (2007) may have been the inspiration for Fonder’s words. Both authors believed they were, as they indicated in separate response letters. In Music Education at the Tipping Point, Kratus (2007) described a scenario where ensembles cease to exist not through a gradual decay, but in a rapid transformation, similar to the abandonment of Latin instruction in schools only a few generations earlier. Kratus (2015) wrote to challenge the very musicianship of traditionalist conductors who perform by “waving a baton (p. 8).” In Kratus’ words, both he and Williams perform regularly in concerts and recitals, calling into question Fonder’s assumption that reformers use their publications as performance. Williams (2015), in a more diplomatic tact, highlighted the value of traditional ensembles while also reinforcing the needs for reform. He believed that large ensembles fulfill an important role, but they must be augmented with other offerings. 1 Thompson: Alternative Instrumental Ensembles in the United States Published by Digital Commons @ Kent State University Libraries, 2016 Colley (2009) described the band, orchestra, and choir based model as the “trilogy” of traditional music education. Band, particularly, claims a uniquely large role among the three. This tension between band as the dominant instrumental paradigm and all other possibilities in music education is what Mantie (2012) described as the antimony between music education and band-as-music education. One need only look at hiring practices in higher education, Mantie argued, where certain positions are posted as music education and others as Director of Bands. The author summarized the antimony and gave some insight, if somewhat over-generalized, into mindset of both groups of faculty by writing, “for the Director of Bands, bands are a (or even the) medium of music education; for the professor of Music Education, bands are a medium for music education (p. 76).” Curricular expansion, according to the reformers, is urgent. Beyond Kratus’ (2007) concerns, Schuler (2011) identified changing student demographics as an additional area of concern. Access to private lessons, which the author stated can influence achievement in instrumental courses, may be limited among low-socioeconomic or minority groups. Expanding the curriculum beyond traditional ensemble offerings may be a way to reach those students. Furthermore, the development of lifelong music making skills should be a priority in music education, something Schuler believes may be improved through curricular expansion. Regardless of the specific new direction, curricular changes can generate new issues for educators. Presenting and performing music in authentic ways is one such concern. According to Woody (2007), many music educators understand the importance of authenticity when working with music from other cultures. However, when students' own cultural identities are intertwined with the musical material used in class, issues of authenticity become even more important. Inattention to certain pedagogical or performance concerns could be interpreted individually by a student as ignorance at best, or more perniciously as a deliberate slight from that student’s teacher. Reaching a middle ground between the two divisive positions of tradition and reform may not be as difficult as either side’s tenor suggests. One possibility that features elements of both tradition and reform is alternative ensembles. Mixon (2009) described performing groups that use both traditional and non-traditional instruments in the instrumental context. According to Mixon, any ensemble that falls out of traditional performance standards is a non-traditional ensemble. Those ensembles that feature instrumentation similar to traditional groups, but are non-traditional in nature, are specialized ensembles. Alternative ensembles, according to Mixon, are those that are both non-traditional and that use unique instrumentation, such as a world drum ensemble. Mixon’s (2009) schema is problematic, however. Rideout (2005) asked readers to consider the role of tradition, power, and student agency by asking “whose music” is the focus of study? Terming certain ensembles as non-traditional, especially given Woody’s (2007) call to consider student background, while calling others traditional makes a very powerful statement about “whose music” is being, or ought to be, taught. Colley (2009) used the term alternative ensemble to describe any instrumental group that lies outside of the traditional band, orchestra, and choir trilogy. In an effort to help create an even stronger middle ground between traditionalists and reformers, Colley suggested the term additional ensembles. Alternative, the author believed, could imply replacement or removal of traditional ensembles. Additional, may have a more egalitarian tone, but it has yet to be accepted for widespread use in the profession and literature. 2 Thompson: Alternative Instrumental Ensembles in the United States https://digitalcommons.kent.edu/epar/vol3/iss1/4 DOI: 10.21038/epar.2016.0304 Presently, both non-traditional and alternative ensemble are used by various authors to mean any group that falls outside the traditional trilogy. Given the cultural and sociological implications of the term non-traditional, this review of literature will use the term alternative ensemble. Traditionalists and reformers both are rightly concerned about the future of music education. While each believe in their own path forward, a middle ground approach shows promise. Alternative ensembles that combine the best of the performing tradition in instrumental education with new approaches should be investigated. The purpose of this review of literature is to clarify the current state of alternative ensembles by investigating the following questions: 1) What is an alternative instrumental ensemble? 2) What role(s) do alternative ensembles play in the larger school music program? and 3) What types of alternative ensembles exist currently?