University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 7-2003 Music Programs that Engage Our Communities: Making a Stronger Connection La Gretta Snowden University of South Florida Follow this and additional works at: https://scholarcommons.edu/etd Part of the American Studies Commons Scholar Commons Citation Snowden, La Gretta, "Music Programs that Engage Our Communities: Making a Stronger Connection" (2003). Graduate Theses and Dissertations.edu/etd/1482 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact scholarcommons@usf.
Music Programs that Engage Our Communities: Making a Stronger Connection by La Gretta Snowden A thesis submitted in partial fulfillment Of the requirements for the degree of Masters of Arts School of Music College of Visual and Performing Arts University of South Florida Major Professor: Janet L. Date of Approval: July, 2003 (Keywords: music education, arts education, arts partnerships, community-based arts programs, school development) © Copyright 2003, LaGretta Snowden Table of Contents Abstract ii Chapter One – Introduction 1 Chapter Two – Music Education and the Community 7 Historical & Current Viewpoints 8 Needs and Resources 15 Needs of the School 17 Needs of the Community 19 Chapter Three – Arts Education in the Community 23 Community Perception 24 Arts Education Policy 30 Role of Arts Organizations 36 Collaborations and Partnerships 43 Chapter Four – Trends in Research 47 Research Studies 47 Models of Successful Partnerships 53 AGE 61 ArtsConnection 62 21st Century Learning Centers 64 CAPE 65 Boston Music Education Collaborative 66 Chapter Five – Conclusion 70 Implications to Future Research 73 References 76 i Music Programs that Engage Our Communities: Making a Stronger Connection LaGretta Snowden ABSTRACT The purpose of this research was to review a significant body of literature that related to music and arts education in the context of community engagement. An examination of the literature identified several issues affecting the engagement of communities in arts education pertaining to arts education policies, the role of arts organizations and the relationship between schools and communities. The summation of this research included an overview of models of successful collaborations between the public school and community institutions at national, state, and local levels in the United States with implications of future reform to the arts education policy.
With such a vast array of program offerings initiated through the collaborative partnering of schools with communities and local arts agencies, valuable insights can be gained from concerted research efforts in the field of music education as to the unique opportunities afforded through purposeful community engagement. ii Chapter One Introduction Traditional views of community interaction have long served as strategies for pedagogical emphasis among institutes of higher learning. However, current trends in educational reform have caused disciplines outside of professions, such as healthcare and business, to expand upon existing service learning models (Barnes, 2000; Swick, 2001; Taylor, 2002) in favor of a more creative integration of classroom theory and practical application in life settings. With much discussion and renewed interest in the area of community-based learning and service learning (Boethel, 2000; Checkoway, 2000; Dodd & Lilly, 2000; Hollander and Saltmarsh, 2000; Jay, 2000; Lowe and Reisch, 1998; Soep, 2002), it is important at this time to consider the impact of such research in the context of music education.
For the field of music education, the extent of such engagement has been quite limited. Interaction typically revolves around performances in local concert halls, auditoriums, parks, arenas, and nursing homes. While the value of this type of community involvement is not in question, research may lead us to 1 view these as mere precursory events for establishing engagement in education rather than entertainment. Is it true to say then, that music educators have lost touch with their communities? In some respects they have, which may be a contributing factor to the ongoing struggle for support of arts programs in the public school system.
As one author suggested: There is a feeling abroad in the land that while we’ve done a terrific job training professionals over the past fifty years, we’ve failed to engender a public enthusiasm and demand for their services. Our preoccupation with quality and excellence within our institutions has caused us to lose sight of a larger and perhaps more elusive goal: the development of a musical culture in America.13) Looking for alternative ways to bridge the gap between the community and formal music education provided the fundamental conception of this research. It is the intent of this researcher to discover new knowledge that will inform educators and policy makers to move beyond the stereotypical roles of community music programs and look towards designing curricula and programs that support experiential learning models embracing a more holistic approach to the developing child. Learning, in this case, would be 2 viewed as a continuum and all experiences as being inclusive, inter-linked, and supported by a shared philosophical framework.
At present, there is an extensive amount of literature in support of community-based programming enhanced by arts instruction. However, much of this literature and research represents an interdisciplinary approach to the arts as opposed to discipline specific. Hence, the literature identified in this study has emerged from a cross section of varying publications including scholarly journals, such as the Arts Education Policy Review, Music Educators Journal, Bulletin of the Council for the Research in Music Education, School-Community Journal; as well as sponsored research by national arts agencies and advocacy groups, including the Arts Education Partnership, President’s Committee for the Arts and Humanities, and the National Endowment for the Arts. The methodology used included a review of bibliographies in major research distillations including The New Handbook of Musical Teaching and Learning, Research in Music Education, and A Guide to Research in Music Education; keyword search in major research literature databases such as International Index to the Performing Arts, International Index to Music Periodicals, Music Literature Abstracts, FirstSearch, ArticleFirst , ERIC (Webluis), Expanded Academic ASAP, IAC Expanded Academic Index, Wilson Select Plus 3 Dissertation/Abstract, and Arts Abstract; and a review of published research syntheses in music and arts education.
Keyword searches included areas such as music education and community, community music, community-based arts programs, community education, music outreach, service learning, and arts education. How then should one approach the aspect of engagement? One form of engagement would constitute community-based musical learning experiences that enhance the music program within a particular community’s school. Key components of such a relationship would be: 1) shared curricular objectives geared towards unique experiences; 2) shared resources such as facilities, space, and arts professionals operating both in and outside of the school, etc.; 3) collaboration between schools, arts agencies, organizations, universities, community colleges, etc. Other instances of engagement would also encompass the development of community teachers (Murrell, 2001) and community-based service learning models (Dodd & Lily, 2000).
A community teacher would be identified as a person who lives and works in the community with a successful track record of working with students in a particular area of expertise, in this case, music. Such individuals would serve as a vital link to any collaboration or partnering whether initiated from within or outside of the formal 4 school setting ascribing to the role of communitarian. Historically, ideas of the communitarian placed emphasis on the welfare of society collectively as opposed to the individual(s) within (Merz & Furman, 1997, p. In the context of this investigation however, the expansion of the music educator’s role to include community engagement would bring into scope the impact of a comprehensive music program in the school and its surrounding community.
It would also ascertain implications of future research as it relates to pre-service teacher training and professional development through community outreach and service learning. As mentioned previously, community service learning has become an increasingly prevalent topic among colleges and universities across the United States as many educators look to strengthen teacher education and enhance community life (Swick, 2001). Other benefits associated with the service learning experience is that it fosters characteristics of altruism, civic virtue, conscientiousness, courtesy, and sportsmanship in student participants (Glenn, 2002, p.10) as well as provides preservice teachers “with real-life opportunities to participate in the communities in which they live and actively prepare for advocacy roles” (Dodd & Lilly, 2000, p. 5 In this case, an investigation will be made of the role of music education within the community as it pertains to the assessment of community needs and policy reform.
To do this, various approaches will be presented within the context of the school- community relationship. The first issue to be confronted is the historical and contemporary views of the public school music program. Secondly, an examination will be made on the extent to which arts education policy has impacted society through community engagement. Thirdly, an investigation will be made of the role of arts organizations and other sectors outside of the school in collaborative efforts with the community to developing community-based arts programs.
Finally, exemplary collaborative models in existence today will be identified that link schools, school districts, and non-school institutions in community-based musical learning experiences. 6 Chapter Two Music Education and the Community Music is a phenomenon that permeates every culture of the world. Whether by oral tradition or intricate notational system, music has played an integral part in the transmission of the human experience throughout society. Many countries have devised extensive pedagogical methods to promote the preservation of musical traditions within their educational system.
Similarly, music education in the United States constitutes a rich, eclectic musical heritage which embodies diversity. This proves to be dually rewarding and challenging as music educators look for better ways to help students find meaningful and purposeful experiences in music, yet remain sensitive to the cultural needs of a multi-cultured society (Hinckley, 2001). Consequently, it is very important to examine more closely the role of music education in American society and how the changing social dynamics affect the relationship between the schools and their surrounding communities. 7 This chapter has been organized into two key areas: 1) historical and current viewpoints of music education and 2) needs and resources of the school and the community.
Historical and Current Viewpoints In the United States, the relationship between formal music education and the community was inextricably linked at one point. Dating back to the time before music became integrated into the formal school curriculum, the community provided informal and, sometimes formal music education for children and adults alike. As on author reflected, “During an earlier time in American history, when there was no school music, community music was the basis of virtually all music education” (Mark, 1992, p. The development of singing schools and early performing ensembles (Mark, 1992b; Reimer, 1999) can be traced back to deep-rooted sentiments and strong community appreciation for artistic expression through music.
Much of this can be attributed to the social and aesthetic functions served by music in the nineteenth century. During that time, expressions in music reflected national pride, moral and family values, as well as religious fervor. As support grew for public education along with a dedication to choral and instrumental music, music was introduced into the curriculum 8 of the elementary school in 1838 by Lowell Mason (Campbell & Kassner, 2002, p. Over the years, as a result of the systematic changes within the public schools structuring and curriculum objectives, music has gradually assumed a lesser role in the educational process in many public schools.
Early proponents for continued community engagement, however, believed that there were a host of issues, due to social and economic growth, that had direct bearing on school music programs and community relations. It is likely that many of these same issues still exist today. They included increased leisure time, more choices for leisure activities (Dykema, 1992), technological advancement (Kaplan, 1988; Wendrich, 1982), and absence of community leadership assumed by the music educator (Bliss, 1992; Eilert, 1940; Kaplan, 1992b; Leonhard, 1981; Sparling, 1992).