I recently stumbled upon a nice article written earlier this year by Rhian Bristol at the Association for Popular Music Education (APME). Rhian is a "dynamic musician, educator, and multi-instrumentalist", and she's currently working on a Masters degree in Music Education at the University of Southern California.

Despite her relatively young age, I found the article packed with some very important wisdom, and wanted to share it here at MMI for two reasons:

1. Rhian's solid work in this piece is also a testament to music education itself.
   
2. The messaging in here lines up perfectly with what we do at Mobile Music Institute.

Alright, let's dive in…

A Sense of Belonging and Connection

The driving force here is a simple yet powerful one.

Referenced from a 2013 quote, courtesy of The Belonging Project (a research project at RMIT University in Melbourne, Australia), here's the premise:

"A sense of belonging is imperative to the creative growth of a music student and can enhance academic success by providing a supportive environment where one feels safe, valued, accepted, and connected."

When it comes to this sense of belonging, however, the big issue that Rhian touches on here is the difference between students with a less formal music education background, and those with a more classical music education foundation.

This difference tends to create a chasm as students strive to extend their music education at higher learning institutions -- a chasm that music educators must work to bridge. Fostering a sense of belonging, regardless of which education style students arrive from, is imperative for their success.

A Bridge Between the Formal and Informal / Non-Formal

As Rhian notes:

"Mastery of Western music theory is the standard by which society grades musicianship and the potential in an artist’s abilities. This leaves informal and non-formal musicians with little to no Western classical foundation in music at a disadvantage when they pursue music at higher learning institutions.

These students are often underrepresented in the academic arena and deemed not ‘real musicians’ or inferior to formal musicians because of their different foundational knowledge of learning and composing music. Because of this perception, these music students experience a depressed sense of belonging."

It's up to each higher education program creator to factor this important requirement into each curriculum, to make sure we encourage a sense of belonging in both formal and informal music students.

Each curriculum should balance "formal and informal learning strategies, and encourage music students of all educational backgrounds and skills," as Rhian also addresses.

If a music program fails to address this, "students may feel they have no place in music education (a common sentiment of students of popular music), and access to music education is restricted, disenfranchising an entire population of musicians."

So fostering this sense of belonging in music education, as well as connecting students of multiple disciplines, can make all the difference in the world.

Case in Point: When an Aspiring Rock Singer Is Taught Opera

Now I don't get out there and teach music at MMI, that's not my lane.

However, I did actually experience this lack of belonging (and the resulting discouragement) myself back in the day as a junior high student.

I spent a little time in more formal education learning some guitar basics, but at the young age I began, it felt very frustrating. It didn't work for me at the time. Fast forward 5-6 years later, and I found myself the lead singer in a band, with two very talented (much more than myself) other members at the time, a lead guitarist and a bass guitarist.

Wanting to take that road more seriously, I pleaded with my parents to get signed up for formal signing lessons, hoping to boost my skills as a vocalist.

While I did really like my teacher, and I learned a couple of techniques that I still use to this day, overall the lessons were an abject failure. The teacher only knew one method -- to use opera singer techniques as a foundation for all vocal learning.

That method was brutal for me, and I found little to no enjoyment in the process. It truly felt like I'd entered an education space where the formal training was burying me, despite some natural talent that really would've appreciated a bridge between formal and informal training.

Instead, before reaching the end of the first curriculum, I wound up growing too discouraged and quitting. Although this wasn't at the level Rhian references in this article, reading it still brought back the memory of that missed opportunity.

It hits home that the more teachers can create this sense of belonging, the more they can build bridges for students, the greater chance each student has to find success.

Building That Better Bridge

Properly combining formal and informal music education can create a much better sense of belonging for music students, and the truth is, both disciplines can learn something from the other.

Focusing on this will foster "a more inclusive and comprehensive learning experience," as Rhian notes.

There is also the issue, however, of a non-formal education precluding students from even being able to audition for a music program. The talent may be there, but one's educational background may prevent further pursuit in music. It's a failure to appreciate both the diverse background and the unique benefits of a student’s previous musical experience.

As Rhian references, a balanced education should allow "teaching and learning methods to exist on a spectrum instead of in opposition." It's something we most definitely embrace with our programs here at Mobile Music Institute.

I'll leave you with these words from Rhian, however, as she shares her own experience in dealing with the chasm between formal and informal.

"As a self-trained, popular musician, I found the application process to undergraduate music programs discouraging because Western music theory was not part of my musical background. I felt inadequate as a musician, an outsider in the education and future I wanted to pursue.

In dismissing the value of informal/non-formal learning in formal music institutions, we trigger feelings of inadequacy and alienation for students.

And, in disregarding the value of these musicians, the institution inhibits its advancement and deprives itself of an enriched student body.

Incorporating informal music learning methods into undergraduate music curricula validates and inspires an entire population of learners.

Many students of music yearn for a more comprehensive music education. As educators, it is our responsibility to deliver that to them."

Click here to read Rhian's article in its entirety.

OTHER LINKS
The Belonging Project