The MUSIC Behind the Music: A Guide to Repertoire Selection

Many considerations come into play when selecting repertoire. But before examining these considerations, it is helpful to ask the question: “What is the function of art?” While there are many answers to this question, my teaching has been guided by the writings of Bennett Reimer. According to Reimer:

The major function of art is to make objective and therefore accessible the subjective realm of human responsiveness. Art does this by capturing and presenting in its intrinsic qualities the patterns and forms of human feeling. (Bennett Reimer, A Philosophy of Music Education, 2nd Edition, page 53)

Said another way, the interacting elements of music embody human feeling. And, response to this feeling is essential to what it means to be human. Therefore, to help our students experience the artistic side of their humanity, we need to program repertoire that moves their feelings. And, this can be achieved by selecting repertoire that is creative, accessible, memorable, and pedagogically sound. To dig deeper, let us explore the acronym MUSIC:

M = Musicianship and Mission Statement
U = Understanding
S = Strengths, Standards, State Lists
I = Instrumentation, Instruction Level
C = Concert Programming, Contests, Commissions, Community, Culture, Composers

M = Musicianship and Mission Statement

Repertoire should support musicianship, as well as the program’s mission statement. My definition of musicianship is as follows:

Musicianship is the understanding of how music captures and presents in its intrinsic qualities the patterns and forms of human feeling, as experienced through playing, singing, conducting, composing, arranging, improvising, listening, reasoning, writing, evaluating, critiquing, and any other interaction with music that engages the subjective realm of human responsiveness.

It is no surprise that quality band programs have a mission statement. The mission statement is the North Star that guides every aspect of the program. If you do not yet have a mission statement, consider the following:

The mission of the band program is to provide a quality instrumental music education in a nurturing environment. The band program is dedicated to fostering aesthetic growth as an essential part of a child’s total education. The band program exists to facilitate the highest level of musical achievement through a comprehensive curriculum in keeping with each child’s interests, needs and abilities.

Note: Consider substituting “repertoire” for “band program.”

U = Understanding

Repertoire should foster understanding while supporting long-range goals. Understanding is realizing and comprehending relationships and making connections between music’s various elements. This understanding comes about through a comprehensive curriculum guided by achievable goals.

If your program does not have long-range goals, consider the following:

1. To artistically share performance-based music composed in a variety of styles and forms.
2. To gain musical knowledge, to improve musical skills, and to engage in musical thinking.
3. To be ambassadors of musicianship, while developing a lifelong love of music and music making.

S = Strengths, Standards and State Lists

Repertoire should support your ensemble’s strengths. (When strengths are exercised, student confidence builds and greater challenges can be pursued.)

Repertoire should also support State and National Music Standards. In general, most standards support students learning the language of the arts. They also guide students through the various ways that humans interact with music, while helping them understand the role of the arts in civilizations past and present.

While State Lists do not contain the complete body of quality literature that is available, they often present “tried and true” pieces that have been a good fit for many programs. If you have not yet done so, take a look at one or more State Lists.

I = Instrumentation and Instruction Level

When selecting literature, seek publications that support your ensemble’s instrumentation. Often, such works possess appropriate doubling and cuing so that the music can be explored in its full context. On the other hand, there may be times when music can be acquired to justify the expansion of instrumentation. For example, if your program lacks keyboard mallet instruments, show your administration how purchasing those instruments can help your students explore more engaging repertoire.

Repertoire should also support instruction level. In other words, seek publications that are age appropriate. Often, band directors assume that harder music means better music. Regretfully, struggling with overly-technical passages takes time away from tone production, phrasing, and dynamic contrast. By spending appropriate time, one can find accessible gems that are not only profoundly artistic, but also fun to learn.

C = Concert Programming, Contests, Commissions, Community, Culture, Composers

Repertoire should support appropriate concert programming. When designing a program, consider a delicious three-course meal:

Appetizer – an engaging opener that whets the musical appetite
Entrée – a longer, more substantial work
Dessert – a short and sweet conclusion

If taking your ensemble to contest, make sure that your repertoire supports contest rules. For example, in my home state of Illinois, most band contests require three works, which include: 1) a march, 2) a contrasting work (typically one that is substantial), and 3) another contrasting work.

If you have never commissioned a work for your program, please consider doing so. While music is often commissioned for a specific purpose, such as an anniversary, dedication, or memorial, many groups commission a work for the purpose of engaging students in the creation of something new.

Community life matters. While it is easy for music teachers to focus strictly on academic learning outcomes, we must not forget that our ensembles play an important role in community life. Therefore, we have a responsibility to participate in community events, including parades and other civic engagements. During my years in the classroom, my favorite band trip occurred each December when my students performed holiday works at a nearby suburban shopping mall. Through this trip, my students witnessed the joy that holiday and popular music brought to strangers.

In addition, repertoire can support local, national, and international culture. While American band music is an outgrowth of Western art music, there is a growing body of literature that authentically presents music from other cultures. Furthermore, many communities have cultural organizations that would love to demonstrate their music in a combined performance. For example, during my years in the classroom, our band program invited an American Indian drumming group and a Japanese taiko group to perform for our community. Although our middle school band followed by playing traditional band literature, the juxtaposition in musical styles nevertheless showed that making music was common to all people. In the end, bridges were built and our students and audience were left with a deeper appreciation for other cultures.

Finally, while we all have our favorite composers, our musical tastes may not align with the tastes and educational needs of our students. Therefore, it is critical that we program a variety of diverse compositional voices. But when doing so, we must remember that quality counts. After all, our students deserve the best literature. And, composers and arrangers whose work embodies deep craftsmanship, imagination, sensitivity, and authenticity deserve to be supported.

Best wishes as you lead your students to and through the richness of musical sharing. And, as you program for upcoming concerts, consider the MUSIC behind the music. Have fun, learn, and grow!