The Smaller Communities of Musical Practice: A Study of Multiple Music Teachers' Perspectives from El Sistema Oklahoma

Abstract

Abstract THE SMALLER COMMUNITIES OF MUSICAL PRACTICE: A STUDY OF MULTIPLE MUSIC TEACHERS’ PERSPECTIVES FROM EL SISTEMA OKLAHOMA

LANI ALOHA GARNER University of Oklahoma School of Music, 2017 Major Professor: Dr. Casey Gerber

Advocacy for music education has come to the forefront of modern educational theorists’ agendas and is raising questions about current pedagogy and music study in universities and colleges in the United States (Abeles & Custodero, 2010; Bell-Robertson, 2014; Camangian, 2013; Campbell, 2015; Hewitt, 2009; Elliott & Silverman, 2012). Increases in dropout rates, truancy, bullying, and unhappy school experiences are good indicators that educators are not meeting students’ needs. According to the “National Gang Threat Assessment” (2015), criminal activity and membership in street gangs in the United States continues to rise. Gangs provide “a degree of order and solidarity for their members and make them feel like part of a group or a community” (Spergel, 1990, p. 171). Preliminary evidence suggests that it is essential that youth find places to belong, explore and grow in safe and supportive communities. If music educators are to remain an active and guiding force in helping our youth stay involved in school, we must identify what is currently keeping students actively engaged in their school environments (Kraus, Hornickel, Strait, Slater, & Thompson, 2014). While opportunities may exist for children to join a choir or band in school, the less formal music communities continue to rise in popularity and act to unify cultural diversity and promote social inclusion through music (Roland, 2015; Westerlund, 2006). Many of these opportunities exist outside of the traditional teacher-led paradigm, and are often created and led by the students themselves. The individuals within these groups then tend to be enthusiastic about their explorations and successes, and self-motivated when choosing the direction of progress. However, little research has been done to discover the values and philosophies found within these smaller and overlooked communities that would allow them to be used as models for future successes within the larger school community. These often self-formed musical groups do not necessarily function in a manner similar to formal music curricula, yet they provide an environment for our youth to build community. With the development of relationships among like-minded people and supportive adults, students have a greater understanding of commitment and resiliency, and are more able to confidently voice their own thoughts and opinions (Kraus, Hornickel, Strait, Slater, & Thompson, 2014). It is imperative to identify and document how these smaller musical communities of practice are helping students build self-confidence while also providing a nurturing environment to safely explore and develop their musicianship skills. Examples of specialized music groups can be found in before- or after-school programs such as the El Sistema-inspired music programs across the United States, the Harmony Project in Los Angeles, California, local world music ensembles, school stomp teams, garage bands, and many other smaller music communities. Performance and participation within the larger El Sistema Oklahoma (ESO) orchestral program include smaller musical communities that deserve to be recognized and examined. It is through these smaller communities that ESO has developed an approach that effectively addresses both the musical and social needs of its orchestral members. This study examined how these smaller music communities function within the larger orchestra and determined what were the contributing factors to the program’s overall success. The purpose of this study was to provide music educators with possible ways to utilize these smaller music community experiences to enhance the overall democratic well being of the larger school community.