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When you hear the “music makes your smarter” angle from music education advocates, don’t believe them. It’s not our best argument for music education. “Unfortunately, the majority of Music Education Advocacy (MAD) claims, campaigns, advertisements, and slogans about the values of school and community education are not based on broad, deep, extensive, ethical, or evidence-based research. For the most part, the claims of MAD writers and speakers are based on unsubstantiated, truthy assump­tions and opinions; sentimental testimonials by "stars" in various musical genres; and flawed, spotty, or inconclusive research. MAD slogans-such as "music makes you smarter:' "school music raises math scores:' and "music educates feeling" -often seduce teachers and the public into believing truthy MAD and the flawed research that's used to support MAD claims. But serious scholars have published numerous studies that have challenged many MAD claims.” - Music Matters II (Elliott & Silverman, 2014) Correlation ≠ Causation. Another 💣 “it's absurd to sug­gest that a central aim of music education is to prepare music students for financial success.” If you want to get good at finance, study finance. Sorry but “MAD is a political endeavor that uses marketing, salesmanship, and other forms of persuasion to obtain whatever advocates want in a given time and place, and to justify the status quo of school music programs with MAD campaigns of the latest political and educational priori­ties (e.g., boosting math and reading scores), whether or not these are musically and educationally justifiable.” As Bowman warns, we are at grave risk when we "turn over responsibility to professional persuaders whose interest in our instructional aims is subordinate to their determination to win resources, time, recognition, or whatever else is at stake” Start critically thinking for yourself. This is what I’ll be teaching Masters students at the Sydney Conservatorium of Music this week as they develop their own classroom management plan. And I’m here if you want to develop your own music education, as Neil Postman states so eloquently, “crap detector”.

Training and mentoring of quality, specialist music teachers is paramount.

We’re Teaching Music to Kids All Wrong By Sammy Miller I have never met an adult who is expressly thankful to have quit music as a child, but I’ve met many who have regrets. So why haven’t we, as parents and educators, been better able to encourage our own kids to continue? According to a study conducted over seven years in Texas, beginning in 2013, public school students in grades six to 12 had a band attrition rate of 80 percent, with the greatest declines happening between the first and second year of instruction. In a separate prepandemic study, California public schools saw a 50 percent decrease in student enrollment in music classes over five years. Research shows that students in low-income and ethnically diverse school districts are more likely to lack access to music education. It’s often been repeated that “music is a language,” yet we’re reluctant to teach it that way. When we learn a language, we don’t simply memorize phrases or spend all day reading — we practice the language together, sharing, speaking, stumbling but ultimately finding ways to connect. This should happen in music class, too. Music should be a common pursuit: Ask any dad rock weekend band or church ensemble how it experiences music, and the performers are likely to tell you it’s not a chore but a way of building community. Most important, we need to let kids be terrible. In fact, we should encourage it. They’ll be plenty terrible on their own — at first. But too often kids associate music in school with a difficult undertaking they can’t hope to master, which leads them to give up. Music does not have to be, and in fact, shouldn’t be, about the pursuit of perfection. And the great musicians have plenty of lessons to teach students about the usefulness of failure. Miles Davis couldn’t hit the high notes his hero Dizzy Gillespie did, so what did he do? He found a new mellow, cool way to speak the language of jazz. Billie Holiday’s range was just over one octave — very limited for a professional singer — but that didn’t stop her from creating the definitive versions of so many American classics. Tell students these stories and watch them get excited to fail. We should let them do that, over and over again. That’s the only way they’ll learn what sounds awful but also what goes well together, what they like and what kind of music they want to make. We also teach language through immersion, so let’s focus on creating an immersive experience in the language of music. Kids learn best when they’re part of communities filled with people of all skill levels for them to play along with, listen to music with, mess up with and just be silly with. Parents, this means you. Don’t let instrument instruction simply be something you nag your kids to endure. Music was never meant to be a lonely vigil. Play together. Make noise together. Find joy together. Take out an instrument and learn a song that you and your child both love.

How do teachers and music professionals experience different types of power, and are there situations which might have been handled differently? What is the impact of understanding and reflecting on types of power and power relations? Last week, I facilitated a wide-ranging and fascinating 3-hour session for 20 European higher music education teachers engaged on “The Artist as Teacher” one-year certificate course through the EU-funded ARTEMIS project. We explored Robert Chambers’ definitions of  types of power: power over, power to, power with, power within, power to empower. One participant remembered hearing shouting and crying in the classroom next to hers at her music school as a child (power over); another cited a successful 40-day student strike in support of maintaining free tuition for higher education in Croatia (power with); still another cited a well-known musician advising a young professional preparing for a major audition to “just be yourself” (power to empower).  Imagining different potential outcomes to difficult experiences, participants cited examples of shaming, criticism or false information given indirectly (often bypassing the person concerned), and advocated for better communication, greater transparency, empathy, and understanding.  What did the conversation change for those participating? One admitted resistance to the topic, and yet recognized his own blind spots and the need for self-reflection; another advocated for more honesty as a teacher, being able to admit what one does not know; yet another insisted on the importance of continuing to engage in such conversations, and in the importance of “networks of care.” Networks of care constitute one of the recommendations of the recently completed EU-funded PRIhME Project (Power Relations in Higher Music Education), recommendations adopted by the AEC’s General Assembly last November : https://lnkd.in/ebUrTGRZ In our second session, we will explore the notion of social safety: when do we (as artists, teachers, students) feel safe or unsafe? What do we need to feel safe? What policies exist within our institutions? And finally, what might be our teaching and learning utopia in this regard – and how might we help bring this into being?

Sammy Miller's article, "We’re Teaching Music to Kids All Wrong," presents a compelling argument for rethinking the approach to music education. He aptly highlights the common issue of children losing interest in music despite its numerous benefits, including academic improvement and personal development. Miller rightly emphasizes the importance of viewing music education as more than just learning notes and techniques but as a communal activity that fosters connection and self-expression. By likening music to a language, he suggests a shift towards a more immersive and participatory approach, where students are encouraged to engage actively and embrace imperfection as part of the learning process. The notion of allowing children to be "terrible" at music may seem counterintuitive, but it speaks to the idea that failure is an integral part of growth and mastery. By removing the pressure of perfection, students are more likely to persevere and develop a genuine passion for music. Overall, Miller's call for a reimagined approach to music education resonates deeply. By prioritizing creativity, community, and resilience over rote learning and performance, we can cultivate a new generation of lifelong musicians who not only excel academically but also find fulfillment and joy in the art of music.

David Taylor: Saying that “investing in music education will save classical music and boost audiences” is a convenient lie we tell ourselves, to absolve us of the blame and responsibility for the drop in audiences and prevent us from the difficult task of reflecting on what we have to do better. Yes, we are seeing cuts in funding to music education, but classical music education continues to be invested in significantly higher than other music genres. And EDM, Dubstep, Grime, and Hip-Hop have all thrived over the years despite there being no formalized music education. [As for the idea] that you need to be educated in an art form to enjoy an art form: Most people have no education about the world of cinema, and yet millions enjoy films. Art galleries are full of people with no training or knowledge. Even in sports, you don’t need to know the rules, let alone the complex strategies, to enjoy a game. Over the last 5 years, there has been study after study about how classical music is increasing in popularity with young people. We are in an incredibly lucky situation where we have a new customer base emerging and growing completely independently. The problem with our declining audiences isn’t due to a lack of music education, it’s due to our refusal to adapt our product and how we market to connect to a new and growing audience. READ MORE: https://lnkd.in/eEmDarUm #SweibelArts #ClassicalMusic #AudienceDevelopment

Music Educators! DirectorLetters.com - Your Key to Effortless Communication for Music Educators! Calling all music educators! Are you ready to elevate your communication game while reclaiming precious time for what you love most – teaching music? Look no further than DirectorLetters.com, your ultimate solution for effortless and effective communication. Say goodbye to endless hours spent crafting emails, letters, and announcements from scratch. With over 600 meticulously curated templates at your fingertips, DirectorLetters.com empowers you to communicate with clarity, professionalism, and ease. Whether you need to notify parents about upcoming performances, send reminders about rehearsal schedules, or share exciting news with your music department, we've got you covered. Best of all, www.DirectorLetters.com is completely free of charge, thanks to the generous support of ScholarshipAuditions.com. That's right – access to this invaluable resource won't cost you a penny. It's our way of giving back to the dedicated music educators who inspire and uplift students every day. So why wait? Join the countless educators who have already revolutionized their communication strategies with www.DirectorLetters.com. Sign up today and experience the convenience and efficiency of our extensive template library. Let's harmonize your communication efforts and make every interaction with students, parents, and colleagues a symphony of success.

To adapt music education in England's schools to the changing landscape of the music industry and digital world, it's crucial to revisit and redefine its objectives. Recognizing that traditional pathways may not always lead to success in music, the new focus should be on equipping students with a solid foundation in instrumental skills, along with a readiness to engage with the digital aspects of music creation and an understanding of music's interdisciplinary ties with other subjects. This approach demands a hands-on, practical learning style, supported by teachers who are not only adept at multiple instruments but also proficient in digital music technologies and open to exploring contemporary music styles alongside traditional ones. The rationale behind this shift is twofold: firstly, to make music education more relevant and enjoyable, thereby increasing student engagement and participation; and secondly, to prepare students for the multitude of career paths in the modern music industry, which increasingly blend traditional musicianship with digital innovation. Teachers are central to this vision, requiring them to continually update their skills to include digital music production, software proficiency, and an appreciation for a wide range of musical genres. This not only enhances the music education curriculum but also ensures that students receive a comprehensive education that is both enjoyable and aligned with future trends in music. By integrating these elements into music education, the goal is to foster a more dynamic and flexible learning environment that not only respects the rich traditions of musical instruction but also embraces the opportunities presented by the digital age. This approach aims to cultivate a generation of students who are musically versatile, technologically literate, and equipped to navigate the future landscape of music, whether as creators, performers, or consumers.

Many studies have identified positive effects of music on the brain, from improving information retention to its meditative effects on the mind. But what if there’s more to music than its effect on the brain? What if it can actually influence your character? Researchers from Florida International University suggest music can do just that, and more. Focusing on the “5 C’s”, competence, confidence, caring, character and connection, 180 children were studied over 3 years to understand the effect of structured music education on their development. Their results are astounding. The study found that through music education, participants showed significant increases across all 5 C’s, particularly in the areas of character, competence and caring. The researchers are quick to point out that they “are not concerned with trying to foster more professional musicians; (they) are concerned with creating citizens and future leaders of our communities through the enhancement of the complex skills used while practicing an instrument and performing in an orchestra-based ensemble”. Although these findings were based on children aged between 8 and 17, an age which is long ago for some of us, it says so much about the importance of school music programs and the lifelong impacts they can have. Perhaps if you are a parent or carer of a child whose school is seeking people to join a music group, it could be worth considering as part of their development and maybe the squeaks of a violin won’t sound so shrill when you know they are actually character building. As our work spans the 5 C’s and more, we found this research fascinating and wanted to share this with our network and community. We hope you enjoy it as much as us. #characterbuilding #lovemusic #braintraining https://lnkd.in/g7Nzrt3E

EVERY CHILD DESERVE MUSIC! Music education plays a pivotal role in schools, particularly in less affluent areas, for a variety of critical reasons. Here’s why it’s so essential: Music education is linked to improved academic performance. Studies have shown that engaging with music can enhance brain function and increase cognitive skills in areas like math, reading, and critical thinking. This can be especially beneficial in under-resourced schools where students might face academic challenges and where traditional teaching methods may not fully address diverse learning needs. Music provides a powerful outlet for emotional expression and coping. It allows students to process complex feelings and can be particularly therapeutic for those dealing with stress or adverse circumstances. Moreover, music fosters social cohesion; it requires collaboration and communication, which can help build community and support networks among students who may otherwise feel isolated or disconnected. In less affluent areas, schools often serve diverse communities where students come from various cultural backgrounds. Music education helps preserve and celebrate these cultures through the study and performance of traditional music. It also allows students to explore and develop their personal identity through artistic expression. Music can increase student engagement and motivation, making school a more enjoyable and rewarding place to be. This engagement can lead to better attendance and lower dropout rates. Music classes and extracurricular music activities provide students with compelling reasons to stay engaged with their school community. Music education teaches valuable skills that are transferrable to other areas of life. These include discipline, patience, perseverance, and creativity. Learning an instrument or participating in choir teaches students how to set goals, work towards them diligently, and adapt to feedback, all of which are essential skills for personal and professional success. In less affluent schools, students might have limited access to arts education and enrichment activities that are more readily available in wealthier districts. Providing music education helps bridge this gap, offering all students the opportunity to explore and benefit from musical activities. It democratizes access to the arts, which can inspire and open pathways to future educational and career opportunities in the arts and beyond. Exposure to music education helps cultivate a love of learning and a curiosity about the world. It can instill a lifelong appreciation for the arts and an understanding of the importance of culture and creativity in society. This holistic approach to education is crucial for fostering resilient, capable, and well-rounded individuals. Our BLOG - https://lnkd.in/ewr_YD5B