Historical and Contemporary Influences in Public School Orchestra

Murphy provides a history of string orchestra in public schools. Murphy writes, “Both historical and contemporary influences have encouraged evolution and creativity in the teaching and learning styles presented in public school orchestra” (pp.1). How will our string orchestras in public schools continue to evolve in the coming decades?

Access to instruments was limited in the 1700s and only affluent individuals could obtain European-made instruments. By the 1800s, American manufacturers produced more affordable instruments. This allowed public schools to offer instrumental music classes in the late 1800s. And similar to any burgeoning public school programs - began as an extracurricular class taught before or after school. Then, an expansion in instrumental music classes happened in the early 1900s. More full-time music teacher positions opened, orchestra class accreditation, and additional resources were put into music education programs.

As you can imagine, European-trained music teachers accustomed to conducting elite instrumentalists struggled with effective teaching practices and this led to a decline in string orchestra programs in the 1930s and 1940s. Professional organizations such as Music Teachers National Association and Music Educators National Conference revived string orchestra programs in the mid-1900s. Also in the mid-1900s, pedagogues trained in Europe (Schinichi Suzuki, Paul Rolland, and Kató Havas) introduced effective teaching techniques. A resurgence of string orchestra programs began in the 1960s with greater accessibility to instruments, music, and music advocacy/promotion. 

Prominent figures in string orchestra education began providing peer-reviewed information to educators, students, and music professionals in the 1980s. Robert Gillespie and Donald Hamann researched the trends in string orchestra practice/programs by decades from the 1980s to the early 2000s and Bret P. Smith, James P. Mick, and Michael Alexander picked up the torch more recently in 2018. Reports of string orchestra trends showed growth in orchestra programs since the 1980s, a string teacher shortage from the 2000 to 2010, and an improvement in qualified string teachers in 2018, but still a shortage of string teachers in 2018. There has not been another national string orchestra study since 2018 and music education (as a whole) is facing new challenges. A recent article by Robert Morrison (2024) mentioned that many educators are retiring from teaching since the pandemic; lack of diversity of music educators; families are learning that educators are paid a lower wage compared to many other fields so fewer students are choosing education as a career; and the U.S. Department of Education mapping out 24 stages and the District of Columbia have identified music/arts education as a shortage area.

With fewer high school students interested in entering music education, higher education music education programs are seeing a decline in enrollment. With the help of notable string specialists in higher education, outreach to pre-service music teachers is on the rise. The American String Teacher Association (ASTA - publisher of Murphy’s article) is an example of a professional music education organization focused on promoting string orchestra program development and professional development. Various text and music publications, digital applications, and advocacy programs have been in place to help music educators inspire the next generation of musicians and music educators. 

Murphy observes that the American string orchestra program flourished since the late 1800s with the help of music professionals, collegiate educators, and professional organizations. Although the 2018 study by Smith et al. still suggests there is a string teacher shortage, enrollment into public school orchestra programs are healthy and string educators entering the field are more qualified than ever before. Murphy concludes that today’s string educators are better equipped to meet the needs of today’s music students and that the growth of the American public school orchestra remains promising.

I also see an ongoing positive evolution in our American public school orchestra. Every school district and community face unique challenges. Funding for the arts will always be a challenge throughout the nation as schools try to stretch every dollar. But wherever there is a need from our students and/or the public, communities will find a way to support their children. Music educators must act as the liaisons between the students/community and their district administrators. This is where educators help communicate to their district administrators the needs of their students. With the ever growing technology scene, educators must also stay apprised of innovations that can help their student musicians make meaningful music and experiences. If you are reading this as an educator, you are the one who knows best for your students within your community. And because time never stands still, we (as educators) cannot repeat the same lesson plans and expectations year after year. Our students are not the same year after year so why should we teach the same way we taught ten years, five years, or even one year ago? Change can be worrisome, but it is inevitable and beautiful. Embrace the change.

Morrison, Robert B. (2024) Inspiring the Next Generation of Music Educators. National Federation of State High School Associations (NFHS). https://nfhs.org/articles/inspiring-the-next-generation-of-music-educators/

Smith, Brett, James Mick, and Michael Alexander. 2018. “The Status of Strings and Orchestra Programs in U.S. Schools.” String Research Journal 8(1): 15–31. doi:10.1177/1948499218769607.