10/28

Reynolds, H. Robert. "Repertoire Is the Curriculum." Music Educators Journal 87.1 (2000): 31. Web.

H. Robert Reynolds describes the importance of repertoire in the music curriculum in a way that is irrefutable. Repertoire does not make up the entire curriculum, but it is an important part of a holistic music education. In the article, Reynolds lists ways to become familiar with more music, whether it be through standard repertoire lists or new music. Attending concerts, networking with colleagues, and keeping lists are among the most important steps to knowing as much music as possible.

It is difficult for me to be distrustful of H. Robert Reynolds because his reputation in our profession is legendary. He provides some very useful ways to learn more music, but there seems to be a larger, overarching theme of this article. It seems as if Reynolds is saying that staying active in the music community and never ceasing to be curious is the ultimate tool for learning about literature.

1. How can I determine a quality piece from one that may have no value?
2. What are some resources to assist in finding quality music specifically for younger ensembles?
3. What role do transcriptions and arrangements play in the wind music world?



Music Literature and Repertoire (Selected Readings)

The readings included in this list all assist the educator in either the process of finding music, or by listing pieces that have been proven to be important and educational to students who study them. The steps involved in the process of finding music include determining the musical needs of your concert season, determining the playing skills of your ensemble, evaluating music, and matching the music to your purposes. After laying out the steps, lists are provided for educators to begin going through that process.

I really appreciate the knowledge on how to find good music, but what is really helpful for me is to see lists of pieces that have been played enough to earn the respect of educators and performers. These lists are very telling of what is appropriate vs. inappropriate. A variety of different ensembles have played those pieces, so I know that my ensemble will be able to approach the pieces on the list, despite our diversity.

1. Does it sometimes make sense to program for the audience if the piece is not helping students grow?
2. What should a concert program look like in terms of difficulty for the students?
3. How do I decide what grade level is appropriate for an ensemble? Should they be able to read it easily so they can dig into the musicality quicker?