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Student Opinion

Do We Need Better Music Education?

A guest essay argues that we are teaching music the wrong way. Do you agree?

By Jeremy Engle

Do you play any musical instrument — or have you ever? Do you think music should be an essential part of every child’s education?

In “ We’re Teaching Music to Kids All Wrong ,” Sammy Miller, a Grammy-nominated drummer and the founder of a music education company, writes:

Each fall, as school starts up again, music educators witness a familiar ritual: Eager first-time students squeak on a clarinet, suppress giggles at the noises coming from the tubas and zealously hit a bass drum a little too hard. It’s a moment characterized by excitement, enthusiasm and the anticipation of new beginnings — which is why it’s so disheartening to know that many of those kids will eventually quit their instruments. The fact that many children don’t stick with music is bad news not only for the state of self-expression and joy but also for education. Studies show that students who play an instrument do better in science, English and math and are more likely to want to attend college . They also may have less anxiety and be more conscientious — they are the kids you want your kids to be friends with. I have never met an adult who is expressly thankful to have quit music as a child, but I’ve met many who have regrets. So why haven’t we, as parents and educators, been better able to encourage our own kids to continue? In my 15 years as a musical educator, talking to countless teachers, I’ve learned one thing: There is no magical fix. Making music education more successful doesn’t need to involve expensive digital accessories or fancy educational platforms (and I say that as someone who developed an online educational platform). There’s no technological or financial program that will convert children into lifelong music lovers. Instead, 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.

Mr. Miller urges parents and educators to take a new approach to musical education:

It’s often been repeated that “music is a language,” yet we’re reluctant to teach it that way. When we learn a language, we don’t simply memorize phrases or spend all day reading — we practice the language together, sharing, speaking, stumbling but ultimately finding ways to connect. This should happen in music class, too. Music should be a common pursuit: Ask any dad rock weekend band or church ensemble how it experiences music, and the performers are likely to tell you it’s not a chore but a way of building community. Most important, 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. And the great musicians have plenty of lessons to teach students about the usefulness of failure.

Students, read the entire article and then tell us:

Do you play any musical instruments? If so, how did you learn? What role does music play in your life?

Mr. Miller writes that after great “excitement, enthusiasm and the anticipation,” many children eventually quit their instruments. What kind of musical education, in or out of school, have you had? How effective has it been?

If you are one of the many people described by Mr. Miller who have started an instrument but later quit, why did you give up? Do you think a different approach to musical education, like the kind described in the essay, might have helped you to stick with it?

While saying there is no “magical fix” for converting children into lifelong music lovers, Mr. Miller shares several recommendations for improving musical education, such as, letting kids to be terrible and make a lot of mistakes or encouraging students to write their own simple songs using a few chords. What do you think of his proposed approach? What other suggestions would you give to parents and educators who hope to spark a love of music in young people?

Mr. Miller writes that studies show that students who play an instrument do better in science, English and math, and may have less anxiety and be more conscientious. What benefits of music education have you seen or experienced? Do any of these benefits, or others not mentioned in the essay, come to mind when you think of the value of learning music?

Does reading Mr. Miller’s essay make you more excited about playing music? Why or why not? If you could learn to play any instrument (or one different from what you already play), what would it be? Why?

Students 13 and older in the United States and Britain, and 16 and older elsewhere, are invited to comment. All comments are moderated by the Learning Network staff, but please keep in mind that once your comment is accepted, it will be made public and may appear in print.

Find more Student Opinion questions here. Teachers, check out this guide to learn how you can incorporate these prompts into your classroom.

Jeremy Engle joined The Learning Network as a staff editor in 2018 after spending more than 20 years as a classroom humanities and documentary-making teacher, professional developer and curriculum designer working with students and teachers across the country. More about Jeremy Engle

Celebrating the Best in Music Education Across the Nation The NAMM Foundation’s Best Communities for Music Education honors 738 School Districts and 80 Schools

In this article:.

As schools across the nation regain their cadence with the return to in-person learning and the reduction in mandates, the National Association of Music Merchants (NAMM) Foundation is pleased to celebrate the list of Best Communities for Music Education (BCME). Now in its 23rd year, the 2022 Best Communities for Music Education program has recognized 738 school districts and 80 schools across 44 states for the outstanding efforts by teachers, administrators, parents, students, and community leaders and their support for music education as part of a well-rounded education for all children.

“Music educators, administrators, and communities truly rallied to support and sustain music education through a period of intense change and adaptation. These districts and schools persevered in serving their students and communities and assured that music education was part of curriculum offerings,” shares Mary Luehrsen, Executive Director of The NAMM Foundation. “We applaud the commitment and efforts of all music educators, school administrators, and community members in providing students the opportunity to explore their creativity through music.”

This year's awards program was designed to celebrate schools and districts adapting, innovating, and persevering in the face of change. Researchers at The Music Research Institute at the University of Kansas, in conjunction with The NAMM Foundation, created a new way for districts and schools to address the inroads and setbacks impacted by the pandemic, as well as goals for equity and access to music education for all students and national standards for music education in a short, qualitative survey.

"The 2022 Best Communities for Music Education is an opportunity to celebrate music programs and honors the resilience and dedication to keeping music as part of a well-rounded education as we all adapt to a new educational landscape," says Christopher Johnson of the Music Research Institute at the University of Kansas. “If there was one common theme to be taken from all submissions, it’s that schools and districts found ways to sustain music education and student engagement in even the most challenging of circumstances.”

Collaboration and innovation were also common themes of districts named “Best Communities,” along with reliance on science-led studies supporting student health and mitigation strategies. Sharon Allen, Lead Arts Teacher at Chatham County Schools in Pittsboro, North Carolina, says that for their district, “When other programs in our area did not allow singing and playing instruments due to COVID concerns, our district administrators went before the Board of Education to present the data from the NFHS aerosol study (National Federation of State High School Associations) and demonstrate playing/singing with adaptive masks and instrument bell covers. As a result, the board approved students singing and playing in music classes following the recommendations of the aerosol study and provided the necessary PPE. I believe this action helped maintain student enrollments in music programs.”

In 2020, The National Federation of State High School Associations brought together a number of performing arts organizations, including The NAMM Foundation, to examine aerosol rates produced by wind instrumentalists, vocalists, and even actors and how quickly those aerosol rates accumulate in a space. The study included several follow-up studies, including flow visualization, aerosol and CO2 measurements, and computational fluid dynamics (CFD) modeling to understand the different components that can lead to transmission risk from musical performance and risk mitigation. Read more .

For the majority of music educators, music remained vital to core curriculum and as part of their community. Jenny Allen, Department Chair, Elementary Strings at Gilbert Public Schools in Gilbert, Arizona shares, “During COVID, the district did not waver in its support for music education.  In 2020, prior to the pandemic, the district increased funding for the music department. These funds were needed to purchase instruments and music. It is my belief that the Best Communities Award designation solidified what the community had always known. We are an outstanding district for music education. This award showed everyone it was indeed true.”

Dr. Jon Moyer, Intermediate Band Director of sixteen-year winner Central York School District in York, Pennsylvania, says that “Music education is a part of the CULTURE of our school district. Through the support of the community, we consistently have high enrollment in music classes and performing groups while also sending a large number of student leaders to auditioned ensembles, festivals, and contests. Our families express their excitement about the opportunities that great music education can provide and are eager to get – and keep – their students involved in our programs.”

In addition to the 738 districts receiving Best Communities for Music Education recognition, 80 individual schools across the nation are being awarded the SupportMusic Merit Award (SMMA), which recognizes support for school-based music education programs.

“Even through COVID, our administrators did everything they could to make sure our music programs kept running strong,” shares Adam Scheele, Director of Bands at Central High School District of Westosha in Salem, Wisconsin. “Extra funds were given to the music programs in order for us to use proper mitigation strategies in our classroom and at concerts, and new instruments were purchased so that students no longer had to share school-owned instruments. This proved vital to keeping students engaged at a time when it was most needed.”

Kate Margrave, Pine Creek High School in Colorado Springs, Colorado, affirms that strong support from both administrators and students has led to a stable program. “[Our] administrative support of the music program shows how much they care about these passions of our students.  The students are resilient, and retention after COVID was high.  Students recognize the importance of music education in their lives and thrive on it.”

Since its inception, over 2,000 schools and school districts have submitted a survey for evaluation. Based on survey responses in 2021, 686 school districts were recognized as Best Communities for Music Education, and 80 schools with the SupportMusic Merit Award. Past districts named a Best Community for Music Education included urban, suburban, and rural districts. Schools that have received the SupportMusic Merit Award designation included public and private schools and ranged from elementary to middle and high schools.

In conducting the annual survey, The NAMM Foundation and the Music Institute at the University of Kansas are joined by leading national arts organizations, including the League of American Orchestras ;  Mr. Holland's Opus Foundation ;  Music for All ;  Music Teachers National Association ;  National Guild For Community Arts Education ;  Yamaha Corporation of America ;  Young Audiences ; and  Save The Music Foundation .

View the complete list of Best Communities for Music Education  

View the complete list of SupportMusic Merit Award winners  

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/    News Posts    /   NAfME Releases New Strategic Plan Moving the Music Education Profession Progressively Forward

For Immediate Release Contact: Catherina Hurlburt [email protected] or (571) 323-3395

National Association for Music Education Releases New Strategic Plan Moving the Music Education Profession Progressively Forward

RESTON, VA (November 22, 2022)—The National Association for Music Education (NAfME) is proud to introduce to the association’s members and the wider music education community a new Strategic Plan that will move the association and the music education profession forward in an intentionally progressive direction to ensure students from all walks of life, identities, backgrounds, and needs receive equitable access to music education.

“What excites me the most about this plan is that it amplifies the advocacy work we’re known for while also lifting up the voices of music educators, collegiates, and our higher education communities.”

On November 5, 2022, NAfME President Scott R. Sheehan introduced members to the new Strategic Plan at the NAfME National Conference which took place in National Harbor, Maryland, where it was well received. “After two years of conversation, soul-searching, and deep introspection,” explained Sheehan, “NAfME has a new Strategic Plan that is unlike anything our association has created in its 115-year history. This new plan not only sets our direction for the future, but it also serves as a conceptual framework that outlines who we (NAfME members) are and why NAfME exists. What excites me the most about this plan is that it amplifies the advocacy work we’re known for while also lifting up the voices of music educators, collegiates, and our higher education communities. Although our efforts will never be finished, our new plan sets a course for real progress.”

The Mission and Vision Statements bear this out. The Mission Statement indicates: NAfME is a collaborative community that supports music educators and advocates for equitable access to music education. And the Vision Statement describes an intentional ideal: NAfME is an association where all people are heard, seen, and feel they belong throughout their lifelong experiences in music.

The Belief Statement describes the association’s approach to music education:

Music is unique to the human experience and is essential to our humanity.

• Music communicates and connects people across all time and cultures. 
• Music unlocks human creative expression and is a lens to the experiences and interpretations of the world. 
• Music is basic to human wholeness through our emotions, intellect, and physical and spiritual well-being.

In a ten-page document, the Strategic Plan expounds on these statements with three Cornerstones : Advocacy and Public Policy; Professional Learning and Growth; and Music Research and Music Teacher Education. Each Cornerstone has three to four related explicit goals and related action plans.

And the Keystone of Equity in Music Education is the lens through which the NAfME Strategic Plan operates:

E quity must remain a cornerstone from which decisions are made, plans are developed, and programs are designed to ensure accessibility to all students at the local, state, and national levels.

NAfME is committed to defining, developing, and promoting resources and frameworks that expand equitable access to music education. This equity work will not only support diverse curricula, repertoire, and musical opportunities, but will also provide a lens through which to examine policies, procedures, and practices. The creation of a NAfME Equity Resource Center will be an invaluable resource towards achieving these goals.

NAfME invites all music educators, supporters, and advocates to familiarize themselves with the new Strategic Plan and join us in moving the music education profession forward in this exciting and crucial direction.

National Association for Music Education , among the world’s largest arts education organizations, is the only association that addresses all aspects of music education. NAfME advocates at the local, state, and national levels; provides resources for teachers, parents, and administrators; hosts professional development events; and offers a variety of opportunities for students and teachers. The Association has supported music educators at all teaching levels for more than a century. With more than 50,000 members teaching millions of students nationwide, the organization is the national voice of music education in the United States.

Follow NAfME on Twitter and on Facebook . For additional information, contact Catherina Hurlburt at [email protected] or 571-323-3395.

Published Date

November 22, 2022

• Diversity, Equity, Inclusion, and Access (DEIA)

November 22, 2022. © National Association for Music Education (NAfME.org)

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