So here I am, a student again. But this time it is different. I came back to the Con to learn how to teach music to high school students. I wanted to make a difference to the lives of children who did not have the same opportunities to study music outside of school, by providing quality music education programs within schools. I thought I would teach them all kinds of music within the European tradition, so that they too could develop an appreciation and understanding of this music. Perhaps I was influenced by my father who often reminds me how he grew his passion for music when he studied music from the Baroque, Classical, Romantic and Modern eras during his elective course at school. I still held the view that Western art music was more sophisticated than contemporary popular styles. Likewise, I had the sense that classical musicians were somewhat superior to popular musicians due to the demanding and technical nature of their training.
Little by little, I am changing. I am realising that Western art music is only one tradition and that there are many non-Western musical and cultural traditions that are just as valid. Not only was I learning music primarily from a European tradition, but I was teaching it to the next generation, including my own children, thus perpetuating cycles of “cultural reproduction” (Talbot, 2018). Furthermore, much of this Western art music which I have listened to, studied, played and taught was written by white males. My attempts to diversify repertoire and skill development have been far from adequate, though perhaps a step in the right direction. I am so much more aware of the need to share and teach music that represents many different cultures and groups, to give voice to those who are in the minority, and to foster different “ways of learning, transmitting, and performing music” (Talbot, 2018).
Contemporary popular music also plays an important role in cultural and social identity and belonging, particularly among youth. Whilst popular music might be viewed as less classy than classical music, it does have its own level of complexity and sophistication. I have a new respect for popular musicians, many of whom who are exceptionally talented, versatile, and have diverse skill sets. There is so much for classical musicians to learn from popular ways of musicking. If I am to connect with my students, then I need to start with the music that they play and listen to. It needs to have relevance to their lives. My own knowledge of contemporary popular music over the last 18 or so years has diminished to the point that I feel ‘out of touch’ with the current generation of youth. It is important for me to significantly expand my own music choices. As Talbot points out, “we rarely share what we do not know” (p. 2), which means we have to broaden what we do know.