Canadian Musician - November/December 2020 | Page 56

ANTÍA GONZÁLEZ BEN
western classical traditions are somehow more valid or important than other equally deep and complex musical traditions . The same is true when discussing instruments , too often categorized only by their place within a traditional western context than according to the actual category ( stringed vs . wind or plucked vs . struck , for example ) or the tonal qualities of those instruments , regardless of where they hail from geographically .
No matter the type of music you decide to teach , Schutz notes : “ You ’ re still going to meet curricular objectives .” There ’ s simply no logic to the argument that only certain forms of music can relay the concepts of structure , form , and time , for example .
So often , we hear people say something along the lines of , “ Well , so-and-so just isn ’ t interested in music .” I can ’ t personally think of anyone who isn ’ t “ interested ” in music in some way . How that interest manifests itself differs wildly , but music touches everyone to some extent . As Reid puts it : “ Music is something that ’ s so often central to our own identity , and it ’ s a way we can help relate [ to one another ].”
Granted , the aim of music education is often seen as interesting others in playing , performing , composing – all laudable goals , but goals whose realization is limited drastically if those potential musicians cannot see themselves and their culture in any of what is being taught . Again , generally speaking , people are far more likely to embrace music if they see and hear themselves represented in what they ’ re taught in a meaningful way .
Failing to address these issues only decreases interest in music in schools , which obviously makes it easier for the powers that be to treat music and arts programs as disposable rather than the integral part of anyone ’ s education that musicians and artists in every discipline know them to be .
While ministries of education and government can and should address this , there ’ s nothing stopping a teacher , a school , or group of schools from taking a look at the makeup of their student body , finding ways to be more inclusive , and challenging assumptions about the dominance of western traditions not only in music , but in other subjects as well . And , González Ben says , now is the perfect time to do so because there ’ s more “ wiggle room ” owing to the pandemic – i . e . more room for trying new approaches , being more inclusive and creative in how and what types of music are presented and , in doing so , prompting students , their parents , and other teachers to become increasingly open to accepting innovative , inclusive programs .
As Hamilton says : “ We need to consider that enrollment in our music programs is declining … It ’ s up to us as music educators to find a way to engage more students and more diverse students in our classrooms .”
In doing so , cast a wide net for potential resources , Sewepagaham suggests . “ Access community resources and people beyond the school – parents , grandparents … really utilizing the people around you .”
Hamilton adds to that : “ One of the great ways we can decolonize western-based music programs is
NICOLE SCHUTZ
56 CANADIAN MUSICIAN