Rose, L. S., & Countryman, J. (2013). Repositioning ‘the elements’: How students talk about music. Action, Criticism, and Theory for Music Education 12(3): 45– 64

“Repositioning ‘The Elements’”, written by Stewart Rose and June Countryman, explores and deconstructs the common ways in which music is taught in schools. They illustrate how music education is formed around the elements, aspects of music which are regarded as an absolute and objective truth.

 

The article was a particularly interesting read for me. I was both fascinated and dismayed by the invisible factors that contribute to the elements. I think it was interesting how many of these factors had little to no manifestation in music, they were simply political or profitable choices. One example of this is what the authors referred to as the ‘academicking of music’. In order to be financed and valued, music was taught much like other academic courses, with professional terms applied (timbre, melody, harmony) to create a specific way to analyze music. I think this is partly because schools need ways to evaluate and grade music students in a systematic and accountable way. If I had one thing to say to the authors, I would expand on their interpretation. I believe that music is not only academicked in school settings, but also in larger music companies. For example, the Royal Conservatory of Music (RCM) has developed a system in which music is standardized and taught in a rigid format. Students are expected to progress through designated skill levels, and must pay for any examination. Furthermore, very little variability is accepted - pieces that cannot be assessed easily along “elemental” lines are left out of the curriculum. 

What surprised me the most, though, was the questions that arose after finishing the article. I found myself reflecting on my own experience with music education. I wondered if by focusing on the elements I limited my interpretation and created confines. As well, I contemplated how I would experience and perform music differently had I not been judged on those elements throughout my education. The article challenged my assumptions that my music education was the only absolute way to be taught music. 

To conclude, one critique I had for the article was the villainization of the elements. I agree with many of the points presented: the marginalization and othering, the diminishing of expressionism, etc. At the same time, though, I think the elements can also be seen as another way to try and conceptualize music. More so, I think the more technical and theoretical music aspects should not be disregarded entirely; rather, they should be used as tools to deepen our understanding of music. One just has to recognize that they are not the singular way music can be interpreted.