Last week, I tutored a student on a music appreciation paper in which she was asked to review a concert-going experience. Her family background is culturally rich–but not rich in terms of the Western cultural canon. She had heard the name Beethoven; but until this class, as a sophomore in college, she had never listened to his music. She attended a concert that featured a Liszt sonata, two brief Schubert pieces (Ständchen and one other), and Beethoven’s Symphony No. 9.
Because I cannot remember not knowing Beethoven’s music, I kind of envy this young woman’s revelations in the concert hall; what must it be like to hear Beethoven’s 9th symphony, for the first time, as a 19-year-old? I may not be familiar with all of the master’s works, but my parents had some of the symphonies on vinyl back in the 1960s. We listened to classical music on the radio and in church; even commercial television featured famous musical phrases. My sister and I liked dancing around the living room every weeknight to The Huntley-Brinkley Report’s closing theme (2nd movement Beethoven’s 9th).
Initially, she and I went over the structure of a review and how it resembles an analysis paper. She had used musical terminology reasonably well, and we had grammar and mechanics to work on. What she liked best, she said, was the part with the singers. She found the third movement “a bit boring. I kept wondering if this was the end.” But the fourth movement excited her: “It was really like a celebration or something, and you could see the expressions on the faces of the singers and the musicians, that they were so into it. Like, you kind of wanted to stand up for it, you know?”
Yes, I know–that’s how I have felt when I have heard the piece in concert.
Our discussion went on after our work on the paper’s mechanics had ended, though, because she asked me why courses like this one are required for college. Her major is early childhood education, and she says her parents asked her how a course on classical music has anything to do with teaching 4-year-olds.
It turns out I had more to say on that than I realized. Bless her heart, this student was eager to listen. [I have to admit that isn’t as common a response as one might wish.] Many of my friends, I said, are teachers or former teachers; they are among the smartest, most open-minded and curious people I know. They pay attention to contemporary culture and they read about history. They get allusions and references and make clever jokes and know all kinds of things and also, they admit what they do not know and are eager to learn about. They’d play Beethoven for kindergarteners and let them dance to the fast movements and ask them how it feels to hear the slower, sadder late quartets. They might have the children finger-paint to Beyoncé or twirl like leaves to Vivaldi’s “Autumn” or use round colored stickers to make their own “Starry Night” pictures or recite a poem that’s fun to say out loud. Culture is education.
And there’s more, I told her, that has to do with you as a person who understands the culture you are part of. You have to know about politics, especially local and state politics, because teachers need to understand how legislation and budgets can affect income and careers. You might feel uncomfortable in your job if you don’t get your colleagues’ allusions or feel you cannot participate equally in their conversations when the subject turns to culture, history, museums, music, art, policies and fiscal issues. It is fine to admit what you do not know or have not yet been exposed to–but it helps to know where you stand and to show you want to learn.
You’ll learn from your students, too. If you really want to be a good teacher, I said, you will never want to stop learning. Maybe you will reach a point where you don’t need to know a whole lot more about Beethoven, but you will want to explore other subjects. So when you take the required fine arts courses, the required literature courses, the courses in philosophy and math and all that other stuff, realize how all of it will get into your brain somehow, maybe touch a nerve here or there, and help you become a terrific teacher.
Besides, isn’t it beautiful? Even the boring parts…have you ever experienced anything like that before?
“No, honestly,” she said. “I wasn’t sure I was up for it, but it was worth it.”
Wonderful – you’ve made me want to persist with my own children in their musical education…
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Hi, I agree with you 100%. However, I wonder about the depth and breadth of cultural knowledge amongst teachers in the UK; my wife works as a learning mentor in a primary school and has commented in the past on conversations in the classroom where it is apparent that the teachers generally don’t read, go to the theatre, visit art galleries or have any broad interest in culture. I find that worrying and wonder if its part of the wider cultural dumbing down … or is it just me getting older?
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Perhaps a cultural change, perceived as a dumbing down. My friends who are teachers without exception have several cultural interests–not all of them typical of the received Western canon, however. My now-adult children’s teachers all struck me as interested, curious people, even the ones I felt less enthusiastic about. The young people I know who are embarking on the teaching profession here in the US are, for the most part, open-minded if a bit unsophisticated. So I have hope. 🙂
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Third grade. 1975. Drawing pictures to Peter, Paul & Mary, who were not just great musicians but very political, and I have kept a love of all of that ever since.
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