Ensemble Ethos: Theorizing Cultures of Musical Achievement

Abstract

Music philosophers Contantijn Koopman and Stephen Davies have observed that “When successfully engaging in music as a group, we do not merely share a great experience; we also promote our sense of belonging together, our belief in our capacity for effective collective action, and our joint commitment to ideals that go beyond our private well being.”¹ Based on observation of successful Japanese wind bands, this chapter presents a theoretical model that illustrates the ensemble leader’s role in guiding musicians toward the acquisition of further musical skills and understandings. Within this Ensemble Ethos Model, the music teaching process is reconfigured beyond mere transmission of instructional content, toward a perspective that accounts for collective learning and social interaction: how an effective music teacher will nurture a culture of musical achievement. While unusual in such fields as ethnomusicology, the development and application of theoretical models has been proposed as one way of contributing to more precise discussion of issues, problems, and processes in music teacher education.² While this Ensemble Ethos model was originally conceived as a theoretical framework for conceptualizing the array of relationships and processes associated with successful music ensembles, it may also hold potential as a pragmatic tool for music teacher education, facilitating the development of holistic understandings associated with the “thoughtful practice” of reflective teaching.³ It must also be understood that the minimalist model proposed here is based on a post-positivist orientation, meaning that rather than establishing a framework for empirical testing, it is envisioned as an interpretive and pragmatic tool to stimulate reflective self-critique on the part of ensemble directors, and to guide the development of criteria for music program evaluation.⁴

木を見て森を見ず

kiwomite moriwomizu

“To not see the wood for the trees”