ASurveyoftheHistoryandLegalityofSacredMusic
inAmericanPublicSchools
by
AnnaGreenlee
AthesissubmittedtothefacultyofTheUniversityofMississippiinpartial
fulfillmentoftherequirementsoftheSallyMcDonnellBarksdaleHonorsCollege.
Oxford, MS
May 2017
Approved by
___________________________________
Advisor: Dr. Andrew Paney
___________________________________
Reader: Dr. Debra Spurgeon
___________________________________
Reader:Dr.JohnSamonds
TableofContents
Page3–Abstract
Page4–Introduction
Page5–ChapterI:TheBeginningsofSacredMusicinAmerica
Page9–ChapterII:MusicEducationinthe20thCenturyandBeyond
Page14–ChapterIII:LegalRulingsConcerningSacredRepertoire
Page20–ChapterIV:MusicEducatorInterviews
Page23–ChapterV:DataAnalysis
Page31–Conclusion
Page32–AppendixofRespondents
2
Abstract
SacredmusichaslongbeenastapleofAmericanpublicschoolmusic
repertoire,evensincethebeginningsofschoolmusicinthenation.Thistext
providesinformationformusiceducatorstouseasadefenseoftheiruseof
sacredmusicforeducationalpurposes.Also,thistextgivesexamplesoflegal
conflictsbroughtaboutbyimproperuseofreligiousmaterialwithinthepublic
schoolarena.Additionally,thistextprovidesdetailedprocedureanddata
analysisofasurveydesignedtoevaluatetheatmospheresurroundingsacred
musicrepertoirechoicesintheAmericanmusicclassroomsof2017.
3
Introduction
“Educationcanneverbeastaticthing.Itrepresentsthethoughtofpeoplewhoare
continuallycaughtinthewhirlofachangingcivilization.Theschoolmustyieldto
thepressuresofthepeople-thetaxpayers-whodonotalwaysknowwhatisbest
fortheschool,butsometimeshaveprettygoodideas.”
–JosephA.Leeder(1958)
TheNationalAssociationforMusicEducation(NAfME)citesintheir2014
MusicStandards(Ensemble)thatselectingensemblerepertoireshouldbebased
on“anunderstandingoftheoreticalandstructuralcharacteristicsofthemusic,
thetechnicalskilloftheensemble,andthepurposeorcontextofthe
performance”(NAfME2016).Withinthelastdecade,thisprocessofchoosing
repertoirehasbecomeincreasinglymoredifficultinregardstosacredmusicin
America,becausetheSupremeCourthasmoreheavilydefendedtheimportance
ofseparationofchurchandstate.Musicteachershavefacedlegalconsequences
fortheirchoicesaboutwhattypesofmusictheybelievewouldmeetthisNAfME
guideline.
Musiceducatorsmustbeabletoprovideadefenseforwhythesacred
repertoireisimportantinordertobefoundfaultlessinmattersofthiskind.An
appropriatedefenseshouldinclude:knowledgeofsacredmusic’sroleinmusical
4
history,anunderstandingofhowitwasbroughtintoAmericanschools,andhow
tobestchooseandteachsacredrepertoireinawaythatwillbeacceptabletoall
potentialparties.
Conflictcanarisewhenamusiceducatorchoosessacredrepertoirefor
reasonsoutsideofeducation.Forexample,conflictispossiblewhenateacher
usesthemediumofmusictopromotehisorherownreligiousorganizationor
beliefsystem.Inthiscase,thepurposeoftherepertoirechoiceisnottoeducate,
buttoevangelize.
Occasionally,thisconflicthasledtolegislativeandjudicialaction.Court
casesregardingtheperformanceofsacredorreligiousmaterialinpublicschool
systemshighlighttheconflictsthatpresent-daymusiceducatorscanface
regardingtheirrepertoirechoices,classroomenvironment,andprofessional
demeanor.Thisthesisgivesinformationthatcanbeusedforahistorical
significancedefenseofsacredmusicrepertoireifconflictweretoarisewithin
thepublicschoolenvironment.Also,itdetailspreviouscourtcasesrelatingto
thetopicofsacredmaterialuseinpublicschools.
Theinfluenceofthistopiconthelivesandeducationalpracticesof
present-daymusiceducatorsispresentedinthisthesiswiththeprocedure,
results,andanalysisofasurveydoneonsacredmusicuse.
5
ChapterI:TheBeginningsofSacredMusicinAmerica
ThehistoryofsinginginAmericanschoolsisverycloselytiedtosacred
music.AftertheProtestantReformationinEuropein1517,churchleaders
placedastrongerfocusontheaspectofsinginginreligiousservices.Martin
Lutherstated“singinggoodmusicmakesamanmorereasonableandwellmannered”(Mark6).ThistypeofthinkingfollowedthePilgrimsto
Massachusettsin1620,andlaterthePuritansin1630.Bothgroupsofpeopleleft
Englandinpursuitofreligiousfreedomandarighttoworshiphowtheysawfit.
Thisreligiousfreedomwasanewcatalystforsacredmusiccomposition.
ThefirstEnglishbookprintedinAmericawasaPuritanbookofmetrical
psalter,orsungPsalms.ThisWholeBookofPsalmesFaithfullyTranslatedInto
EnglishMetre,alsocalledtheBayPsalmBook,waspublishedin1640.Thesetexts
weresungtoAnglicantunesthatwerepublishedpreviouslyinthefifteenth
century,specificallyBookeofPsalmesinFourPartsbyThomasRavencraft(1621)
andtheWholeBookofPsalmsinThreePartsbyJohnPlayford(1677)(Marini
2011).ThirtyministerscalledtheCommitteeofThirtycompiledtheBayPsalm
Book.TheirgoalwastocorrectsomeoftheinaccurateHebrewtranslationsused
inpreviousPsalmbooks.TheBayPsalmBookwasmassivelypopularafterits
production,andwentthroughseventyeditionswithinthefirstthirtyyearsofits
existence(Mark10).TheReformedtheologyinthistimerequiredthatonly
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Biblicaltextbesunginchurches,thusthepopularityofPsalmBooksincolonial
America.
ThefirstfewgenerationsofworshippersinNewEnglandsawavast
declineinthequalityoftheirchurchmusic.Churchmusicduringthistimewasin
averycrudestate,beingtaughtandconductedbyachurchleader“liningout”
thetuneandthewordsofthePsalms(Birge9).
“Precentors,”normallydeaconsorlayleaderswithinthechurch,by1670
weregiventhisdistincttaskofleadingthesingingofthePsalms.Onlyasmall
numberoftuneswerereadilyavailablefrompreviouslypublishedPsalterbooks.
However,therewasnoprocessinplaceforunificationoftone.Eventhe
Precentors,whowerebeinglookedtoforprovidingtheleadershipintheliningoutmethod,oftentimeswerenoteducatedaboutthecorrectnessoftune(Mark
13).
ReverendThomasWalterofRoxburycalledthesoundproducedduring
thistime“ahorridmedleyofconfusedanddisorderlyvoices…lefttothemercyof
everyunskilledthroat”(Clark1924).Theideaofpublicschoolmusiccamefrom
anearlyattempttoimprovethistypeofchurchmusicincolonialNewEngland,
throughthedevelopmentofsinging-schools(Marini2011).
Singingschoolsbecamepopulararoundthetimethe“RegularWay”of
singinginchurchwasgainingground.TheRegularWayofsinginginvolved
singingbynote,asopposedtofollowingaPrecentorinthelining-outmethod.A
manualforthisnewtypeofsingingcalledTheGroundsandRulesofMusic
ExplainedorAnIntroductiontotheArtofSingingbyNote,whichwaspublishedin
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Bostonin1791andwrittenbytheaforementionedReverendThomasWalter
fromRoxbury,Massachusetts.Waltersuggestedthatnoteliteracywouldsolve
theissueofuncertaintysurroundingtunecorrectness(Mark2008).In1721,
ReverendThomasWalterpublishedthefirstAmericanbookofprintedmusic
withbarlines.Withthisnewaccess,singing-schoolsandsingingclassesbeganto
increaseinnumberallovercolonialAmerica(Birge11).
Somecongregationswereopposedtothechangefromlining-outtothe
newRegularWayofsinging.Therewasresistancefromthosewhohadno
musicalliteracyskillssincethisRegularWayrequiredreadingofmusical
notation.However,singing-schoolseventuallybecameameansofcommunity
entertainment,whichwasmoredifficulttoresist(Mark19).Althoughtheroots
ofthesesinging-schoolsremainedreligious,musicalstudyoffamouscomposers
ofthetimewascommon(Birge11).Onenewspaperarticlefromthe1850s
advertised:
MusicinclassesasitwastaughtinancienttimesbyHaydn,Mozart,
Beethoven,andMendelssohn,andasitistaughtinmoderntimesby
Mason,Webb,Hastings,BradburyandZeuner.(Earle1891)
Thisinterestinclassicalmusicbeganthediversionfromstrictlysacredmusic
productiontoamoresecularmusiceducation.
Neartheendoftheseventeenthcentury,anewmethodofchurchmusic
haddeveloped:“ruleandart.”Inthismethod,thebettersingersinthe
congregationsattogether.Thisstartedtheideaofachurchchoir(Birge10).
8
Untiltheintroductionofmusicclassesinpublicschools,thesesingingschoolsweretheonlymethodofmusicalinstructionavailabletothepublic.
Eveningclassesweredevelopedasameansofsupplementingtheexistingpublic
education.Publicschoolswereinclinedtoacceptmusicaspartoftheir
curriculumsbecauseoftheexistingpopularityofsinginginthe1830s(Mark20).
LowellMason,knownasthefatherofmusiceducation,wasresponsibleforthe
transitionofmusicfromsinging-schoolsintopublicschoolclassrooms
(Pemberton1992).
OneofMason’sgreatestadvancementsinpublicmusiceducationcame
withhiscreationofthemusicalconvention.Thefirstmusiceducation
conventionwasheldattheBostonAcademyofMusicin1836,whichattracted
hundredsofmusicteachersfromthesurroundingareas.Fromthatpoint
forward,conventionshavebeenaninvaluableresourceformusiceducators
continuingintopresentday(Birge23).By1838,LowellMasonwassuccessfulin
usheringvocalmusicintotheBostonpublicschoolcurriculum(Pemberton
1992).
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ChapterII:MusicEducationinthe20thCenturyandBeyond
LowellMason’slastingimpactonmusiceducationinAmericacanbeseen
throughoutthecenturyafterhislife,the20thcentury.Mason’sdevelopmentof
themusiceducationconferenceaidedthenationalmovementtoencouragea
focusoneducatorqualificationsandstandards.Thisfocusontheeducatorledto
theformationoftheNationalEducationAssociationin1857,whichwassoon
followedbytheDepartmentofMusicEducationin1884.AtNEAconferencesin
thelate1800s,discussionaboutthepsychologicalaspectsoflearningtookplace.
The“child-studymovement”grewoutofthesediscussions(Spurgeonand
Gerber2013).
The“child-studymovement,”ledbyG.StanleyHall,examinedhow
educationalreformcouldreflectpsychologicalfindings.EdwardBirge,authorof
HistoryofPublicSchoolMusic,saidthefollowingaboutmusiceducation’spartin
thisnewmovement:
Thechild-studymovementwaslargelyresponsibleformakingclearthe
presentaimofschool-music,whichisthateverychildshallappreciate
andtakepleasureinmusic,notinavagueandindefinitefuture,buthere
andnow.(Birge,89)
G.StanleyHallspokeonthestatusofmusiceducationatthetime,atthe
1896NEAmeetinginDenver,Colorado,saying,
Inmusicthereisachanceforaveryradicalchange.Someofourmusic
teachersareinaverybadway.Thequalityofmusicismiserable,andnot
theplanandmethodsbywhichitishypertrophiedbeyondallsenseand
10
pettydifferencesmagnified.(Hall1896)
Theearly1900sbroughtmanychangesforAmericanlife.Large
migrationstowestoftheMississippiRiver,politicalclimates,and
industrializationcausedanincreaseofnationaleconomicgrowth.Thiseconomic
growthdevelopedafootholdfortheinterestinpubliceducation.Publicschool
enrollmentrosesignificantly.
PartlyasaresultoftheChildStudyMovement,nationalinterestin
educationhadbeenontherisesincethelate1800s.Thefirstfewyearsofthe
1900sbuiltoffofthisexistinginterest,andmusiceducationflourished.Choruses
wereformedinmorepublichighschools,teachereducationinNormalSchools
begantoincludemusiccourses,and“musicsupervisors”cameontothescene
(Birge83-84).
Priortotheearly1900s,theexistingclassroomteachertaughtmusicin
themajorityofpublicschools.Withtheexceptionofafewhighschoolchorus
teachersinurbanareas,“Musicsupervisors”arethefirstinstanceofaspecified
music-teachingrolewithinpublicschools.
Thefirstnationalmusiccurriculumguidelinescameaftermuch
deliberationwithintheMusicTeachersNationalAssociationandtheDepartment
ofMusicEducationoftheNationalEducationAssociation.Betweentheyearsof
1903and1904,fifteencommitteemeetingsandfivesessionsoftheentire
conferenceproducedthefirstnationalproposalforanofficial,musicalcourseof
study.
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Thenextstepinsolidifyingtheneedforpreparatoryandsecondary
schoolmusicwasthepushforcollegestoincludemusicintheiradmission
exams.In1905,theEasternEducationalMusicConferenceandtheNewEngland
EducationalLeaguewerethefirstgroupstotakeonthisnextbenchmarkfor
musiceducationinpublicschools.Thesegroupsmetwithacommitteeofcollege
professorsandproducedaproposalfortheCollegeEntranceExaminationBoard
forNewEnglandandMiddleStates.
Thisproposal,toallowhighschoolmusictocounttowardscollege
entrancecredit,wasacceptedunanimouslyonApril21,1906.Theacceptanceof
theproposalprovidedanewincentiveforhighschoolstoprovidesufficient
musicaleducationfortheirstudents.
TheMusicSupervisorsNationalConferencewasfoundedin1907to
adjustfortheincreaseofneedandavailabilityofMusicSupervisorsingeneral
educationclassroomstoprovidestudentswithadequatemusicalknowledge.
However,thiscreditincentivealsospurredamovementforappliedmusic
lessonstakenbystudentsoutsideofschooltobecountedforhighschoolcourse
credit.Allowingstudentstotakeprivatelessonsforcreditkeptschoolsfrom
beingforcedintohiringateacherspecificallyformusic.Thispracticeofoutside
lessonstookrootinseveralstatesduringtheyearsbetween1906and1930
(Platt2009).
Duringtheseyears,musiceducationflourishedmorethanever.
Partnershipbetweenhighschoolsandcollegesbecamenecessaryasmoreand
morecollegesbeganallowingmusictocounttowardsadmissioncredit.National
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musicconferencesgrewinrecordnumbers.Musicsupervisorsandmusicians
whowereofferingprivatelessonsforhighschoolcredithadacommongoal.
TheGreatDepressioneffectivelyendedthismusicallyfruitfulperiod.
PrivatelessonsbecamealuxuryformostAmericans,drasticallyreducingthe
numberofhighschoolstudentswhousedoutsidelessonsforschoolcredit.
AmongthestrugglestheGreatDepression,andlater,WorldWarII,thepractice
ofawardingcreditforprivatemusiclessonsbecameathingofthepast.Onlya
fewstatesacceptedprivatemusiclessonsassubstitutionsforhighschoolmusic
credit(Platt2009).
AfterWorldWarIIended,Americansspentseveralyearsinfinancialand
societalrecovery.Advocatesforpublicmusiceducationduringthenextyears,
likeBennettReimer,RobertShaw,FredWaring,andHarveyWhistler,alongwith
theNationalMusicEducatorconferences,werelargelyresponsibleforthe
continuationofgrowthinthefield(Leeder1965).Thelate1950stotheearly
1970ssawdecadesofagradualexpansionofusingmusictoexpressthe
traditionsofdifferentcultures(Reimer1970).
BennettReimer,aninfluentialmusiceducatorinthe1950s,assertedthat
musicshouldbeadisciplineuntoitselfandnotonlyholdvalueinitsrelationto
othersubjects.Theaesthetic-valueapproachinmusicteachingexpanded
betweenthe1950sand1960s.Asonemusicteacherofthistimeperiodsaid,
Americanmusicteachers“conformedtowhateverseemedtostandforthetotal
philosophyoftheschools”(Woodford2015).Reimer’sbook,“Aphilosophyof
MusicEducation,”wasmassivelyinfluentialafteritspublicationin1970.
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Toomuchfocusontheaestheticvalueofmusiceducation,however,lead
totheerainwhichthelinebetweenreligionandeducationgotblurry.Reimer
statedthatmusic’suniquenesscame,inpart,fromitsabilitytoachieve“spiritual
transcendence.”
Toomuchfocusonthe“spiritual”natureofmusiccanquicklybecometoo
personalizedforittobeapplicableinaclassroom,aspointedoutdecadesearlier
byJohnDeweyinthefirsteditionofhisbook“ArtasExperience.”Deweyclaimed
thatmusicmustnotbetaught“outsideoftheconnectionofconcreteexperience”
(Dewey1934).
AstudyoftheMusicEducator’sJournalbetween1967-1992showedthat
theincreaseinfocusforthistimeperiodwasonamulticulturalmusicclassroom.
Articlespublishedduringtheseyearsdetailmethodsformusicteachersto
includemusicfromdifferentcultures,aswellashowtodiscusseducationallythe
aestheticvalueofmusicasitrelatestoallbeliefsystems(Volk1993).Onemusic
educatorfromthepresentday(RespondentNine)saidthisaboutthe
importanceofaculturalbalanceinsacredrepertoire,
SpiritualsandgospelareavitallyimportantpartofAmericanhistory
andculture,anditisimpossible/dishonesttoseparatethemfromtheir
religiousthemes.Mostofthe"famousdeadwhiteguy"choralmusicis
sacredbecausechoralmusicwasfarmorelikelythaninstrumentalworks
tobesponsoredbyreligiousorganizationsratherthanbyprivatepatrons.
Inordertosing/teachFDWGmusic,onemustsing/teachsacredmusic.In
termsoffolk/worldmusic:Oneofthemajorusesforcongregational
singingisforworship.Ifonewantstoteach/singmusicfromcultures
otherthanourown(NorthEastUS),onemustbewillingtosingsacred
musicofthosecultures.
Theincreasednationalinterestinsacredmusicfromdifferentculturesduring
14
thelate1960stoearly1990screatedgreaterpossibilityandunderstandingfor
aneducationalenvironmentthatincludedtheuseofsacredmusic.
15
ChapterIII:LegalRulingsConcerningSacredRepertoire
Sacredmusicwasinstrumentalinthedevelopmentofvocalmusicin
publicschools.Asaresult,ahistoricalsignificancedefensecanbeusedifthe
continuationofsacredmusicinachoralrepertoirecausesconflictofanykind.
Anotherimportantmethodforalegaldefenseofsacredmusicinapublicschool
repertoire,shouldsuchadefenseberequired,isanopendialogue.Music
educatorscanestablishanopendialoguebetweenthemselves,administration,
andstudents.Religiousmaterialofanykindinpublicschoolshasbeenapointof
contentionsincethe1960s.
Followingacourtcasein1971,ChiefJusticeWarrenE.Burgeraddressed
themethodbywhichamusiceducatorcoulddeterminetheconstitutionalityofa
suggestedrepertoire.ChiefJusticeBurgerdevelopedthreequestionsthatshould
beaskedpriortochoosingsacredmusicforaschool-sanctionedprogram:
1)Whatisthepurposeofthisactivity?Isitsecularinnature,thatis,
studyingmusicofaparticularcomposer’sstyleorhistoricalperiod?
2)Whatistheprimaryeffectoftheactivity?Isitthecelebrationof
religion?Doestheactivityeitherenhanceorinhibitreligion?Doesit
inviteconfusionofthoughtorfamilyobjections?
3)Doestheactivityincludeexcessiveentanglementwithareligionor
religiousgroup,orbetweentheschoolsandreligiousorganizations?
16
Financialsupportcan,incertaincases,beconsideredentanglement.
(MusicEducatorsJournal1992).
Thechoosingofsacredmusicforapublicschoolchoralgroupdoesnot
requirethemusiceducatorhimself/herselftobereligiouslyneutral.However,
anyplannedchoralprogrammustmeetthe“neutral”criterion.Historical,
musical,andculturalsignificancemustexistinorderforsacredmusictobe
taughtwithoutareligiousbias.AbrahamSchwadronstatesitthiswayinthe
1970summereditionoftheJournalofResearchinMusicEducation:
IfitispossibletostudyCommunismwithoutindoctrinationorto
examinetheillsofcontemporarysocietywithoutpromotingtheseedsof
revolution,thenitmustalsobepossibletostudysacredmusic(with
performancerelatedactivities)withoutparochialisticattitudesand
sectarianpointsofview.
Theresultofnotfollowingtheseguidelineswhilechoosingasacred
choralrepertoirecanbedisastrousforamusiceducatororforanentirechoral
program.Forexample,inthecaseofDoev.AldineIndependentSchoolDistrict
(2982),afederalcourtdeclaredthattheAldineSchoolDistrictinTexashad
violatedtheconstitutionbyperformingasungprayeratschoolevents.In2009,
parentsinFloridasuedtheirschooldistrictinS.D.etalv.StJohnsCountySchool
District(2009).Inthiscase,studentshadbeenrequiredtosingasongtitled“In
GodWeStillTrust”ataschool-wideassembly.
Studentsweregiventheoptiontooptoutoftheperformance,butthe
courtstillruledinfavoroftheparents.Theperformanceofthisreligioussongat
17
theirpublicschoolassemblywasdeclaredunconstitutional.
AlongwithChiefJusticeBurger’squestions-to-askguidelines,music
educatorsmustalsobeconsiderateoftheexistingtri-partLemontestfor
choosingsacredrepertoire.TheLemontestistheresultofaSupremeCourt
rulinginLemonv.Kurtzman(1971)inwhichtheEstablishmentClauseofthe
Constitutionisdebated.TheEstablishmentClauseoftheConstitutioncreatesthe
legaljustificationforbanningcertainreligiousactivitywithinpublicschools.The
Lemontest,stemmingfromtheEstablishmentClause,usesthefollowingthree
partstodeterminethelegalityofasacredmusicalworkproposedtobeusedina
publicschoolsetting:
(a)Thestatutemusthaveasecularpurpose,
(b)Itsprincipalorprimaryeffectmustbeonethatneitheradvancesnor
inhibitsreligion,and
(c)Itmustnotfosterexcessivegovernmententanglementwithreligion
(CranmoreandFossey35).
TheholidayseasoninAmericaisthemaintimeinwhichtheseissuesare
broughttolightforamusiceducator.Thisseasonhasgrowntoencompassthe
entiremonthofDecember.Christmashasbeenanationallyacknowledged
holidayinAmericasincebeforetheCivilWar.Americanmusiceducators,
therefore,mustbeabletomakeintelligentdecisionsabouthowtoapproachthe
seasonregardingtheirclassrooms.JeanCaffeyLyles,editorofChristianCentury
Magazinesays“carolsandotherreligioussongshavenoplaceinschoolsifthey
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aresungforareligiousratherthaneducationalpurpose.”Thisstatementechoes
thelegislativedecisionsaboutsacredchoralmusicuseinotherpartsofthe
schoolyear.
In1989,agroupofsixteendifferentgroupsbandedtogetherinthe
interestofaddressingsacredmusicinschools.Thiscoalitionofgroupssuchas
theAmericanAcademyofReligionandtheNationalEducationAssociation
issuedaproposalthatencouragedschoolstoapproachtheholidaysinan
academicallygearedway,avoidingthepromotionofonereligiousbeliefover
another.Asegmentofthatproposalreadsasfollows:
Theremustberespectforpeoplewithstrongreligiousbeliefsand,atthe
sametime,respectforthoseofotherbeliefsornobeliefsatall.Adelicate
balanceneedstobestruckinDecemberandthroughouttheyear…
Teachersmustbealerttothedistinctionbetweenteachingabout
religiousholidays,whichispermissible,andcelebratingreligious
holidays,whichisnot(Mendez1994).
SuggestionsforMusicEducators
Musiceducatorsdealspecificallywiththeissueofholidaymusical
programsbeingseenasanactofreligiousworshipiftheirrepertoireistoo
saturatedwithsacredtexts.Abalancebetweensacredandsecularmusicwithin
theprogramiskey.Also,somereligiousholidaytextscouldeasilybetaughtin
theiroriginallanguageinsteadofEnglish–removingsomeoftheovertly
religiouspresenceoftheperformance.“SilentNight,”forexample,couldbesung
intheoriginalGerman.Thiswouldprovideanotherlayerofcomplexityforthe
19
choralstudentswhilemaintainingabalanceofobviouslysacredtextwithinthe
program.
AlongwiththeLemontestandtheuseofthequestionsdevelopedby
ChiefJusticeWarrenE.Burger,thereisonefinalmethodamusiceducatormay
useinpursuitofhavingalegallydefensiblesacredmusicrepertoire.This
methodiscalledtheEndorsementTest.Thistestcoversreasonsbehindamusic
educatorchoosingasacredpieceforhisorherpublicschoolchorus.According
totheEndorsementTestprinciple,publicschoolscannotbeliableforappearing
toencourage,orendorse,anyreligion.Theactionsofapublicschool,and
thereforetheactionsofapublicschoolchorus,cannot“conveyamessageof
endorsementordisapprovalofreligion,eveniftheintentwasnotexplicitlytodo
so”(Drummond2014).
ThistestcamefromacourtrulinginthecaseofLynchv.Donnelly(1984).
Thiscasewasnotactuallyaboutsacredmusic,orpublicschoolsoriginally.The
subjectmatterthatwasbroughtbeforethecourtasaviolationofthe
EstablishmentClauseoftheConstitutionwasaNativityscenethatwasputon
displayinfrontofacityhallinRhodeIsland.However,therulingcaneasilybe
appliedwithinapublicschoolcontext.
Alongwiththelegalaspectsofchoosingsacredmusicforapublicschool
chorus,thecommunityexpectationsmustalsobetakenintoaccount.Tim
Drummondinan2014issueoftheMusicEducatorsJournalsuggeststo“havea
generalideaofthereligiousbackgroundandculturalnormssurroundingyour
upcomingperformance.”Christmas-themedholidayconcerts,especially,arean
20
expectationofmanyAmericanschooldistricts.Thisshouldbetakeninto
consideration,butshouldnotoverrulethelegalsuggestionsthathavebeen
previouslydiscussed(Drummond2014).
Sacredmusichasbeenanintegralpartofpublicvocaleducationsince
colonialtimes.Amusiceducatorislegallyabletochoosesacredmusicforhisor
herpublicschoolchoirifheorshemaintainstheabilitytoprovidealegal
defenseforthoseparticularselections.Sacredmusicwithinapublicschool
repertoiremusthaveasecular,educationalpurpose,mustnotendorseany
religion,andmustnotdisclaimanyreligion.Holidayconcertsareveryoften
expectedbycommunities,butcanbeasourceoflegaltroubleiftheconcertis
mishandled.Holidayconcertsmustalsobedefensiblyeducational,andthere
mustbeamarkeddifferencebetweenreligiousstudyandreligiousworship
withintheprogramchoices.Consequenceswillnotberequirediflegalactionis
broughtagainstaneducatororaschooldistrict,iftimehasbeenplacedin
preparingtherepertoirewithasecularmindset.
Asthesubjectofreligioninthepublicspherebecomesmoretumultuous,
musiceducatorsmustbemorepreparedtodefendtheirrepertoirechoices.
Musiceducationshouldalwaysbeforthebenefitofthestudentsandthe
community,eventhroughthemediumofsacredmusic.
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ChapterIV:MusicEducatorInterviews
Inordertogainamorespecificbodyofknowledgeregardingsacred
musicuseinpublicschoolmusicprograms,IcreatedasurveyusingSurvey
Monkey™.AfterreceivingInstitutionallReviewBoard(IRB)approvalfromthe
UniversityofMississippi,Idistributedthissurveyviaemail.Ichosetheemail
recipientsfromregionalwebsitesoftheAmericanChoralDirector’sAssociation
(ACDA).Ichosemostly(75%)fromeducatorswhowerelistedastheirregion’s
president,vicepresident,resourcecorrespondent,orothertypeofcommittee
member.
Musiceducatorswhoareelectedtoofficewithintheirregionalchapters
oftheACDAaregenerallywell-respected,experiencededucators.Ialsochose
respondentssothatmysurveypoolconsistedofamajorityofeducatorswho
had10+yearsofteachingexperience(71.4%).Thesepercentagesandresources
ensurethattheanswersreceivedreflectedawealthofeducatorexperience.I
gatheredatleastoneresponsefromeachACDAregion.Iftheindividualstatehad
aworkingACDAwebsite,Ichosefromtheofficerslistedonthosesites.However,
ifthestatedidnothaveasite,Ichosefromthedistrictsiteofficersinstead.
TheACDAregionsandtheircorrespondingstatesareasfollowing:
CentralDivision–Illinois,Michigan,Indiana,Ohio
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EasternDivision–Connecticut,Delaware,Maine,Maryland/DC,Massachusetts,
NewHampshire,NewJersey,NewYork,Pennsylvania,RhodeIsland,
Vermont
NorthCentralDivision–Iowa,Minnesota,Nebraska,NorthDakota,South
Dakota,Wisconsin
NorthwesternDivision-Alaska,Idaho,Montana,Oregon,Washington,
Wyoming
SouthernDivision–Alabama,Florida,Mississippi,Georgia,Kentucky,Louisiana,
NorthCarolina,SouthCarolina,Virginia,WestVirginia,Tennessee
SouthwesternDivision-Arkansas,Colorado,Kansas,Missouri,NewMexico,
Oklahoma,Texas
WesternDivision–Arizona,California,Hawaii,Nevada,Utah
Thesurveywasfifteenquestionslong,andrequiredverylittletimefor
participantstocomplete,approximatelyfiveminutes.Thirty-fivemusic
educatorscompletedthesurvey,overthecourseoftwoweeks.Theeducators
surveyedhavecombinedteachingexperiencefromthefollowingstates:
Alabama,Arizona,Arkansas,California,Colorado,Connecticut,Florida,Illinois,
Indiana,Iowa,Kansas,Kentucky,Louisiana,Michigan,Minnesota,Mississippi,
Nevada,NewJersey,NewYork,NorthCarolina,NorthDakota,Ohio,Oklahoma,
Oregon,Tennessee,Texas,andWestVirginia.
Thestyleofsurveyallowedforparticipantstoremainanonymousin
ordertoprotectthemfromanybacklashfromtheirschooldistrictor
23
community.Thesesurveyquestionsweredesignedtoidentifyfourdifferent
factors:locationandlengthofparticipant’steachingcareer,existenceor
nonexistenceofconflictsurroundingsacredmusicrepertoireandwhy,
participant’smethodologyforchoosingsacredrepertoire,andanypersonal
inputregardingtheuseofsacredmusicinapublicschoolmusicprogram.
Outofthe35participantswhocompletedthesurvey,Ihaveincludedten
completedexampleswithintheappendixofthispaper.Thesesurveyresults
highlightthefullspectrumofanswersreceived,andallowreferencepointsfor
thefollowingdataanalysissection.
24
ChapterV:DataAnalysis
ThemajorityofrespondentstotheSacredMusicsurveyhadbeenmusic
educatorsfortenyearsormore(Graph1).Theseeducatorshaveawealthof
knowledgeaboutprogrammingmusic,andseveralhadtaughtinmorethanone
stateduringtheircareer.Thisrangeofexperienceallowsforanswersthatare
morelikelytoreflectthegeneralopinionsofmusiceducators.
Everyrespondentwhotookthissurveystatedthathis/hermusic
programincludedawinterorholidayconcert(Graph2).Thisresultwasnot
25
surprising.Schoolyearsaredividedintosemestersornine-weeksections.The
fewweeksrightbeforeaschool’s“holiday”breakisprimetimeforschool
assemblies,activities,andmusicalprograms.
Thefollowingquestion,“Ifyes,whatisitcalled?”(Graph3),addressed
whatthatconcertwasprimarilycalled.Themajorityofrespondents,48.57%,
calledtheirprograma“winterconcert.”The“winterconcert”title,asopposedto
a“Christmas”or“holiday”concert,removesanyreferencetoreligionorreligious
26
practice.
GraphFourshowstheaveragepercentageofsacredmusicthat
respondentsprogrammedoverthe2016-2017schoolyearwas43%.Nearlyhalf
ofthepreviousyear’srepertoireschosenbytheseeducatorsfellintothegenreof
27
sacredmusic.
Comparatively,thefollowingquestionaddressedthepercentageof
sacredmusicinallyearsoftheeducator’scareer.Thisaveragenumberwas
slightlyhigherat46%.
GraphFiveshowsthat100%ofrespondentswhoansweredthequestion
“Whichofthefollowingtypesofsacredmusichaveyouprogrammed?Selectall
thatapply”statedthattheyhadprogrammedSpirituals.Thesecondhighest
percentagewasasimilargenre,Gospel.Artmusicwasthethirdhighest
28
programmedgenreamongrespondentsat76.67%.
Regardingconflictaboutsacredmusicrepertoirechoices,Ifoundthatthe
comment-stylequestionswerethemostsuccessfulasamediumforexpression
ofeducatoropinion.Questionfifteen;“Isthereanythingelseyouwouldliketo
add?”gavetheclearestwindowintothetruefeelingsoftheseeducatorsonthe
subjectofsacredmusicchoice.Severalrespondents(includingrespondents1,4,
6,8,9,and10)gavemorepersonalizedanswerstoQuestionFifteen.
29
GraphSixshowsthat62.86%ofrespondentsansweredthattheir
personalbeliefsdonotinfluencetheirsacredrepertoirechoices.Theother
respondentseitheranswered“yes”or“notsure.”
30
Conclusion:
SacredmusichasalwaysbeenasubstantialpartofAmericanpublic
schoolmusicprograms.EarlyAmerican“singingschools”werecreatedto
improvesacredmusicsinging,buttheimpactoftheseschoolswasmuchmore
far-reachingthanjusttothelocalchurch.Thedevelopmentandimprovementof
musiceducatorconferencesspurredanationalshifttowardsunderstandingthe
importanceofallmusic,notjustmusicofasacredgenre,inpublicschools.
However,theconnectionofsacredmusictopublicschoolmusichas
causedabitofconflictinthelastfewdecades.Guidelinesaboutreligious
materialinschoolhavebeenputinplaceasaresultofSupremeCourtdecisions.
Amusiceducatorchoosinghisorherrepertoireshouldcloselyfollowthese
guidelineswhenchoosingsacredmusic,inordertoremainabovethelawandat
ahighstandardofteaching.
Musiceducatorsacrossthenationin2017haveawidevarietyof
experiences.Conflictsurroundingsacredrepertoireisnotthe“norm,”butevery
musiceducatorshouldbeawareofthepotentialconflictsthatcanarise,evenin
thebestofsituations.Communityexpectation,administrativeguidance,and
personaljudgmentareallimportantintheseeducators’decisionabout
repertoire.Amongtheeducatorssurveyed,mostseemconfidentintheir
processesofchoosingrepertoireandtheirabilitytoprovideaqualitymusic
educationusingallgenresofmusic,includingsacredmusic.
31
Appendix
Respondent1
PAGE1:BasicInformation
Q1:Howlonghaveyoubeenapublicschoolmusiceducator?
•
6-10years
Q2:Inwhatstate(s)didyouordoyouteach?Selectallthatapply.
•
Mississippi
Q3:Whichagegroupofstudentswereyou/areyouteaching,primarily?
•
HighSchool
Q4:Doesyourmusicprogramhaveawinter/holidayconcert?
•
Yes
Q5:If"yes,"whatisitcalled?
•
WinterConcert
Q6:If"no,"pleasebrieflyexplainthecauseofthatdecision.
Respondentskippedthisquestion
PAGE2:DetailedInformation
Q7:Haveyoueverfacedanyconflictwithadministration,community,or
students,regardingsacredmusicuseinyourmusicprogram?
•
No
Q8:If"yes,"pleasebrieflyexplain.
Respondentskippedthisquestion
Q9:If"no,"pleaseexplainthedecisionsthatmayhavehelpedtoavoidconflict.
Basedonthecommunitybeingheavilyinvestedinreligion,itwasacceptablefor
mygroupstoperformasgospelsonghereorthere.Iwouldnotdomorethan1
or2perconcertbecauseIwantedtomakesuretoeducatestudentsandparents
ondifferentgenresofmusic.
32
Q10:Whatpercentageofyourrepertoirethisyear(2016-2017)issacredmusic?
Respondentskippedthisquestion
Q11:Whatestimatedpercentageofyourrepertoire,overall,issacredmusic?
•
50%
Q12:Whatisyourpersonalprocessforchoosingsacredrepertoireinyour
program?
Thestyleandbenefitsforexploitingmystudents’strengthsallwhilechallenging
themfactoredintomyselectionchoices
Q13:Whichofthefollowingtypesofsacredmusichaveyouprogrammed?Select
allthatapply.
•
•
•
Spirituals
Gospel
ArtMusic
Q14:Doyourpersonalreligiousbeliefsinfluenceyoursacredrepertoirechoices?
•
No
Q15:Isthereanythingelseonthissubjectthatyouwouldliketoadd?
Sacredmusicwassomeofthefirstexamplesofchoralmusicsomanypractice
theimportanceofcontinuingthoseselections.However,knowingyour
personnel,suchasstudents,administrators,andcommunitywillprovideyouthe
knowledgeabouthowmuchshouldbeperformedperconcert.Ibelieveitwill
alwaysbeacceptedinthechoralrealm:festivals;church;etc...
33
Respondent2
PAGE1:BasicInformation
Q1:Howlonghaveyoubeenapublicschoolmusiceducator?
•
10+years
Q2:Inwhatstate(s)didyouordoyouteach?Selectallthatapply.
•
Oklahoma
Q3:Whichagegroupofstudentswereyou/areyouteaching,primarily?
•
HighSchool
Q4:Doesyourmusicprogramhaveawinter/holidayconcert?
•
Yes
Q5:If"yes,"whatisitcalled?
•
WinterConcert
Q6:If"no,"pleasebrieflyexplainthecauseofthatdecision.
Respondentskippedthisquestion
PAGE2:DetailedInformation
Q7:Haveyoueverfacedanyconflictwithadministration,community,or
students,regardingsacredmusicuseinyourmusicprogram?
•
Yes
Q8:If"yes,"pleasebrieflyexplain.
LostastellartenorafterhismotherbecameaJehovah'sWitness.(Igothimback
thisyearthough,becauseheisn'tlivingwithmomanymore...)
Q9:If"no,"pleaseexplainthedecisionsthatmayhavehelpedtoavoidconflict.
Respondentskippedthisquestion
Q10:Whatpercentageofyourrepertoirethisyear(2016-2017)issacredmusic?
•
46%
34
Q11:Whatestimatedpercentageofyourrepertoire,overall,issacredmusic?
•
47%
Q12:Whatisyourpersonalprocessforchoosingsacredrepertoireinyour
program?
Ichoosemusicbecauseit'sgoodformysingers'growthanddevelopment.Ihave
aFineArtsDirectortoremindmeofmyadherencetothelaw.
Q13:Whichofthefollowingtypesofsacredmusichaveyouprogrammed?Select
allthatapply.
•
•
•
Spirituals
Gospel
ArtMusic
Q14:Doyourpersonalreligiousbeliefsinfluenceyoursacredrepertoirechoices?
•
NotSure
Q15:Isthereanythingelseonthissubjectthatyouwouldliketoadd?
Respondentskippedthisquestion
35
Respondent3
PAGE1:BasicInformation
Q1:Howlonghaveyoubeenapublicschoolmusiceducator?
•
10+years
Q2:Inwhatstate(s)didyouordoyouteach?Selectallthatapply.
•
NewYork
Q3:Whichagegroupofstudentswereyou/areyouteaching,primarily?
•
HighSchool
Q4:Doesyourmusicprogramhaveawinter/holidayconcert?
•
Yes
Q5:If"yes,"whatisitcalled?
•
WinterConcert
Q6:If"no,"pleasebrieflyexplainthecauseofthatdecision.
Respondentskippedthisquestion
PAGE2:DetailedInformation
Q7:Haveyoueverfacedanyconflictwithadministration,community,or
students,regardingsacredmusicuseinyourmusicprogram?
•
Yes
Q8:If"yes,"pleasebrieflyexplain.
Manyyearsago,IhadsomeparentsquestioningtheuseofBritten'sCeremonyof
Carolsasrepertoire.Theconflictwasamicablyresolved.Ihaveneverhadto
changeapieceonaprogram.
Q9:If"no,"pleaseexplainthedecisionsthatmayhavehelpedtoavoidconflict.
Wehaveadistrict-widepolicythatprotectsusregardingsacredmusic.TheHigh
Schoolhastremendouslatitudeinprogramming.
Q10:Whatpercentageofyourrepertoirethisyear(2016-2017)issacredmusic?
36
•
40%
Q11:Whatestimatedpercentageofyourrepertoire,overall,issacredmusic?
•
40%
Q12:Whatisyourpersonalprocessforchoosingsacredrepertoireinyour
program?
Isitaworthywork?Doesithavemusicalchallengesthatwillhelpthestudents
togrowasmusiciansandassingers?Isitrespectfuloftheculturesitrepresents?
Q13:Whichofthefollowingtypesofsacredmusichaveyouprogrammed?Select
allthatapply.
•
•
•
•
ContemporaryChristianMusic
Spirituals
Gospel
ArtMusic
Q14:Doyourpersonalreligiousbeliefsinfluenceyoursacredrepertoirechoices?
•
NotSure
Q15:Isthereanythingelseonthissubjectthatyouwouldliketoadd?
Respondentskippedthisquestion.
37
RespondentFour
PAGE1:BasicInformation
Q1:Howlonghaveyoubeenapublicschoolmusiceducator?
•
10+years
Q2:Inwhatstate(s)didyouordoyouteach?Selectallthatapply.
•
•
•
Arizona
Nevada
Oregon
Q3:Whichagegroupofstudentswereyou/areyouteaching,primarily?
•
HighSchool
Q4:Doesyourmusicprogramhaveawinter/holidayconcert?
•
Yes
Q5:If"yes,"whatisitcalled?
•
WinterConcert
Q6:If"no,"pleasebrieflyexplainthecauseofthatdecision.
Respondentskippedthisquestion
PAGE2:DetailedInformation
Q7:Haveyoueverfacedanyconflictwithadministration,community,or
students,regardingsacredmusicuseinyourmusicprogram?
•
Yes
Q8:If"yes,"pleasebrieflyexplain.
Complaintsfromfamilieshavebeenextremelyrare.Myadministratorshave
backedmeconsistentlyintheappropriateuseofsacredmusicinthepublic
schoolsetting.
Q9:If"no,"pleaseexplainthedecisionsthatmayhavehelpedtoavoidconflict.
Respondentskippedthisquestion
Q10:Whatpercentageofyourrepertoirethisyear(2016-2017)issacredmusic?
38
•
50%
Q11:Whatestimatedpercentageofyourrepertoire,overall,issacredmusic?
•
50%
Q12:Whatisyourpersonalprocessforchoosingsacredrepertoireinyour
program?
Aestheticvalue,appropriatevehicleforteachingvocal/choraltechnique,
representationofmusicalstyleofdifferentperiods.
Q13:Whichofthefollowingtypesofsacredmusichaveyouprogrammed?Select
allthatapply.
•
•
•
Hymns
Spirituals
Gospel
Q14:Doyourpersonalreligiousbeliefsinfluenceyoursacredrepertoirechoices?
•
No
Q15:Isthereanythingelseonthissubjectthatyouwouldliketoadd?
Iamnotreligious,whichhelpsmetomaintainobjectivity,butIhavenever
statedanythingaboutmyreligiousviews,orlackthereof,tomystudents.
39
RespondentFive
PAGE1:BasicInformation
Q1:Howlonghaveyoubeenapublicschoolmusiceducator?
•
10+years
Q2:Inwhatstate(s)didyouordoyouteach?Selectallthatapply.
•
California
Q3:Whichagegroupofstudentswereyou/areyouteaching,primarily?
•
College
Q4:Doesyourmusicprogramhaveawinter/holidayconcert?
•
Yes
Q5:If"yes,"whatisitcalled?
•
HolidayConcert
Q6:If"no,"pleasebrieflyexplainthecauseofthatdecision.
Respondentskippedthisquestion
PAGE2:DetailedInformation
Q7:Haveyoueverfacedanyconflictwithadministration,community,or
students,regardingsacredmusicuseinyourmusicprogram?
•
Yes
Q8:If"yes,"pleasebrieflyexplain.
WhenteachinghighschoolsomeoftheJewishparentswereoffendedthatwe
sangholidaymusic.However,otherparentsfounditrefreshinganddelightful.
Q9:If"no,"pleaseexplainthedecisionsthatmayhavehelpedtoavoidconflict.
Respondentskippedthisquestion
Q10:Whatpercentageofyourrepertoirethisyear(2016-2017)issacredmusic?
•
50%
40
Q11:Whatestimatedpercentageofyourrepertoire,overall,issacredmusic?
•
30%
Q12:Whatisyourpersonalprocessforchoosingsacredrepertoireinyour
program?
Text,harmonicconnectionbetweensongsandstyles
Q13:Whichofthefollowingtypesofsacredmusichaveyouprogrammed?Select
allthatapply.
•
•
•
•
Hymns
Spirituals
Gospel
ArtMusic
Q14:Doyourpersonalreligiousbeliefsinfluenceyoursacredrepertoirechoices?
•
No
Q15:Isthereanythingelseonthissubjectthatyouwouldliketoadd?
Respondentskippedthisquestion
41
RespondentSix
AGE1:BasicInformation
Q1:Howlonghaveyoubeenapublicschoolmusiceducator?
•
6-10years
Q2:Inwhatstate(s)didyouordoyouteach?Selectallthatapply.
•
Ohio
Q3:Whichagegroupofstudentswereyou/areyouteaching,primarily?
•
K-6
Q4:Doesyourmusicprogramhaveawinter/holidayconcert?
•
Yes
Q5:If"yes,"whatisitcalled?
•
HolidayConcert
Q6:If"no,"pleasebrieflyexplainthecauseofthatdecision.
Respondentskippedthisquestion
PAGE2:DetailedInformation
Q7:Haveyoueverfacedanyconflictwithadministration,community,or
students,regardingsacredmusicuseinyourmusicprogram?
•
No
Q8:If"yes,"pleasebrieflyexplain.
Respondentskippedthisquestion
Q9:If"no,"pleaseexplainthedecisionsthatmayhavehelpedtoavoidconflict.
Weselectmusicbasedonthemusicalelementsbeingtaughtandgivean
"informance"styleconcertwheretheaudienceseesandhearsdemonstrationsof
pitch/rhythmelementswithineachsong.Thishelpspeopleseethatthe
CONCEPTcomesfirst.Wealsotrynottouseanythingtoofocusedonworship,
butusethewords"God","Lord",andrefertothebirthofthebabyJesus,etc.We
alsoincludeHanukkahsongs,wintersongs/poems,andsometimesthingsthat
arenothingtodowithanyofthosethings.Itiswellrounded,andpeople
42
appreciatethat.IhavehadparentstellmetheycanreallyseetheTEACHINGthat
happensandtheyappreciatethat.
Q10:Whatpercentageofyourrepertoirethisyear(2016-2017)issacredmusic?
•
15%
Q11:Whatestimatedpercentageofyourrepertoire,overall,issacredmusic?
•
15%
Q12:Whatisyourpersonalprocessforchoosingsacredrepertoireinyour
program?
Ichoosemusicbasedonwhattheywilllearnfromit,andalsokeepingawell
roundedexposureoverall.Theyshouldhearandperformmusicbyclassical
sacredcomposers,butalsosingfolksongs,theatersongs,spirituals,etc.
Q13:Whichofthefollowingtypesofsacredmusichaveyouprogrammed?Select
allthatapply.
Respondentskippedthisquestion
Q14:Doyourpersonalreligiousbeliefsinfluenceyoursacredrepertoirechoices?
•
No
Q15:Isthereanythingelseonthissubjectthatyouwouldliketoadd?
43
RespondentSeven
PAGE1:BasicInformation
Q1:Howlonghaveyoubeenapublicschoolmusiceducator?
•
10+years
Q2:Inwhatstate(s)didyouordoyouteach?Selectallthatapply.
•
•
Florida
WestVirginia
Q3:Whichagegroupofstudentswereyou/areyouteaching,primarily?
•
HighSchool
Q4:Doesyourmusicprogramhaveawinter/holidayconcert?
•
Yes
Q5:If"yes,"whatisitcalled?
•
ChristmasConcert
Q6:If"no,"pleasebrieflyexplainthecauseofthatdecision.
Respondentskippedthisquestion
PAGE2:DetailedInformation
Q7:Haveyoueverfacedanyconflictwithadministration,community,or
students,regardingsacredmusicuseinyourmusicprogram?
•
No
Q8:If"yes,"pleasebrieflyexplain.
Respondentskippedthisquestion
Q9:If"no,"pleaseexplainthedecisionsthatmayhavehelpedtoavoidconflict.
Respondentskippedthisquestion
Q10:Whatpercentageofyourrepertoirethisyear(2016-2017)issacredmusic?
•
40%
Q11:Whatestimatedpercentageofyourrepertoire,overall,issacredmusic?
•
50%
44
Q12:Whatisyourpersonalprocessforchoosingsacredrepertoireinyour
program?
IlookatwhatconceptsIamtryingtoensurethatIcoverandthatIdoa
representationofvarioussecularandsacredmusic.
Q13:Whichofthefollowingtypesofsacredmusichaveyouprogrammed?Select
allthatapply.
•
•
•
Hymns
Spirituals
ArtMusic
Q14:Doyourpersonalreligiousbeliefsinfluenceyoursacredrepertoirechoices?
•
No
Q15:Isthereanythingelseonthissubjectthatyouwouldliketoadd?
Respondentskippedthisquestion
45
RespondentEight
PAGE1:BasicInformation
Q1:Howlonghaveyoubeenapublicschoolmusiceducator?
•
1-5years
Q2:Inwhatstate(s)didyouordoyouteach?Selectallthatapply.
•
NorthDakota
Q3:Whichagegroupofstudentswereyou/areyouteaching,primarily?
•
MiddleSchool
Q4:Doesyourmusicprogramhaveawinter/holidayconcert?
•
Yes
Q5:If"yes,"whatisitcalled?
•
WinterConcert
Q6:If"no,"pleasebrieflyexplainthecauseofthatdecision.
Respondentskippedthisquestion
PAGE2:DetailedInformation
Q7:Haveyoueverfacedanyconflictwithadministration,community,or
students,regardingsacredmusicuseinyourmusicprogram?
•
Yes
Q8:If"yes,"pleasebrieflyexplain.
Ihadanatheistfamily(VERYrareinourcommunity)whobecameincreasingly
upsetwithreligiousmusicbeingperformedatourprograms.Atthemiddle
schoolIprefertodoalargevarietyofrepertoire,includingmusicfrommany
differentcultures.Thatwasmysavinggraceastheyweren'tabletopinpointme
fortryingtofocusononeculture/religionoveranother.Ourhighschool
director,however,programsreligiousmusicmuchmoreheavily,includingafullblownnarratedChristmasconcertatourCatholicChurch.Thisiswidely
acceptableandanticipatedinourcommunity.Thefamilyinquestionrefusedto
46
lettheirdaughterparticipateinchoironceshereachedhighschool,whichwas
disappointingknowingthemotivationandtalentthatyoungwomanhadfor
singing.Icontinuetousethesamebalanceinsacred/secularmusicwhen
programmingandlatelyhavehadmoreissueswiththehyper-religiousbeing
sensitivetolyricspertainingtoreligiouspracticesoutofcontext(Florida
GeorgiaLine,H.O.L.Y)oranythingremotelydark(MySongsKnowwhatYouDid
InTheDark,FalloutBoy).
Q9:If"no,"pleaseexplainthedecisionsthatmayhavehelpedtoavoidconflict.
Respondentskippedthisquestion
Q10:Whatpercentageofyourrepertoirethisyear(2016-2017)issacredmusic?
•
20
Q11:Whatestimatedpercentageofyourrepertoire,overall,issacredmusic?
•
25
Q12:Whatisyourpersonalprocessforchoosingsacredrepertoireinyour
program?
Teachingmiddleschool,accessibilityismostimportant.Isthesongarranged
wellandisitaccessibletomiddleschoolkids?Certainharmoniesworkbetter
thanothersforthisage.ThenIconsidertextandit'squality.
Q13:Whichofthefollowingtypesofsacredmusichaveyouprogrammed?Select
allthatapply.
•
•
•
Spirituals
Gospel
ArtMusic
Q14:Doyourpersonalreligiousbeliefsinfluenceyoursacredrepertoirechoices?
•
Yes
Q15:Isthereanythingelseonthissubjectthatyouwouldliketoadd?
Iamnon-religiousandthatdoesplayintothebalanceandvarietyItrytokeep
betweenperformingsacred/secularmusic.Ibelievethatsacredmusicis
historicallysignificantandoftenwellwrittenandthatiswhyIprogramit.Ido
explaintomystudentswiththefirstsacredsongofeachyearhowtheycan
47
changethecontexttobeapplicabletothemselvesandhowthemusicisnot
chosentonecessarilyreflectmybeliefsortheirown.Iexplainthatthehistorical
significanceandqualityarethereasonsIchoosereligiousmusicfor
performance,ithasnothingtodowithreligiousbeliefs.Iwishmoreteachers
wouldhavethisconversationwiththeirstudents,ifnothingelsetoshowrespect
fordiversityofourstudentbody.
48
RespondentNine
PAGE1:BasicInformation
Q1:Howlonghaveyoubeenapublicschoolmusiceducator?
•
10+years
Q2:Inwhatstate(s)didyouordoyouteach?Selectallthatapply.
•
NewJersey
Q3:Whichagegroupofstudentswereyou/areyouteaching,primarily?
•
HighSchool
Q4:Doesyourmusicprogramhaveawinter/holidayconcert?
•
Yes
Q5:If"yes,"whatisitcalled?
•
WinterConcert
Q6:If"no,"pleasebrieflyexplainthecauseofthatdecision.
Respondentskippedthisquestion
PAGE2:DetailedInformation
Q7:Haveyoueverfacedanyconflictwithadministration,community,or
students,regardingsacredmusicuseinyourmusicprogram?
•
Yes
Q8:If"yes,"pleasebrieflyexplain.
Therewasacomplaintaboutuseofa"Jewishsong"inlightofdistrictpolicy
againstusingholidaymusicattheirintendedholidays,whichisoftenseenas
targetingChristmasmusic.Thegeneralargumentwas,"Wecan'tuseChristmas
music,sowhycanweinclude'Jewishmusic?'"Thesonginquestionwas"Al
Shlosha,"thetextofwhichasitappearsinthepieceissecular,andwasina
programthatincludedclassicalsacredmusicandspirituals.Wekeptthepiece.
Q9:If"no,"pleaseexplainthedecisionsthatmayhavehelpedtoavoidconflict.
Respondentskippedthisquestion
49
Q10:Whatpercentageofyourrepertoirethisyear(2016-2017)issacredmusic?
•
50%
Q11:Whatestimatedpercentageofyourrepertoire,overall,issacredmusic?
•
55%
Q12:Whatisyourpersonalprocessforchoosingsacredrepertoireinyour
program?
Mustbemusicallyandhistoricallysignificant.Mustbebyareputablecomposer.
Mustteachmusical/historical/compositionalconceptsthatcannotbetaughtin
otherways.
Q13:Whichofthefollowingtypesofsacredmusichaveyouprogrammed?Select
allthatapply.
•
•
•
Spirituals
Gospel
ArtMusic
Q14:Doyourpersonalreligiousbeliefsinfluenceyoursacredrepertoirechoices?
•
NotSure
Q15:Isthereanythingelseonthissubjectthatyouwouldliketoadd?
SpiritualsandgospelareavitallyimportantpartofAmericanhistoryand
culture,anditisimpossible/dishonesttoseparatethemfromtheirreligious
themes.Mostofthe"famousdeadwhiteguy"choralmusicissacredbecause
choralmusicwasfarmorelikelythaninstrumentalworkstobesponsoredby
religiousorganizationsratherthanbyprivatepatrons.Inordertosing/teach
FDWGmusic,onemustsing/teachsacredmusic.Intermsoffolk/worldmusic:
Oneofthemajorusesforcongregationalsingingisforworship.Ifonewantsto
teach/singmusicfromculturesotherthanourown(NorthEastUS),onemustbe
willingtosingsacredmusicofthosecultures.
50
RespondentTen
GE1:BasicInformation
Q1:Howlonghaveyoubeenapublicschoolmusiceducator?
•
6-10years
Q2:Inwhatstate(s)didyouordoyouteach?Selectallthatapply.
•
•
•
•
Colorado
Louisiana
Michigan
Mississippi
Q3:Whichagegroupofstudentswereyou/areyouteaching,primarily?
•
HighSchool
Q4:Doesyourmusicprogramhaveawinter/holidayconcert?
•
Yes
Q5:If"yes,"whatisitcalled?
•
ChristmasConcert
Q6:If"no,"pleasebrieflyexplainthecauseofthatdecision.
Respondentskippedthisquestion
PAGE2:DetailedInformation
Q7:Haveyoueverfacedanyconflictwithadministration,community,or
students,regardingsacredmusicuseinyourmusicprogram?
•
No
Q8:If"yes,"pleasebrieflyexplain.
Respondentskippedthisquestion
Q9:If"no,"pleaseexplainthedecisionsthatmayhavehelpedtoavoidconflict.
FromthebeginningIhavecalledittheChristmasProgram.Iinclude40%light,
funny,happysongs.Therestoftheconcertissacred,butIalwaysincludewellknownsongs.Theonesmostofuswanttoheareveryyear,Ijustchoosenew&
interestingarrangementsofthem,
51
Q10:Whatpercentageofyourrepertoirethisyear(2016-2017)issacredmusic?
•
65
Q11:Whatestimatedpercentageofyourrepertoire,overall,issacredmusic?
•
65
Q12:Whatisyourpersonalprocessforchoosingsacredrepertoireinyour
program?
Iseekgoodchoralliteraturethatconveysmeaning.Italktomystudentsabout
thelyrics&whyitisimportanttobuildcharacterintheirlivesaswellas
encourage&uplifttheaudience.
Q13:Whichofthefollowingtypesofsacredmusichaveyouprogrammed?Select
allthatapply.
•
•
•
Hymns
Spirituals
Gospel
Q14:Doyourpersonalreligiousbeliefsinfluenceyoursacredrepertoirechoices?
•
Yes
Q15:Isthereanythingelseonthissubjectthatyouwouldliketoadd?
Respondentskippedthisquestion
52
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