The Tanglewood Symposium and its Impact on Music Education

The Tanglewood Symposium is regarded as one of the monumental aspects that positively impacted music education in the 20th century American society. The symposium was conducted in 1967 in Tanglewood, Massachusetts. The sponsor behind the meeting was the Music Educators National Conference (MENC) in conjunction with other institutions such as the Theodore Presser Foundation, Berkshire Music Center, and the Boston University among others. The conference featured several discussions that would later come to define music and music education heading into the latter years. Some of the themes present in the symposium include the explosion of rock n roll, popular music, and the direction of music education heading into the future. Also, the convening was meant to solve specific urgent problems that had clouded music both as and a profession and an art. Some of the people that attended the meeting included musicians, music education academics, scientists, labor leaders, and academic emanating from other fields. The main aftermath of the symposium was referred to as the Tanglewood Declaration. The declaration primarily centered on changing the perception of the people regarding the position of music in education. The Tanglewood Symposium had far-reaching impacts enjoyed until today when it advocated for the incorporation of music as a core tenet of the school curriculum.

History of Music Prior To Tanglewood Symposium

Music has been taught in the US for many years more than any other country in the world. In confirming these assertions, Powell, Krikun, and Pignato (2015) say, “Music has been taught continuously in American schools from the beginning, arguably more so than in other countries.” However, the only problem is that it has not received the attention and significance it deserved. The American education system failed to acknowledge it or consider it a worthy tenet to be taught in the schools. In many higher education institutions, music education referred to the training of music teachers rather than the actual teaching of the music in the learning institutions. However, at the beginning of the 19th century, popular music began experiencing unprecedented growth. The three main factors that contributed to the growth of music include musical instrument manufacturing, concert promotion, and music publishing. The early 20th century was characterized by the rise of popular music such as ragtime. However, this was not enough for the American educators who were hell-bent on elevating the musical level of the country. The first genuine attempt to achieve this was known as the music appreciation movement. As explained by Powell et al. (2015), the goal of the movement was to impart students with the ability to understand the superior aesthetic properties presented in the European art music repertory. 

With time, factor such as mass migration, technology, and urbanization played a critical role in transforming the American culture. As such, this led to the increased dissemination of popular music. Powell et al. (2015) narrate that most educators in the public sector neglected popular music, terming it unworthy of any serious study. On the contrary, the establishment of private music schools played a crucial role in debunking such notions by providing students with the opportunity to learn music. After the Second World War, several factors necessitated the need to incorporate music into the school curriculum on a permanent basis. Among them included the presence of tuition-free education, musical education that the veterans had received earlier, and the surge in college enrollment. Pressure began mounting among various stakeholders to review the position of musical education in the curriculum. It was until the convening of the Tanglewood Symposium that genuine efforts were observed. The aim was to come up with a long-lasting solution that would redefine the position of music not only in education but also in society. Several factors contributed to the convening of the Tanglewood Symposium that would go on to redefine music education in the US.

Triggers of the Tanglewood Symposium

Generational Pressures

Gurgel (2019) says, “The members of the Symposium commonly acknowledged that a widening "generation gap" was cause for concern in society and music education.” Many people believed that there was a generational struggle that was ongoing in America. However, it was seen in a positive light because it represented the younger generation’s claim about the future. The author continues by asserting that the lack of communication between various generations was a cause of concern, a factor that was seen as a threat to morals and the overall quality of life. Therefore, the symposium also presented a platform where the interests of the youths, as far as music was concerned, could be hard. In this regard, two youths, including Paul Williams and Mike Stahl, represented the interests of the youths in the symposium. The two representatives were primarily aligned to the rock music. All along, the youths felt that their particular type of music was excluded from national discourse. During the second half of the 20th century, the young generation wanted rock music to define their identity. However, the senior generations were not interested in promoting this kind of music and instead imposed musical values to the younger generations. Therefore, one of the propositions that came up in the conference was to include teenage popular music as part of the school curriculum (Gurgel, 2019).

Yale Seminar

The dynamic nature of music education in the United States was responsive to societal needs. Mark asserts that the Tanglewood Symposium did not take place in a vacuum but was rather influenced by a host of factors. He says, “It was a commanding response to what was happening in, and to, American society at that time” (Mark, 2000). Professional leaders in the US were highly annoyed by the Yale Seminar on Music Education that happened in 1963. Supported by a large government grant, the seminar was conducted to analyze the current state of music and propose changes. The stakeholders in the meeting included composers, musicologists, and performers who had little or no knowledge about music education. Most importantly, the seminar was done without the input of the musical educators. As such, this sparked the rage of the music educators all over the country thereby triggering the need for the Tanglewood Symposium. Therefore, the conference could be interpreted as a reactionary tactic against the government-backed Yale Seminar meant to illustrate that any changes in music education should arise from the educators. The second aspect that contributed to the symposium, as discussed by the author included the school reforms.

School Reforms

The first trigger of school reforms in the US was the establishment of the Department of Health, Education, and Welfare in 1953 (Mark, 2000). The formation of MENC heading into the 1960s was a crucial moment for music in education. However, the nature of education itself was a major stumbling block in the full implementation of music in the education process. MENC on its part, dedicated much of its time, energy, and resources in convincing the public, policymakers, and other stakeholders that music had a legitimate part to play in the education of the children. With the continued reforms in the second half of the 2oth century, many people felt that there was a need to include music as a core component of the school curriculum. However, this was never going to be easy. The educators believed that if there was going to be any change, then it had to emanate from them. Thus, it could be concluded that the Tanglewood Symposium was an effort to take advantage of the ongoing education reforms and include music as a fundamental part of education.

The Influence of the Civil Rights Movements

The civil rights period is widely acknowledged as a time when the Americans began honoring the constitutional principles of equality. The movement was influenced by the quest for equality for all Americans. The agitation of the civil rights took shape in the 1960s, the same time when musical educators felt that music should be included as part of the education curriculum. Therefore, it can be regarded as a period of profound social change and a time of integration. As such, multicultural studies started finding their place in the education system. Gustafson (2009) goes further to emphasize the importance of this period by saying, “The Tanglewood Symposium, coinciding with the Civil Rights movement, is often cited as the turning point for bringing jazz and other genres into the curriculum.” The social consciousness associated with the 1960s was also crucial in the convening of the symposium. The success that the African Americans had experienced by overturning the “equal but separate” segregation law was instrumental in acting as a motivation for change. In this regard, the educators also believed that by coming together and clearly defining their declaration, it would be possible for them to succeed.

The Immediate Impact of the Tanglewood Symposium

The conference began on July 23 and went ahead up to August 2, 1967. One of the unique aspects of the symposium is that it incorporated members from a diverse pool of individuals and professionals. In explaining this, Choate, Fowler, Brown, and Wersen (1967) say, “The Symposium sought to reappraise and evaluate basic assumptions about music in the "educative" forces and institutions of our communities.” The meeting was, therefore, a first step in achieving reforms that would redefine the position of music in the American education system. Gustafson (2009) describes the first provision of the Tanglewood Symposium when he says that the role of the music teacher in the contemporary setting stayed within the realms of analyzing music objects scientifically. Therefore, through musical analysis, it was possible to define and describe the role of the musical composer. The provision of the Tanglewood Symposium was summarized in the Tanglewood Declaration. According to Mark and Gary (2007), the people responsible for drafting the declaration included Allen Britton, Charles Gary, and Arnold Broido. As previously noted, the symposium was an all-inclusive affair that encompassed educators, philosophers, labor leaders, scientists, social scientists, theologians, and industrialists among others. The declaration provided that education should be focused on three primary pillars including nurturing creativity, enhancing personal identity, and to promote it as part of living.

The declaration also ensured that the music for the young people, which had previously been neglected, was included as part and parcel of the education system. Gustafson (2009) in quoting part of the declaration, says, “The popular music of our youth embodies high art and content, both cultural and aesthetic that must inevitably receive serious attention.” One of the factors that triggered the meeting was a generational uproar among the youths and the young people who felt that the music fronted in the public discourse did not necessarily represent their views and aspirations. They wanted the jazz, blues, folk, and the rock to be included in the education system. Initially, most of the participants in the symposium exercised conservative ideas that sought to limit the incorporation of this genre into the curriculum. However, with the realization that the backlash would be high, one of the proposals was to include popular music to be learned in school. The music educators agreed on eight different tenets that defined the historical significance of the seminar. First, it was agreed that the full importance of music could only be achieved if its integrity as a piece of art is maintained.

In summarizing the second provision, Choate et al. (1967) say, “Music of all periods, styles, forms, and cultures belong in the curriculum.” As such, this could for universality in adoption of music in the education system. The educators suggested the expansion of the musical repertory to include a wide array of musical genres both for teenagers and adults and that which serves all the cultures. Thirdly, the meeting resolved that both schools and colleges should allocate ample time for learning music in their respective institutions. Fourthly, there was a need to incorporate art instructions as a fundamental part of senior high school education. The Tanglewood Symposium was also aware of the wave of technology that was sweeping the field of education in the form of programmed instruction, television, and computer-assisted instructions. According to these individuals, all these technologies should be used to advance music in the learning institutions. The educators were also cognizant of the need helping students to fulfill their goals, potentials, and needs. Other than just incorporating music as a tenet of the curriculum, it was also crucial for the instructors to apply it as a way of solving the many social problems prevalent in various communities in the country. Lastly, it called for the expansion of teacher education to increase their capacity to apply music in other disciplines such as history.

Other than the aspects included in the Tanglewood Declaration, the attending stakeholders came up with several broad stipulations that would affect music education in the future. First, the study of art was now regarded an essential part of education. In recent years, schoolchildren, who showed their passion for art or music would often end up in the juvenile courts (Choate et al., 1967). The study of music was viewed as a fundamental aspect of learning because it acted as an emotional outlet especially in the wake of the violence among the youths and the immoral content they consume from their media. According to the declaration, music would be an essential aspect of igniting the imagination of the students. The educators further recognized the importance of triggering the child’s artistic potential once they stepped foot into the classroom. It was also vital for the parents to understand the need to create an artistic environment in their respective homes (Krikun, 2008). However, all did not stop at the declaration. It was essential to come up with a way to enforce the provisions and make them operational heading forward. As such, this lead to the creation of the Goals and Objectives (GO) project which took effect in 1969 whose main aim was to implement the recommendations arrived at during the Tanglewood Symposium.

Additionally, two other commissions were developed to implement the GO project recommendations, including the Commission on Organizational Development and the National Commission on Instruction (Mark & Gary, 2007).The role of the Commission on Organizational Development was created to institute changes on the structure, organization, and function of the MENC. The National Commission on Instruction probably had the most significant duty. The main reason for its formation was to assess the way music was taught in the learning institutions. According to Mark and Gary (2007) one of its earliest achievements was to develop a book known as “The School Music Program: Description and Standards.” The book was continuously reviewed and updated to meet the current needs of time. Another commission that was formed albeit later was the Bicentennial Commission. Mark and Gary (2007) assert that the commission was tasked with the responsibility of finding how music would impact the nation heading into its 200th birthday. It helped in the compilation of music and ensuring that its heritage was conserved in the various learning institutions across the country. Thus, the impact of these commissions in asserting the Tanglewood Declaration cannot be underestimated.

The Long-Term Impact of the Tanglewood Symposium

From the discussion, it remains evident that the Tanglewood Symposium changed not only the landscape of music in the country but also the approach to arts and education. The conference underscored the significant that music had in society and also how best it could be integrated into learning to get the best out of the students. Powell et al. (2015) narrate that after the 1968 publication of the Tanglewood Declaration, many musical educators continued to advocate for addition of popular music as part of the nK-12 curriculum. Towards the 70s, many community colleges began setting up musical programs in a show that the aspects of the declaration were taking effect. Music had now taken a prominent position in the student curriculum with disciplines such ethnomusicology and musicology emerging in various schools and learning institutions. The incorporation of music in education remains a mainstay in today’s learning thanks to the reforms that started over six decades ago. In confirming this trend, the authors narrate, “Today, wide-ranging options for the study of popular music exist for young musicians ages 4-18” (Powell et al., 2015).

Thanks to the achievement of the Tanglewood Symposium, students today live in an interconnected educational system that supports the teaching and learning of music. Most importantly, the instructions they receive are not limited in any way or form. Thanks to the declaration of the symposium, many learning institutions today have leveraged their facility to meet the demands of teaching music. Overland (2017) says, “Private studio lessons, extracurricular and co-curricular musical activities, and performing with community institutions all provide possible counterpoints to the musical experiences students have available in school.” The declaration also saw the penetration of music in both the public and private education sectors. Before the Tanglewood conference that initiated these changes, public schools did not value the importance of teaching music in their respective institutions. Although the private schools had taken this initiative, only a few students could afford to learn in these institutions. However, with the declaration, it was now possible for educators in the public sector to appreciate the importance of teaching education and also as a form of art. Since then, Overland (2017) describes the mutually beneficial relationship that the public and the private learning institutions have enjoyed in the wake of the reforms witnessed in music.

The notion that music was a private school affair has now slowly faded away. Part of the reason the movement to include music in education started was to incorporate musical aspects of the younger generation. The same sentiments are experienced today as students want to be at per with the contemporary styles and trends in music education. Overland (2017) says, “Students are interested in learning how to perform in modern styles like pop, electronic dance music (EDM), rock, and hip-hop.” As such, this demonstrates one thing about modern musical education. Other than being teacher-centered, it is now a student-centered affair. The curriculum is built in a way that meets the values, perceptions, and the common trends of the students. This remains one of the facets of the Tanglewood Declaration where popular music was accepted as part and parcel of the proposals. In the broader sense, incorporation of student music is an emphasis that art should reflect the attitudes and perceptions of society. Such decisions are informed by the fact that imposing musical ideas on the students would only lead to a rebellion like the one witnessed in 1966 before the Tanglewood Symposium. However, private schools continue to provide a better range of contemporary music education to learners.

Another impact of the Tanglewood Symposium revolves around the appreciation of the cognitive importance of music in learning. It is important to note that the education system is built around incorporating tenets that improve an individual’s cognitive ability. Gojmerac (2018) says, “Many studies from the field of education systems, neurophysiology, and other sciences show to us that music has big influence on human beings, especially on children and their cognitive and psychophysical development.” The addition of music in the education curriculum is a manifestation of its appreciation as far as cognitive wellbeing is concerned. First, it blends in with other disciplines and provides learners with an outlet to express their feelings and ideas. One of the major propositions of the Tanglewood Symposium was to use music in education as a way of reducing the social problems witnessed in youths such as violence. Based on the research performed earlier, it was determined that by allowing the students to learn and appreciate music, it could provide them with the opportunity to let their frustrations out and become productive societal members. For children, research has established that music plays a crucial role in the mental development of an individual. The meeting at Tanglewood helped in spreading the notion that music was more than art but also a drug for the mind and the soul.

Since the conference at Tanglewood in 1967, many national forums have continued happening in a bid to ensure that the policy on music education goes on. The most reason conference that mimicked the Tanglewood Symposium was labeled as “Tanglewood II – Charting the Future: A Symposium on Music Learning for the Twenty-First Century.” The project was large and aimed at examining the current problems and the prospects for music learning in the US. It was also regarded as a 40th anniversary to celebrate the initial Tanglewood Symposium that kick-started educational reforms in the country. It is also essential to appreciate that many meetings at the level of the states and local jurisdictions continue to happen in a bid to enhance music teaching in schools and higher learning institutions. Some of the agendas that these meetings pursue include the evaluation of the curriculum, setting new centers for music education, developing standards for training music educators, and suggesting technologies that could be used in the improvement of music across the world (Tanglewood II: A New Declaration on Music Learning).

The Tanglewood Symposium also played a vital role in developing the ethnomusicological aspect of music in the learning institutions. First, the agenda aimed to open teaching of music across all the levels. Secondly, it allowed the incorporation of non-Western music in its ranks in addition to the local content that comprised of jazz and popular music. Thirdly, it ensured the development of a wide array of musical activities in educational contexts thereby enabling schools to develop bands, choirs, and orchestras. The goal of the Tanglewood II meeting was summarized as “to project a future that will act as a guide for music learning, both within and outside of formal programs” (Tanglewood II: A New Declaration on Music Learning). After the first Tanglewood meeting, less emphasis was placed on how the human community processes music. Also, less attention was put on the values that humans placed on music. Therefore, the subject of the second meeting was to ensure that these critical tenets were taken into consideration. It is about putting music at the helm of human experience and ensuring that the education has holistic implications on the student and the overall society in which they live.

The Tanglewood Symposium also played a critical role in setting career paths for many students who pursued music. As earlier stated, music was not viewed with the much-required importance given to other disciplines such as mathematics and history, among others. But with the Tanglewood declaration of 1968, music was incorporated into the schools and higher learning institutions thereby setting the stage for the emergence of professionals in various fields. On their part, talented musicians had an opportunity to develop their craft with the newly acquired theoretical knowledge. Producers, instrumentalists, composers, and music educators emerged across the country. Music was now regarded as a career subject that contributed to the employment of many Americans. Many recording studios developed due to the emphasis of music in education. As such, this was a paradigm shift whose momentum swept across the country. Also, the Tanglewood Symposium targeted parents, especially those who held non-liberal views about the role of music in education. Many of them began changing their attitudes and allowed their children to pursue music and any other form of art they found appealing to them. Therefore, the conference can be regarded as a game-changer in the field of music.

Conclusion

The Tanglewood Symposium had far-reaching impacts enjoyed until today when it advocated for the incorporation of music as a core tenet of the school curriculum. The symposium was conducted in 1967 in Tanglewood, Massachusetts. The sponsor behind the meeting was the Music Educators National Conference (MENC) in conjunction with other institutions such as the Theodore Presser Foundation, Berkshire Music Center, and the Boston University among others. The meeting came at the backdrop of the American education system, failing to acknowledge the vital role that music played in the school curriculum. Some of the factors that triggered the meeting including uproar from the youths, the civil rights movement, anger from the Yale Seminar, and the school reforms that were taking place in the second half of the 20th century. Among many things, The Tanglewood Declaration advocated that music be added to the school curriculum. It urged the public school sector to emulate the private schools which were on course in allowing their students to learn music as one of the main disciplines. The effects of the declaration are vast and far-reaching. Music is not only a discipline but also a career subject in many institutions today thanks to the conference that happened in 1967. 

References

Choate, R. A., Fowler, C. B., Brown, C. E., & Wersen, L. G. (1967). The Tanglewood Symposium: music in American society. Music Educators Journal, 54(3), 49-80.

Gojmerac, I. (2016). Importance of Music in Education System. NEW TRENDS AND CHALLENGES IN TODAY’S EUROPE, 178.

Gurgel, R. (2019). The Tanglewood Symposium: Popular Music Pedagogy from 1967 to Today. Music Educators Journal, 105(3), 60–65. https://doi.org/10.1177/0027432119831752

Gustafson, R. (2009). Race and curriculum: Music in childhood education. Springer.

Krikun, A. (2008). Popular music and jazz in the American junior college music curriculum during the Swing Era (1935–1945). Journal of Historical Research in Music Education, 30(1), 39-49.

Mark, M. L. (2000). From Tanglewood to Tallahassee in 32 years. Music Educators Journal, 86(5), 25. https://doi.org/10.2307/3399632

Mark, M., & Gary, C. L. (2007). A history of American music education. Rowman & Littlefield Education. 15200 NBN Way, PO Box 191, Blue Ridge Summit, PA 17214-0191.

Overland, C. T. (2017). Music Education, Inc. Music Educators Journal, 104(1), 55–61. doi: 10.1177/0027432117719462

Powell, B., Krikun, A., & Pignato, J. M. (2015). “Something’s Happening Here!”: Popular Music Education in the United States. IASPM@ Journal, 5(1), 4-22.

Tanglewood II: A New Declaration on Music learning http://sociomusicology.blogspot.com/2007/10/tanglewood-ii-2007-declaration-on-music.html