Theory

Our semester is drawing to a close and I find myself preparing reviews and summaries of what my students and I have done over the course of the fall. At this point of transition, I want to bring focus to the purpose of our work together. 

When my music theory students and I meet tomorrow, I plan to raise a question that is sometimes heard in theory classrooms: "When will I use this?" 

 

This question is often asked when an instructor has presented some concept or detail outside the student's usual conscious awareness.

Or perhaps it comes up because some intricacy of an unfamiliar style has felt a little out of the way.

Or maybe there is a still a gap between the logic of the academic discipline and the student's own logic.

Whatever the case, the student is not picturing a situation in which the information at hand will be relevant to the way of doing music they imagine for themselves.  

 

Of course there are numerous situations in which students might use such information.

To name a few: 

the final exam of the course

graduate record exams

major field exams for music teachers

placement exams for graduate programs

arranging music for ensembles 

collaborating with other musicians 

comprehending professional discussions of music

understanding music in such a way that they can explain it to others

etc.

Hopefully, we instructors keep reminding students of all the practical uses of their education as listed above.

But there is a larger picture for us to paint for our students, as well. 

The correct question is, indeed, "When will I use this?" 

But more emphasis should be put on the "I" than the "this."

The call of the college educator, and especially the educator in the arts, is never merely to prepare students to fit into an existing musical scene but to develop a breadth of musicianship in their students so that they might become the creators of new scenes. 

The call is not to train students to serve single styles but to empower them to express and touch and compel and refresh and envision and discover for the sake of their listeners.

The call is not to teach them to have skills relevant in the short term but to inspire them to become artists whose work speaks to the human experience in the long run.

And the response of the music student is to take all they are given by applied mentors and theory instructors and ensemble directors and diction coaches and history professors - all they have been given by these folks who have devoted decades of their lives to the consideration of music - and apply it to the settings in which they, themselves, will make music. 

It seems to me that might be one important way of defining professionalism. 

The finest musicians I have known have typically been the ones who received their training with humility and applied it with creativity, thoughtfulness, and enthusiasm.  

P.S. Thank you to my theory students at Southeastern who have always made teaching a pleasure!