Story from my band room, a couple of decades ago:

I am discussing auto-tune, a relatively new invention, with one of my students, an uber-smart trombone player. I have serious doubts about whether auto-tune is a good thing for recorded music, as a concept. It means, I tell him, that the focus on all kinds of music will shift from genuine musical talent to production values. Singers who have limited range and vocal appeal, but look hot, can be made to sound hot, too, even when a raw recording of their voice reveals pitch problems and dubious vocal quality.

But, he says—aren’t you always pushing us toward perfection, in band rehearsal? We use machines to improve our tuning. We use machines to regulate tempos. And our entire goal is to sound flawless—the pursuit of excellence and so on. (That’s actually a thing I say, pretty often, in rehearsal.) Why wouldn’t it be OK for record producers to use technology to achieve the same ends?

I told you he was smart.

There are other reasons to make music, I reply. What about the joy of playing with others, like our community of kids here, who find great satisfaction in playing Russian Christmas Music, even spending lots of time tuning the unison brass opening, because nobody can fail to be moved by the solemnity and glory of the music? Even the beginners who can only play six notes experience immense pleasure in playing that first concert, despite being out of tune and rhythmically inaccurate. And their parents love it, too.

He wrinkles his nose. Maybe they’re just pretending to like it, he says.

My career as a music teacher was varied. I taught secondary band and choir, and elementary music. I taught some other stuff, too—seventh grade math, and a dumping ground class that gave me kids who didn’t speak English well enough to know how to do their homework—but I taught music across the K-12 spectrum, vocal and instrumental, in five different decades.

Although the world of recorded music, available to everyone on the planet, pretty much, changed radically in that span from the 1970s to the 2020s, music education looked much the same: elementary schoolchildren singing and moving to the beat, and selected secondary students peeling off into performance ensembles—bands, orchestras and choral groups. Competition remains popular with secondary teachers. The tyrannical band director is still a thing—and often admired.

Now, and perennially since the rise of musical performing groups in schools early in the last century, music programs are often considered expendable, subject to funding vagaries. There are lots of school band programs that depend on fund-raising and Boosters organizations. I myself was a poster child for funding your own program. Which means that parents and teachers believe so strongly in the power of school music programs they’re not willing to let them go.

There’s even talk about the ability of music and other arts to bring divergent perspectives together. There’s research about how music develops executive function, the “CEO” of the brain.  Music builds communities—in schools, and after formal education is over.

So why would any school think that music is an add-on, nice but not central to their mission of (here it comes) creating 21^st century citizens? The New York Times takes a stab at this with an article entitled We’re Teaching Music to Kids All Wrong.

Not a promising headline but the author, Sammy Miller, a Grammy-nominated drummer who started a music education company, actually gets this mostly right:

We need to start by rethinking how we teach music from the ground up, both at home and in the classroom. The onus is on parents and educators to raise the next generation of lifelong musicians — not just for music’s sake but to build richer, more vibrant inner personal lives for our children and a more beautiful and expressive world.

Miller notes that about 80% of all kids quit singing and playing in formal ensembles before they graduate. He points to the way we currently teach music—as a fully definable skill with pre-organized, grade-able steps to learning—as the reason for that:

A class that by definition is meant to be a creative endeavor winds up emphasizing rigid reading and rote memorization, in service of a single performance. We need to abandon that approach and bring play back into the classroom by instructing students how to hear a melody on the radio and learn to play it back by ear. Start with just one chord, a funky beat and let it rip — and, voilà, you’re making music.

I fully agree with Miller here—many music programs give up on creativity somewhere around the 5^th grade–but I can see large ensemble teachers across the country wincing. Those of us who are teaching music are dependent on uniformity because when there are 50 students holding noisemakers in front of you, the last thing you want is experimentation, especially with a funky beat.

Besides, we’re always under the gun to develop programs that the “community can be proud of” and showcase continuous skill-building in our students. In doing so, we stick to the tried-and-true instruments, techniques and literature. The world of popular and commercial music, in which our students are marinating every day, is ignored, unless the band plays a Top Ten tune in a football show. And the pursuit of excellence in all aspects of performance is the core value. 

But Miller says:

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. Great musicians have plenty of lessons to teach students about the usefulness of failure.

Like every curricular/instructional issue in K-12 education in 2023, talk of failure, learning from our mistakes, is somewhere between frightening and verboten. All of us are judged, stacked up against auto-tuned perfection, when perfection can be achieved digitally if you have the money and the tools.

Motivating children and teenagers is something else entirely.