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BREAKING BARRIERS: Engagement and Retention in Beginning Band & Strings

Updated: Aug 11




Introduction

This blog will explore how to best engage and retain students in Beginning Band and String programs today. We will address some barriers today that are prevent students from participating and continuing with instrumental music ensembles. Additionally, we will consider the four processes outlined in the National Core Arts Standards—Creating, Performing, Responding, and Connecting—which can help guide us toward more authentic instrumental music experiences. Finally, we will discuss how to expand our song repertoire so that all students see themselves reflected in their instrumental ensembles today.


Major Barriers


The major barriers to inclusive engagement and retention in Beginning Band/Strings & onward are a primary focus on notation and a limited and narrow collection of songs. Rather than singing songs from around the world and incorporating solfege along with note names, we often have students play using notation right away with mixed results. Moving forward, we need to build on the diverse repertoire of global songs from the elementary music classroom while leveraging the skills students have already developed.


Music Before Notation


Many teachers ask how to teach music before notation or sound before sight. We gain insights by transferring the methodologies of Kodaly, Feierabend, Gordon, Orff, Suzuki, and Dalcroze from Elementary General Music. While this differs from traditional approaches, it is vital for reaching and supporting all students. Every student can eventually make a sound on the head joint of a flute, get a reed to vibrate well, or achieve a good buzz on a brass instrument. Technique is something every student can learn, but the challenge often lies in reading notation.


Learning to play songs is best achieved with a multi-step and multi-sensory approach:


  1. Sing songs with lyrics: Begin by having students sing the songs with lyrics.

  2. Sing songs with solfege: Add solfege to help students discover the relationship between notes.

  3. Sing and finger with solfege and note names: Have students sing while fingering the notes on their instruments for practice before playing.

  4. Sing songs with rhythm syllables: Incorporate rhythm syllables that students are already familiar with to help with rhythmic understanding. 


After these many repetitions with singing and fingering, students will be able to play a song confidently.


Expanding the Song Repertoire


Currently, we are confined to a narrow selection of folk songs found in traditional method books. Most of the songs are American folk songs, which are often less engaging than the richer collections found in elementary music classrooms. By playing and singing songs from around the world, we allow all students to see themselves as belonging in instrumental music ensembles. Using a diverse repertoire of songs also provides a richer and broader musical experience. The literature in instrumental music ensembles is expanding through the efforts of many composers, including myself.


The National Core Arts Standards


We often prioritize teaching notation in beginning instrumental ensembles at the expense of a more authentic music experience, as outlined in the four processes of the National Core Arts Standards. By focusing on the core intentions of the National Arts Framework, we can move towards a richer and more versatile music-making experience.


Creating - Creating music is essential from the beginning. Once students learn three notes, they can start composing their own songs. Allocating class time for creating music fosters well-rounded musicians and encourages students to see themselves as creative individuals, not just readers of notation. This approach cultivates a culture of creativity, empowering students to improvise and contribute to the artistic expression of their school and community.


Performing & Responding - Performing and responding go hand in hand, but we often focus more on playing the right notes without taking the time to respond to the phrases and melodies we are performing.


Connecting - Connecting is the last but not least of the processes. We need to connect to the music of the world and ethnicities of the community of students sitting in front of us. Additionally, we need to constantly connect to what students know musically as we utilize the skills that they have developed. 


The Big Picture


Ultimately, we aim to broaden broaden our vision of instrumental music to in favor of more versatile ensembles with a wider repertoire and opportunities for creativity and improvisation. This is not an either/or scenario. By adopting a both/and perspective, we can gradually incorporate a wider array of opportunities to invite broader participation and foster more creativity. This strategy can engage a larger population of students, offering a more authentic and inclusive musical education.


Looking at Elementary General Music


I like to ask instrumental music teachers this question: Do you know what is happening in your Elementary General Music Classroom? By connecting with what students already know and building on their diverse repertoire, creativity, and improvisation, we can develop more holistic and versatile ensembles. The diverse programs we strive to create can be inspired by the innovative work already being done in elementary general music programs today.


For Further Reading


Consider exploring the "Harmoniously Upward Model" (HUM), which details how to build on the success of elementary programs. This model emphasizes students progressing together and enhancing their musical journey through more inclusive and diverse opportunities. Additionally, look into the "Eleven Leaps to Literacy" program, which explains the process of learning songs by incorporating solfege, rhythm syllables, and fingering before playing. Both of these concepts are incorporated in the 'It's Time to Play' series for Band and Recorder, and a String book is currently being developed.


Conclusion


In summary, by addressing these barriers in Beginning Band and String programs, we can create more authentic and inclusive musical experiences for our students. Embracing models like the "Harmoniously Upward Model" (HUM) and methods such as "Eleven Leaps to Literacy" will help us build on the success of elementary music programs and inspire a new generation of musicians. Let's continue to reflect, adapt, and innovate to provide the best possible music education for all students.




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