What History Is Teaching Us: 100 Years of Advocacy in "Music Educators Journal"

Author(s): David M. Hedgecoth and Sarah H. Fischer

Source: Music Educators Journal , June 2014, Vol. 100, No. 4 (June 2014), pp. 54-58
Published by: Sage Publications, Inc. on behalf of MENC: The National Association for
Music Education

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 by David M. Hedgecoth and Sarah H. Fischer

What History
Is Teaching Us
100 Years of Advocacy in
Music Educators Journal

Abstract: As Music Educators Journal celebrates its centennial, it is appropriate to look back
over the past century to see how advocacy in music education has evolved. Of the more than
200 submitted articles on advocacy, four main themes emerged: music education in com-
munity, the relevancy of music education, the value of music education, and the perpetual
nature of advocacy. These themes were presented in the context of previous articles and then
blended to create a platform from which current practitioners can work to promote music
instruction in schools.

Keywords: advocacy, community, MEJ, music education, Music Educators Journal, school music,
value
Music educators and
those who support
support and success. Educating students,
them have a history of originally titled the Music Supervi- parents, administrators, policy makers, and
As sors' originallysors'Music Bulletin
Bulletin Educators
, celebrates titled celebrates the Journal Music its Supervi- (MEß, 100th
its 100th
needing to advocate community members alike about the impor-
anniversary, it is appropriate to take a tance of a sequential musical education can
for the study of moment and walk through the past century not only prevent program cuts in times of
music in the school to see the ways in which MEJ has evolved financial crisis, but can help to ensure that
over the decades. With over 650 issues programs thrive for years to come.
curriculum. and thousands of articles, MEJ serves as an Over the past 100 years, advocacy has
important tool for those active in the musicbeen a frequent topic in MEJ. While we
education enterprise to learn, share, reflect,may be tempted to look at the past through
celebrate, and challenge our practices and rose-colored glasses, the reality is that issues
beliefs. Accordingly, MEJ also serves as a surrounding the need to advocate for our
guide for the many ways in which music programs have existed throughout the his-
educators can advocate for music in the tory of music education in the United States.
schools. The challenges we face today are much
The ability to advocate for one's music like those faced by previous generations of
program is paramount to sustaining its music educators.

Copyright © 2014 National Association

for Music Education
David M. Hedgecoth is a lecturer in music education at Ohio State University, Columbus; he can be contacted at

D01: 10.1177/0027432114529995 hedgecoth. [email protected]. Sarah H. Fischer is a music teacher at Columbus North International School in Columbus City Schools
http://mej.sagepub.com in Columbus, Ohio; she can be [email protected].

54 Music Educators Journal June 2014

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 Beginning with the inaugural issue Fisher encouraged music educators educators should "receive as much and
of ME J, we surveyed each issue and to widen the appeal of music by get- as good a preparation for teaching gen-
reviewed articles related to advocacy ting away from what he described as eral music, as they ordinarily receive in
in music education. Of these nearly 200 its "egotistic" performance practices, conducting expertly a choir or orchestra
articles, the most frequent topics cen- where the "concert giver [says], 'here or band."8
tered on themes surrounding: relevancy, I am,' 'watch me,' listen to me.'"2 Rather This call for relevant course offerings
community, value of music education, than taking students to attend concerts that serve as an alternative for students
and the perpetual nature of advocacy. where they would sit stiffly as music not interested in choir, orchestra, or
In this article, we will examine these recipients, Fisher advocated that chil- band has been echoed by others, often
themes and the ways in which they dren experience participatory music, not in the form of a prompt for "change."
affect advocacy and the modern music just at school, but also in the home. As Such change has led to the expansion of
educator. he explained, "surely it is better to be music education curricula at all levels to
include nonperformance mediums like merry with saxophones than smug and
Relevancy solemnly exclusive with classical pon- general music and electronic music,
derousness."3 Many others have since but also performance studies in: guitar,
Music educators have a passion for echoed this sentiment, among the most keyboard, mariachi, steel band, world
and value the study of music. But, recent being assistant professor of music drumming, and popular music, just to
how does one convince others to share education at Arizona State University name a few.9 This may be concerning to
this passion? Music educators must Evan Tobias, who encouraged readers some educators, as many of our musical
connect their curricula to the lives of in 2013 to explore digital platforms to traditions run deep, with roots dating
the students, parents, administrators, discover contemporary ways that par- back hundreds of years. In 2010, music
and community members that they areticipatory music can be used to create education philosopher Estelle Jorgensen
serving. relevant and meaningful musical experi- attempted to relieve some of the anxi-
The ability to relate to our students' ences for their students.4 ety music educators may feel regard-
interests and lives is hardly a new phe- Like Fisher and Tobias, many music ing such change. In her article "School
nomenon. While popular culture may educators recognize that not every child Music Education and Change," she dis-
change, the young person's desire to wishes to perform in a band, choir, or cussed that talk of change may leave a
establish his or her own "self" through orchestra. However, after elementary music educator feeling uncomfortable,
fashion, language, and music is a con- school, many students are limited to or possessing a "sense of inadequacy."10
stant. However, as the cultural demo- one of those three course offerings. The Jorgensen suggested that in such times
graphics of our nation have changed, question has been asked often in ME] it is important to remember that music
so have the repertoire, instruments, and over the past 100 years: How do we is a part of all of our students' lives
resources we use to teach music to our reach the students who are not enrolled in some capacity. Music education can
diverse body of students. in a music course?5 remain relevant and valuable if educa-
Some have posited that "traditional" Reminding others (and ourselves) tors strive to uncover the ways in which
they can connect their students' own
that school music is not just for the tal-
instruments (e.g., piano, violin, or flute)
or genres (opera, classical music, etc.) musical preferences and experiences
ented but also for everyone has been an
are irrelevant to today's young peo-important part of the advocacy strate- to other musics that are also worthy
ple. Others say that students today dogies employed by music educators. For of study. In turn, rich connections can
not have the interest or time needed example, in 1961, Gladys Tipton, then be made and music can continue to be
director of music at Illinois State Uni-
to develop strong performance skills an important element of every child's
on such instruments and music. This versity, reminded music educators that education.
concern is not new. In 1933, William
"the musical riches of the world, past
and present, are the cultural heritage
Arms Fisher, former president of the
Community
Music Teachers National Association,
of every child."6 Tipton continued to
expressed a similar concern that the
explain her belief that no child should A second theme that has been preva-
"revolt of youth" had led to a decline
be a "musical have-not."7 For Tipton, a lent in advocacy over the past century
in the number of children studying relevant musical education did not nec- is that community support for music
piano, which he reasoned was the con- essarily take the form of a large ensem-education is essential for music's con-
sequence of an overemphasis of virtu- ble. Instead, she advocated for the tinued presence in schools. As early as
osity. Rather than studying the piano expansion of music education opportu- 1932, contributors to the ME] brought
as "an instrument from which to draw nities that did not require the learner to to light the connections that should
music," it was instead perceived to be perform. Additionally, she encouraged exist between music within schools and
"an irritating contraption for the tedious changes to music educator preparation the musical culture of the surrounding
development of finger dexterity."1 programs, suggesting that new music community. Former MEJ Editorial Board

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chairman C. M. Dennis asserted in his Educators National Conference (MENC, became of a part of daily instruction in
article "What of Our Future?" that school now the National Association for Music the late nineteenth and early twentieth
music is taught and refined at a highEducation) public relations program,centuries, concerns over how to mea-
level within the classroom; however, presented specific action points on thesure its success and purpose in a child's
topics that were developed at a MENCgeneral education followed quickly.
this artistic development should expand
beyond school grounds to the benefit public relations workshop. These In 1921, William Earhart, an early pio-
of the entire community. As the coun-included: neer in the promotion of music educa-
try worked to emerge from the volatile tion, suggested in his article titled, "Is
years of the Great Depression, the politi- Instrumental Music Education in the
1. What does community support
cal and economic undertones in his sug- mean? Schools Justified by Its Actual Results?"
gestions were quite clear: 2. We need to sell music education that school music was too new a sub-
ject to provide measurable results. In
instead of leaving music to sell itself.
It must be admitted that the community short, Earhart stressed that a lack of
and social musical activities have not
3. We need to communicate so people
can hear and understand us. time and data - two timely topics even
been stimulated to the same degree that
4. We need to examine our contacts today - make measuring music's suc-
school music has developed. Would it
and how we maintain them. cess difficult.16 Twelve years later, Ear-
not be wise for us to recognize this and
5. We need to speak up!14
discover a remedy before the taxpayers hart expanded his discussion of the
find out?11 justification of music in the schools by
Gaines also presented numerous per-stating that music is justified because
spectives about music education fromit engages students in three areas:
The idea of community support con-
tinued to grow in subsequent decades aesthetic, educational/intellectual, and
community leaders in varying demo-
graphic areas. The information gath-social. Eventually, Earhart added, music
as contributors wrote of ways to create
a musical community that could poten-
ered assisted the MENC to craft the would be valued "by all creeds of peo-
tially serve as a method of bolstering ple," effectively removing the need for
following statement that still applies
community support for music education.
today: the ongoing conversation about the
In his 1944 article "Integrating School place of music education.17 Although
Music with Community Life," former Earhart's belief of universal appreciation
School, student, community, and political
Massachusetts state chairman for music
leaders, parents, and the media must be and value of music in education may
education Robert Sault reflected on his linked in an informed effort. The most formalize itself sometime in the future,
career as a music educator in Lawrence, appropriate initiator is the music educa- articles from the subsequent decades of
Massachusetts. Sault suggested that com- tor, stimulating and coordinating other the twentieth and early 21st centuries
munity involvement through concerts forces to achieve results. The music edu- suggest that such justification is still an
and educational outreach - he termed cator must become engaged in two-way important topic.
these annual events "concerts with a communication with the community, so Previous editors of ME] also recog-
specific aim" - served to educate and that the value people place on music nized that everything old is new again.
and concern they have for the young
recruit young people to become musi- For MEfs fiftieth anniversary in 1964,
cians in school. He went on to state that
can be channeled into active support
editors ran reprints of two articles from
for music education. Communicate; then
the work of a music educator should the first years of the publication. Peter
link for action. This is the public relations
extend beyond the classroom. In his approach.15 Dykema's and Charles Farnsworth's
words, "[music educationl should have a articles from the "For Use in Your Local
broader horizon than the schoolroom."12 Paper" series in 1918 and 1919, respec-
Again, history presents us with a
Today, informances serve a similar pur- reminder that for music education and
tively, were presented to remind read-
pose - to showcase student achieve- ers that promoting music in the schools
its advocacy to be effective, we must
ments while also educating audiences is an ongoing process. In their original
be action oriented. Creating connec-
about the benefits and value of a musi- commentaries, Dykema and Farnsworth
tions and relationships beyond the
cal education.13 provided suggestions, strategies, and
musical content of our classroom is
Over time, community outreach talking points for music educators to
essential for the long-term sustainabil-
extended beyond educating a musi- use when speaking to administrators
ity of the field.
cal audience to informing a wider and town officials. These included pro-
spectrum of community about music moting music within the family, elect-
education. In 1972, ME] dedicated a Value of Music Education ing music-friendly lawmakers, and a
large portion of its January issue to more widespread use of music in the
the multifaceted issue of music educa- Related to the themes of relevance
workplace.18 Decades later, readers saw
tion and the community. One article byand community involvement is one similarof types of reminders in retired
Kansas music teacher Marilyn Foree's
Joan Gaines, then director of the Musicjustification. As music instruction slowly

56 Music Educators Journal June 2014

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1992 article "PR Means Positive Results" education can become. As music edu-
political process as a way to prevent
and University of Delaware music edu- the crises that historically endanger
cation historian Michael Mark explains,
cation Suzanne Burton's 2004 contribu- music programs. By screening candi-
"advocacy does not drive the profession;
tion, "Educate Our Advocates!" Bothdates to determine their positions onrather,
the it reflects music educators' beliefs,
authors urged music educators to make purposes, and accomplishments."24 Our
arts, their previous musical experience,
certain that administrators understood and the extent to which they under- past has created the present moment in
the details of their music programs.stand how the arts are funded in public which we function as educators. While
These details included: enrollment, schools, music educators can now play the dialogue and actions of our prede-
numbers and location of performancesa proactive rather than a reactive role cessors
in has moved our field forward,
each year, student participation in largethe decision-making process.21 we must continue to reflect on current
and small adjudicated events, invited practice to remain viable and provide
guests, and the music educator's pro- our students with a high-quality music
fessional development activities. TheThe Perpetual Nature of education.
authors also stressed the importanceAdvocacy
of establishing oneself as a part of the
community of one's school campus, an One final and broad theme that emerged Notes
issue still relevant today.19 By letting from surveying each issue of ME] is that
1. William Arms Fisher, "Music in a
other teachers in the school know how music education advocacy is a constant.
Changing World," Music Supervisors'
much you value them as professionals It is not a problem to be solved, butJournal 19, no. 4 (1933): 16-17,
while also showing support for music rather a facet of our profession that62, 64.
students' nonmusical endeavors, music must be nurtured for the benefit of
educators will most likely find them- all involved. From the very first year2. Ibid., 17.

selves the recipient of others' apprecia- of MEfs existence, when authors Karl 3. Ibid., 64.
tion and support. Gherkens and Peter Dykema asked the
4. Evan S. Tobias, "Toward Convergence:
The justification of music education question, "What is the purpose of music
Adapting Music Education to
is both a historical and a contemporary in our schools?"22 to nearly 100 years
Contemporary Society and Participatory
phenomenon. The topic has evolved as and 200 advocacy articles later when Culture," Music Educators Journal 99,
our local and national cultures evolved. the current Academic Editor Patrick K. no. 4 (2013): 29-36.
In 1991, Karl Glenn, then presidentFreer presented challenging questions
5. See Carlos R. Abril and Brent M.
of MENC, wrote that music educators about advocacy - "Advocacy for What?
Gault, "Perspectives on the Music
must reevaluate their overall philoso- To Whom?" - important philosophical
Program: Opening Doors to the School
phy in order to articulate pertinent top-
and practical questions continue to be Community," Music Educators Journal
ics and issues to those outside music. presented to MEJ's readers. For exam- 93, no. 5 (2007): 32-37; Ed Duling,
Glenn suggested that justifying music ple, Freer suggested that advocacy is a "Music for All Students," Music
because of its nonmusical benefits (e.g.,
complex topic because there is a lack ! Educators Journal 82, no. 2 (1995): 6;
academic enhancement, social interac- of consensus in deciding upon what to Timothy Gerber, "Reaching All Students:
tion, etc.) must give way to a new type advocate for and to whom the message The Ultimate Challenge," Music
of discussion.20 Shaping advocacy and is intended.23 Educators Journal 75, no. 7 (1989):
justification points by focusing on edu-Music educators should take some 36-39; John Kratus, "Music Education
solace in the notion that music educa- at the Tipping Point," Music Educators
cational policy concerns (e.g., staffing
Journal 94, no. 2 (2007): 42-48; Albert
and budgetary issues) and the intrin-
tion advocacy is a continuous endeavor.
LeBlanc, "Bennett's Ideal Curriculum:
sic value of music provided new talk-
By knowing that advocating for our How Helpful to Music Education?"
ing points and perspectives for musicprograms will never be truly "finished," Music Educators Journal 75, no. 3
educators. In a contemporary setting,we can begin to accept that we will (1988): 14-17; James Mursell, "Music
this platform is evident in the way that
never feel completely stabilized. For Education at the Crossroads," Music
politics has entered into the musicmore than a hundred years, music Educators Journal 37 , no. 4 (1951):
education dialogue. In the hotly con-
teachers have felt pressure to advocate 23-24; and Gladys Tipton, "Music
tested 2004 election year, music educa-
for our subject matter. And yet, while Education in the Changing World," Music
there are countless challenges to our Educators Journal 47 , no. 6 (1961):
tion's potential political influence was
made clear. In the lead article from the 32-35.
society and our field, we still continue
November issue, "Electing Music Advo- to work for a musical education for 6. Tipton, "Music Education in the
cates," Douglas C. Orzolek, who teaches every child. Changing World."
music at the University of St. Thomas in Rather than view advocacy as just
7. Ibid., 34.
St. Paul, Minnesota, advised music another task to complete, consider it as
educators to become involved in the a representation of what we hope music I 8. Ibid., 35.

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9. In recent years, Music Educators Educators Journal 82, no. 3 (1995): 18. Peter Dykema and Charles Farnsworth,
Journal has examined each of these 22-25; Kenyon Williams, "Steel Bands "The Importance of School Music,"
topics in detail. See Carlos Abril, in American Schools: What They Music Educators Journal 50, no. 4
"Music That Represents Culture: Are, What They Do, and Why They're (1964): 45-48.
Selecting Music with Integrity," Music Growing!" Music Educators Journal
19. Marilyn Foree, "PR Means Positive
Educators Journal 93, no. 1 (2006): 94 no. 4 (2008): 52-57. Specific to
Results," Music Educators Journal 78,
38-45; Patricia Sheehan Campbell, electronic music, see Evan S. Tobias,
no. 5 (1992): 45-48; Suzanne Burton,
"Music Education in a Time of Cultural "Toward Convergence: Adapting Music
"Educate Our Advocates!," Music
Transformation," Music Educators Education to Contemporary Society and
Educators Journal 90, no. 5 (2004):
Journal 89 no. 1 (2002): 27-32; Paul Participatory Culture," Music Educators
17-21.
Lehman, "A Vision for the Future: Journal 99 no. 4 (2013): 29-36;
Looking at the Standards," Music Peter Webster, "Historical Perspectives 20. Karl Glenn, "MENC Horizons: Reshaping
Educators Journal 94 no. 4 (2008): on Technology and Music," Music a Philosophy for Music Education,"
28-32; Kevin Mixon, "Engaging and Educators Journal 89 , no. 1 (2002): Music Educators Journal 77, no. 9
Educating Students with Culturally 38-43. Specific to popular music, see (1991): 4, 6.
Responsive Performing Ensembles," Randall Everett Allsup, "Popular Music
Music Educators Journal 95, no. 4 21. Douglas Orzolek, "Electing Music
and Classical Musicians: Strategies
Advocates," Music Educators Journal 91,
(2009): 66-73; Kevin Mixon, "Building and Perspectives," Music Educators
no. 2 (2004): 13-17.
Your Instrumental Music Program in Journal 97, no. 3 (2011): 30-34; Jason
an Urban School," Music Educators Thompson, "'American Idol' and the 22. Karl Gherkens and Peter Dykema,
Journal 91, no. 3 (2005): 15-23; and Music Classroom: A Means of Critiquing "Three Forthcoming Discussions: Things
Scott C. Schüler, "Music Education Music," Music Educators Journal 94, for You to Think Over and Do," Music
for Life: Building Inclusive, Effective no. 1 (2007): 36-40; Robert Woody, Supervisors Bulletin 1, no. 4 (1915):
Twenty-First-Century Music Programs," "Popular Music in School: Remixing the 18, 20.
Music Educators Journal 98, no. 1 Issues," Music Educators Journal 93,
(2011): 8-13. Specific to guitar, no. 4 (2007): 32-37. 23. Patrick Freer, "Advocacy for What? To
see: Lee R. Bartel, "Guitar Class: Whom?," Music Educators Journal 98,
10. Estelle R. Jorgensen, "School Music no. 1 (2011): 5-6.
A Multifaceted Approach," Music
Educators Journal 77 , no. 2 (1990): Education and Change," Music
Educators Journal 96, no. 4 (2010): 24. Michael Mark, "A History of Music
40-45; and Grant Gustafson, "Class Education Advocacy," Music Educators
21-27.
Guitar in Middle School," Music Journal 89 , no. 1 (2002): 44-48.
Educators Journal 83, no. 1 (1996): 11. C. M. Dennis, "What of Our Future?"
33-38. Specific to keyboard, see: Music Supervisors Journal 18, no. 4
Claudia J. Appell, "Keyboard Instruction (1932): 51.
in the Music Classroom," Music
Educators Journal 79, no. 9 (1993): 12. Robert Sault, "Integrating School Music
21-24.; Patricia M. Bissel I, "Keyboards with Community Life," Music Educators "Great teachers are like expert
Launch Students into Music," Music Journal 31, no. 2 (1944): 20-22.
acrobats. They are creative,
Educators Journal 82, no. 1 (1995):
13. Jill Reese, "Lift the Hood and Get Dirty! quick-thinking, flexible, and
29-31; and Linda L. Chamberlin,
A Closer Look at Informances," Music
Ramona White Clark, and Judith N. well-balanced, able to keep
Educators Journal 96, no. 2 (2009):
Svengalis, "Success with Keyboards
27-29. many plates spinning or
in Middle School," Music Educators
Journal 79, no. 9 (1993): 31-36. balls in the air at the same
14. Joan Gaines, "Building Community
Specific to mariachi, see John Lychner, Support for the Music Program," Music time, good teammates, and
"Instrumental Music Experiences from Educators Journal 84, no. 5 (1972): dedicated to their art form."
Mexico," Music Educators Journal 25-26.
94 no. 4 (2008): 40-45; Amanda
Soto, "Conjunto in the Classroom," 15. Ibid., 26. - Wendy L. Sims, professor and
Music Educators Journal 95, no. 1 director of music education,
16. Will Earhart, "Is Music in the Schools
(2008): 54-59. Specific to steel band University of Missouri,
Justified by the Actual Results?" Music
and world drumming, see Francine
Supervisors Journal 8, no. 1 (1921): Columbia, in the NAfME
Morin, "Learning across Disciplines:
17-18, 20, 22-23.
An Approach to West African Music," i online piece "What Makes a
Music Educators Journal 89, no. 4 17.Wil Earhart,"JustifyorNot oJustify," Great Teacher?" (2012)
(2003): 27-34; Marc Svaline, "Why MusicSupervisorsJournal19,no.5
Not Start a Steel Band?," Music (1933): 19-20. má

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