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or, Love and Music
This lovely eighteenth century canon was a staple of my school choirs’ repertoires throughout my entire teaching career. I came across it in a songbook when I first started teaching at Blue Rock School in the early 1990s, and I believe I taught this to every choir I directed until I left teaching in 2014. I taught it to every age group: elementary, middle school, high school. Over the years, How Great is the Pleasure became a kind of unofficial choir theme song for my vocal ensembles, and although it was not something we often sang in performances (especially with older groups of children), we sang it on a regular basis, often as part of our warm up or to close a rehearsal. I never met a child who did not love to sing this song.
“I’m so bored. What is wrong with me? This is what I’ve always wanted. I won Nationals. I’m in charge of this committee. But it feels so meaningless. Do all teachers feel this at some point?”
~ (character) Will Schuester
Glee, Season 4, Episode 3: Makeover
Although advocates for music education – especially music education in public school settings – often speak to ideals about “music education for all children”, or the importance of the inclusion of music education in a well-rounded education, the reality of the state of music education in the United States is that music education is not for everyone.
Alongside the inequality of access and inclusion already being discussed by many throughout the country, the role that competition plays in the activities of music education presented to our children has become so pervasive that by their very nature, these activities exclude and discourage many children, who as a result are not receiving a music education, or are receiving an inadequate and impoverished music education.