Unlike other school subjects, instrumental music is unique in that concepts and skills are taught through material that constantly changes. That material, of course, includes repertoire. And, while other school subjects use committee-approved textbooks, the band or orchestra teacher is the sole judge and jury who selects the repertoire, as well as other instructional materials. This uniqueness brings great joy to the job, as it allows for the constant surveying and discovery of new music or new compositional voices. It also provides endless choices and extreme flexibility when pivoting to new resources that more efficiently achieve desired learning outcomes. But, with this freedom to choose curricular music, comes great responsibility. Unfortunately, many directors allow their own personal tastes or ideological biases to drive repertoire selection. While this reality is not malicious in its intent, it can lead students away from quality literature and desired learning outcomes. (At the very least, it can lead students to believe that music should be experienced for non-musical reasons.) What reason, if any, is behind the “invisible hand” guiding repertoire selection? In my opinion, the answer is poor teacher training. Specifically, many colleges and universities fail to acquaint students with the diverse philosophical perspectives on where meaning resides in works of art. This, of course, leaves the future music teacher unequipped with a foundational sense of what to teach and how to teach it. Consequently, daily instruction has little or no purpose. To better understand the matter, let’s take a look at prominent philosophical perspectives that drive repertoire selection.

FORMALISM – The core focus of formalism posits that art is valuable because of its elements and form. In visual art, value lies exclusively in its elements like color, line, shape, and perspective, as well as their interacting relationships, independent of any external forces or outside meaning. In music, value lies solely in its elements like sound, harmony, melody, rhythm, and growth. Furthermore, how those elements are organized and interact with each other plays a big part in a composition’s academic value. For the formalist, aesthetic emotion comes from an intellectual recognition and appreciation of form for form’s sake. Furthermore, the experience must not be polluted by external references. In the formalist-driven classroom, “musical” rehearsals become “technical” rehearsals. As a result, students are starved of aesthetic enjoyment – enjoyment that is embodied within the intrinsic interrelationships of sound, and enhanced by knowledge about the composer, or the factors that influenced the creation of the work. In repertoire selection, equating technical or grade-level complexity with musical value likely reflects a formalist perspective.

REFERENTIALISM – The core focus of referentialism posits that art is valuable because it points to or represents something outside of itself. For example, art exists to tell a story, or perhaps to introduce the viewer or listener to a person or moral truth. In addition, it is “what” one brings to the work that gives the work meaning. The primary limitation of referentialism is that art exists to serve non-artistic purposes (the formal elements or properties in a work of art are considered irrelevant). Often, I will observe guest conductors work with groups and assign referential analogies to sections within a piece. For example, the conductor may say something like the following: “This downward cascading phrase of notes represents a waterfall, splashing over rocks on its way to a stream.” While this picturesque language may sound impressive, one cannot be sure that such an analogy is what the composer had in mind. Furthermore, a different conductor might say something completely different: “This downward tumbling phrase of notes represents an avalanche of rocks, thundering down a hillside on its way to an open field.” In these examples, we have two completely different references, and consequently two different meanings. In cases of censorship, referntialism is almost always at play. For example, about twenty years ago, my building principal directed me to halt rehearsing an entire program’s worth of pieces two weeks before the December concert. He reasoned that Leroy Anderson’s work “A Christmas Festival” would be perceived as religious indoctrination because the word “Christmas” was in the title. As a result, I had to send a copy of the entire concert program to the superintendent, who then forwarded it to the school district attorney. When submitting the program, however, I included a detailed chart showing how the content of each work was used to meet State and National fine arts standards. Within days, the program was approved and the concert proceeded as planned. In repertoire selection, emphasizing external associations as indicators of musical value likely reflects a referentialist perspective.

CONTEXTUALISM – The core focus of contextualism posits that art is valuable because of the background or context of its creator. Specifically, the meaning or value of art depends upon the artist’s life, historical era, social circumstances, ethnicity, gender, or perhaps even personal life challenges or struggles. Contextualism can also impose unintended messaging onto the art. Environmentalism is an example of this point of view. In environmentalism, one interprets art as a commentary on humanity’s relationship with the environment. For example, an environmentalist might view the many industrial landscapes of British artist L.S. Lowry and conclude that humans are set on destroying the Earth. Now, while I have not encountered any individuals whose repertoire selections are driven by environmentalism, I have noticed a growing emphasis on social justice themes and composer identity as driving forces behind repertoire selection. As awareness of diverse backgrounds continues to expand, I hope directors will continue balancing these considerations with a strong focus on musical quality. Broadening representation is valuable, and lasting inclusion is best supported by consistently maintaining high artistic standards that allow outstanding works and voices to flourish. When repertoire is selected primarily on the basis of a composer’s demographic or personal identity characteristics, it likely reflects a contextual approach to programming.

ABSOLUTE EXPRESSIONISM – The core focus of absolute expressionism posits that while value and meaning in a work of art are intrinsic to the created object, non-artistic influences and references can still be part of the art experience. In other words, experiencing art is not just a cerebral function, or a process in which one looks outside the artwork for meaning, or one in which the background of the creator is tied to the art’s value. Rather, the work’s meaning is found in its interacting elements as they mirror human emotion in a direct and visceral way. And, that way can be enhanced by an understanding of the work’s form, the references that it might point towards, and the background or context of its creator. In this perspective, repertoire selection supports the view that music education is aesthetic education. Accordingly, music should be selected to sensitize students to the expressive conditions embodied in a piece. Furthermore, repertoire selection should model expressive forms that help students develop their capabilities to be artistically creative. As Igor Stravinsky so eloquently stated (Poetics of Music): “I myself have been created, I cannot help having the desire to create.” When repertoire is chosen for the expressive power that emerges from the music itself (as demonstrated through craftsmanship, imagination, sensitivity, and authenticity), and when external references or contextual factors enrich rather than eclipse the work, absolute expressionism is likely guiding the selection.

While other philosophical perspectives can shape repertoire selection, formalism, referentialism, contextualism, and absolute expressionism remain the most influential. Among them, absolute expressionism most compellingly affirms music as a sentient art form, recognizing its unique capacity to embody and to communicate human emotion, while taking into consideration the human experience.

As you reflect on your personal philosophy of music and music education, it is important to recognize that your beliefs and biases inevitably shape the repertoire you chose, which directly influences what your students experience and learn. While effective teaching requires alignment with your personal values, it also demands the thoughtful selection of materials that develop stronger, more capable musicians. Best wishes as you search for that next great piece!