Research in the Sociology of Music Education: some introductory concepts

After reading the article, “ Research in the Sociology of Music Education: some introductory concepts” by Lucy Green, I was highly enlightened by the author’s insight into the ‘social organization of musical practice and meaning.’

            The article begins with discussing the social construction of musical meaning, or how our cultural and economic groups affect our ability to comprehend inherent meanings of music.  Mrs. Green provides a chart that illustrates the connection between this inherent and delineated meaning through celebration and aggravation.  Basically, celebration occurs when inherent meanings are joined with positive inclinations towards delineations.  However, alienation occurs when aggravation by inherent meanings is joined with negativity towards delineations.    In layman’s terms, a student who is unfamiliar with a particular type of music may not be able to gain musical meaning or notice the organization, ultimately disliking that particular piece or genre.  Because of the affects of our cultural and economic groups in music, this particular area that tends to be most challenging in music education.

Although I have been an educator of music for the extent of my career, I found The Sociology of Music Education: practice, meaning and musical experience section very interesting.  When the author discusses the patterns of things such as social class, gender, and ethnicity, in relation to music it really makes you think back on some of the struggles an educator of music may face. I found the musical differences between genders to be informative.  I suppose we all know that different types of music affect males and females in unique ways, but it really opens my eyes to see it make sense! Although middle class students will typically enjoy classical more than their working class peers, classical music is more feministic, whereas popular music that includes the drums is more masculine.  In a classroom setting, this can greatly affect what types of instruments and music the students will be interested in learning.  Knowing this, it would be extremely beneficial as an educator to provide a variety of musical instruments, composers, and compositions to choose from to address their interests. Mrs. Green also stated that it would be helpful to address the students’ and teachers’ concepts of what music means, connecting the musical experiences of the students with high-interest compositions and resulting in learning how students respond and engage in different musical practices. 

            As stated by Mrs. Green, “the power of musical delineations is such that it can override even the best of intentions on the part of teachers: pupils have their own delineations, their own desires and their own agendas in relation to music, and these can be reinforced by the school, or they can remain in a cultural sphere which is separate from the school.” This statement pretty much encompasses everything this article discussed in relation to music education, and I find it heartening that research is being done that addresses the needs of our students and educators as one.  After all, however one chooses to interact with music, whether it is singing, playing music, or teaching, the music illustrates your social identity, your sense of self.