The music profession and competition go hand-in-hand. In the professional music world, high stake auditions are the primary way that music directors decide to hire musicians for their orchestras or bands. Similarly, professional ensembles have many opportunities to perform on local, state, national, and international levels for prizes and accolades. The idea of competition in instrumental ensembles in schools is a logical progression to prepare young musicians for the competitive professional music field. While the super-competitive approach to music in schools may be of particular benefit to the minority of students who seriously consider pursuing professional music careers, most students will not pursue music as an avocation. As such, music educators must make good decisions regarding competition that positively affect as many students as possible.
One thing that a music educator must consider is the constituency of the student population. What do the students need? Will bringing a competitive band or orchestra program into the school be a benefit and a boon to the community, or will it leave potential students behind? Will having a non-competitive "ya'll all come" type of ensemble (marching band, for example) affect more student involvement in music? Will parents and students respond to concert and contest competitions in a constructive way, or will concert and contest competitions deter students from participation in music ensembles? Obviously, the issues around music and competition stir up many questions, but the most important question for me to answer is, "what will be best for my students?" Being flexible about ensemble policies regarding competition with the needs of my students in mind will help me construct a program that will involve as many music students in as meaningful a way as possible.
If the students and parents in my school are receptive to competitive music making, I see it as my job to prepare my students in music classes for these competitions with constructive criticism. Constructive criticism can come in the form of assessment from me, from the students themselves, and from their peers. Creating a checklist style assessment that measures students in specific skill across a period of weeks with suggestions for improvement can help students realize that a solo and ensemble or marching band competition rating is only one more way to help students' grow and progress. If the students see a competition in this way, they will maintain a sense of worth even if they "lose" or "fail" in a competition.
If educators view competitive events as long-term goals that present opportunities for student growth, these events can be beneficial for the many students in his or her care. Giving specific feedback and suggestions for further growth after the competitive event can help engender the sense that nothing is acquired in life without hard work and motivation. These ideas will help every student grow in a meaningful way.
You say, "...most students will not pursue music as an avocation..." I think you mean as a "vocation." Hopefully many of them will pursue it avocationally!
ReplyDeleteI personally believe that competition against a standard, like OMEA Adjudicated Events, can have value if approached properly by the teacher. Competition against other ensembles does not make a great deal of sense to me from an educational point of view.
Another aspect of competition we must consider is competition within our ensembles. In a couple of weeks we'll read an article called "Should We Have Chairs?" (or something like that). It talks about some other approaches to assigning parts that in some situations might have more educational value. When students are competing against each other for chairs, places in honors groups, etc., we must do everything we can to make sure that the process is as fair and unbiased as possible.