Educating Teachers to Transform the Trilogy

Abstract

This article constitutes the second stage in an ongoing investigation of alternative instrumental ensembles in schools. First, interview data from the previous stage, which documented cases in Massachusetts, Kentucky, Washington, and Nevada, where individual music teachers began and successfully sustained alternative ensembles for the past 5 to 10 years, summarize the genesis, growth, and sustenance of these ensembles. The current article presents data relating to the K-12 policy decisions made by these teachers and then examines these policy decisions with a focus on their implications for music teacher preparation. Implications for music teacher education are considered in light of enhancing music teachers' understanding of policy choices in the areas of (a) program design, (b) student participation, (c) conceptualizations of musicianship, and (d) cultural and aesthetic appropriateness. Finally, differences in inherent assumptions between alternative ensemble practice and traditional ensemble practice are set forth, ending with recommendations for specific teacher education reforms and action initiatives. ContextInitial reactions among music teachers and arts administrators to the term alternative prefixed to school ensembles can range from enticing to threatening, depending on one's experience, situation, and point of view. Despite whether alternative ensembles enjoy support or face resistance at the local level, recent Music Educators National Conference (MENC) publications indicate that music programs in schools are expanding beyond the traditional band-orchestra-chorus trilogy to include, and

Band, Orchestra, and… What?: Alternative Instrumental Ensembles in the United States

“…Marching band was not specifically mentioned by Colley (2009) as a part of the band, orchestra, and choir trilogy, but it represents a group of ensemble types that many would consider a part of traditional music education in the United States. Garofalo (2011), however, described a type of marching band that has alternative features.…”

“…An initial reading of literature related to alternative ensembles included Colley (2009) and Mixon (2009). It was determined that the majority of citations from both authors came from peer-reviewed publications in music education and used similar terminology when referring to the topic of alternative ensembles.…”

“…According to Colley (2009), the dominance of the band, orchestra, and choir trilogy is so great, that any ensemble, regardless of instrumentation should be called an alternative ensemble. Rideout (2005) and Woody (2007) raised important ethical and cultural concerns that challenge the use of the phrase, non-traditional, moving forward.…”

“…He believed that large ensembles fulfill an important role, but they must be augmented with other offerings. 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.…”

“…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.…”