Music Education and Society in the 21st century

Music in American soceity has undergone transformative change in the last few decades of the 20th century. Transformations in how people are involved with music are likely to continue with greater momentum in the next few decades of the 21st. I see four dynamic components of this change: 1) The declining relevance of Western European art music and the rising relevance and classicalization of American vernacular music and world music of the 20th century; 2) A two-pronged effect of the use of technology for music performance and creativity: the unemployment of traditional, professional human performers and the rise of amateur creativity; 3) A continuing equalization and democratization of society in general, and the growing resurgence of avocational and amateur musicianship; 4) Changes in music education at institutions of higher learning.

1) The declining relevance of Western European art music and the rising relevance and classicalization of American vernacular music of the 20th century
The old "gods" of music education in America include names like Bach, Beethoven, Mozart, Schubert, Debussy, etc. These gods were imported by the wave of European immigrants entering the United States at the beginning of the century. The devastation of Europe by the two world wars effectively relocated the center of the artistic world from Paris to New York. The first wave of immigrants as well as their children has long since passed away. Although the issues are complex and have much to do with cultural, anthropological, and aesthetic factors, it is clear that America's motivation to maintain the heritage of traditional European art music will wane in the 21st century.
Much has been written questioning the aesthetic authority of the canon of Western European art. Issues ranging from the hegemony of the academy to the disenfranchisement of women and other groups are a part of the debate. From an historical perspective, the beauty and artistic stature of the western canon seems undeniable. Nevertheless, as we enter the 21st century, it is impossible to ignore the fact that this canon is not as relevant to the artistic needs and fulfillment of either the contemporary artist or audience member as it once was. There are many reasons for this. Besides the obvious fact that the society from which this art arose was different than ours, the creativity of the 15th through the 19th century does not always convey those universal truths that traditionally were considered to be elements of timeless and good art.
For example, Haydn's symphonies frequently have last movements that evoke hunting scenes, complete with aristocratic moods, hunting horns and even the rhythm of horses' hooves. These movements were probably inspired by the desires of his patron and the court where he was employed. The values inspiring these movements may well be irrelevant to the vast majority of today�s music listeners. The wonder and beauty of Haydn's craftsmanship is not being questioned--the relevance of the music is. The rising diversity of the population raises more questions about the relevance of European art music in the 21st century. Each culture has music whose evolution is guided by a different set of aesthetic values. These values affect many of the music's elements, including its instrumentation, compositional techniques, and the quantity and quality of information it conveys. We can question the value of the performer/listener dichotomy, which unfortunately is taken for granted by the western art music world. Finally, we must recognize that the quality and state of artists', patrons', and listeners' psychology and consciousness was much different hundreds of years ago than it is now. We are in a different place as far as these matters are concerned and the art of the past may not speak to us.
The growing irrelevance of some Western European art music is in contrast to the surprising tenacity of American vernacular music over the course of this century, as well as the growing interest in music from non-western cultures. From Ragtime to the Blues, from Boogie-woogie to Rhythm and Blues, from Rock and Roll to Disco, from Punk to Alternative to Hard Core, from Rap to Goth to Dark Wave, the relevance of American music is obvious. Although young by comparison to European art music, American vernacular music has several hundred years of evolution behind it. Its multicultural roots have given it vitality unprecedented in the world of music. We have already seen "classically-trained" composers and performers incorporate materials from American vernacular styles and non-western music into their creativity (the minimalist movement is one example, the Kronos quartet is another). This incorporation is a reflection of what will be a common phenomenon--the seeds of the 21st century's creativity have already been planted, and these seeds are elements of the American vernacular and non-western musical styles.
2) A two-pronged effect of the use of technology for music performance and creativity: the unemployment of traditional, professional human performers and the rise of amateur creativity
Until about twenty years ago, TV, radio, movie and commercial studios regularly employed musicians. Every TV and radio commercial that had music had human musicians performing. Every movie score had musicians performing. Radio shows had resident musicians and even soap operas employed organists and other musicians to create improvised background music.
Since the advent of MIDI (musical instrument digital interface) and music synthesizers, the employment of musicians has changed dramatically. MIDI allows computers to perform synthesizers. Synthesizers can be programmed to sound like any instrument, real or imagined. Many of the jobs once performed by musicians are now performed by sophisticated computer sequencer programs. Even in high school shows and productions, a computer sequence sometimes takes the place of a pit orchestra. Clearly, teaching a musician how to be a successful performer for TV commercials is not going to help him find employment.
The positive effect of MIDI and computer-controlled performances is that an individual, with a personal computer and knowledge of composition and orchestration, can create a composition for any number of instruments and hear that piece performed immediately in the comfort of her own home. The empowering nature of this experience should not be underestimated. With this technology, individuals can create their own art rather than rely exclusively on the vicarious and alienating experiences of other individuals' productivity. The fulfilling experience of creativity has the potential to be a part of everyone's life.
3) A continuing equalization and democratization of society in general, and the growing resurgence of avocational and amateur musicianship
In the Renaissance, an average person could study a musical instrument for a year and be able to perform most of the artistic music being written at that time. The advent of the virtuoso performer two hundred years ago increased the number of years required for study. Since then, the insane level of difficulty advocated by composers of art music in the 20th century has all but eliminated most people from participating in what was once called "serious" music making. This is an aberration in the history of music. In the 19th century, the piano was indigenous in Europe and America, and everyone played for their personal enjoyment. Hymn singing, madrigal singing, community bands and choruses were all a part of every ones' musical experience. In America today it would be difficult to find a household that did not have a guitar or keyboard. It is strange that institutions of higher learning generally do not embrace nor promote this kind of music making, but still cling to the exclusive virtuoso ideal, and ideal which has a limited historical precedent and ultimately is not vital nor sustainable. Most Americans have not forgotten the potential for enjoyment that music making has to offer. The training of amateur musicians (true lovers of music) and the encouragement of avocational musicianship should be a vital component of the music curricula at institutions of higher learning in America.
4) Changes in music education at institutions of higher learning.
The rise of music education programs at institutions of higher learning in America has a rather complicated history. It involves the combination of the three-year European conservatory program of study with the American four-year Bachelors degree. Although the history of music education in American is beyond the scope of this article, I would like to highlight a few points. At one time a Bachelors degree in music was a vocational degree-- there was usually a reasonable chance of employment (as a performer or composer or teacher) after graduation. Today, the only degree for which this is true in a real way is the music education degree. Still, this statement is somewhat tenuous, for even when public school positions in music have not (yet) been cut, the skills that school teachers need to find success are much different than those traditionally taught. These new skills involve knowledge of popular styles (jazz, rock, gospel and ethnic), the ability to improvise and an expertise in music technology and media arts in general. Until music education degrees speak to these skills rather than those that are convenient to teach by music education faculty, students will be unprepared and unsuccessful both at doing well at the job and improving the reputation of the value of arts education.
There will be a market for traditional European art music, albeit a decreasing one. To fill this opportunity, professional classical musicians could be educated at three to four specialized schools in the United States. Music education at other institutions could focus on a more comprehensive approach, which would include the study of many different kinds of music. This kind of program could be designed to expose individuals to music that suits their sensibility, interests, and entrepreneurial abilities. Applied instruction would always remain an essential element of the curriculum, and studies in improvisation and creativity would be essential. An interdisciplinary study of critical thinking about the arts would be advantagious to the student -with so many kinds of music, performers, styles and composers, and with the pressures of the commercial market, students would do well to have an exposure to the process of making critical judgments about the arts. The best vitalizing force for music in society would be to ensure that Music instruction is available for musicians whose employment is or will be in another field. Opportunities for the non-traditional student wishing to study music later in life would create the critical mass of people necessary to maintain informed audiences.
Of course, not even another article would suffice to elucidate changes that new forms of sonic creativity have engendered. It would take more than one to begin to speculate how computer-inspired creativity and the attenuation of intellectual elements in favor of more viceral components have changed traditional asthetics of music composition and performance. From a traditional perspective, this change is one that reflects a degeneration of culture. From a creative perspective, this change reflects what has happened often: the creative destroys to create anew. And often, raw, powerful forces easily overwhelm cultured sensibilities. Eventually the cycle begins again.
Hopefully, we do not give up too much of what we treasure; we do not give up our humanity as the 21st century unfolds. It would be tragic to wake up in 2099 to see a world where harmony and pitch are forgotten in favor of amorphous noise with barking voices speaking unintelligible sounds of sadistic sensibility. More positive possibilities exist for those who tame the raw agression of uncultured creativity with those elevated elements musicians of past eras discovered and valued. 

Written by: Kevin Purrone, Ph.D.