Chamber Music as a Focal Point in Music Education

As many music educators creatively introduced new material and methods in their instrumental music classrooms during the year of "Pandemic Practices", there was a noticeable and marked increase in the use of small ensembles. Whether it was through virtual learning or in-person instruction, the socially distanced rehearsal in many music programs featured chamber music opportunities. As we begin to prepare for a new school year, we might ask ourselves: What is the future of our music program? Do we put enough time and effort into a small ensemble program? Instead of a small ensemble season (January-March) that exists solely for District and State adjudication, is there an opportunity to engage in this form of music year-round for intrinsic purposes? I present these ideas as an option to sustain your program and keep students engaged in music-making through chamber music activities.

Being a member of a small ensemble is the highest form of musical collaboration. Each member has their own unique part to play and must contribute fully in order to achieve success. Members are exposed to interpersonal skills through listening and watching each other--sometimes as a leader, and sometimes as a follower. Members learn to be musically imaginative as they experiment with ideas, and they learn to be confident and respectful musicians as the listen to and provide constructive criticism with each other. Students learn to trust each other more in a small ensemble and often find their voice in providing feedback and critique. The sharing of knowledge and a sense of mutual cooperation becomes very tangible in chamber music opportunities. Musical decisions made by members of a small ensemble are amplified, and members learn to pay attention to other parts, refining their listening skills.

There are certainly concerns over implementing a year-round chamber music course of study. These may include scheduling, rehearsal space, and the time taken to choose appropriate literature. Educators may feel reluctant to let a small ensemble practice during a large ensemble rehearsal. Can students be left alone to work well together, and if so, how do we assess the progress of these students? All of these are legitimate concerns and every teaching situation has variables (space, library, schedule) that can weigh heavily in the planning and implementation of a strong chamber music program.

Directors should consider scheduling rehearsals to include time for one or two chamber groups to rehearse each day. Be sure the students know the schedule in advance so that appropriate preparation is achieved. Allow for all ensembles to get equal time together. Use the space you have and be creative and thoughtful (percussion ensembles with the needed equipment). Now that most students have the capability to record their work, have them share their recording with the director for feedback. Educators can then engage the members in peer critique and will have a much clearer vision of individual student progress. Students can then share goals and plans for their next rehearsal with each other and the director. Creating a culture of chamber music opportunities will aid in your need to have students work in small groups in other facets of your program: sectionals, jazz combos, and audition preparation.

Jeff Conner of the Boston Brass offers this perspective on chamber music performance:

Like every component of your curriculum, there are positive outcomes for individual members and for the entire program. An ongoing focus on chamber music requires extra effort for the director, but the outcomes are advanced, reaching the highest levels of learning. If we are serious about creating life-long learners, then giving them the skills to perform in small groups is essential.

Special thanks to Jeff Conner for his musicianship and educational spirit. Jeff inspires with his teaching, his words, and his music - all of which we are extremely grateful for.

Jeff Melsha retired from the Kirkwood School District in St. Louis County in 2018 and is an Educational Representative for Palen Music Center in St. Louis. He is a Past-President for the Missouri Music Educators Association, Past-President of the Missouri Association for Jazz Education and a 2020 recipient of the St. Louis Suburban Hall of Fame Award. Jeff and his wife Martha live in Kirkwood. Their son Jacob studies jazz trombone and is a graduate student at The Juilliard School in New York and daughter Olivia studies linguistics at the Potsdam University in Germany.