It is difficult to imagine music existing other than in context, that is, in relationship to human interactions in specific places and at specific times. Well, we could think of music as residing in a library, in a score or on a recording existing in some purified realm free from danger. Helpfully we have moved away from such conceptions of music towards focusing on the act of music making, what people-groups of people do in the world. But when we make music in the classroom we will be taking part in a process of re-contextualising what is a living practice. In the classroom it can’t be as it was or is out there. It can’t replicate the relationships and meanings made elsewhere at specific times and under specific conditions. We have no alternative but to re-present it. How to re-present it is a challenge.
Equally challenging is the responsibility for selecting what is brought to the classroom in the first place. Some criteria, implicit or otherwise, for what material is thought to be worthwhile will be in play. And values and beliefs will be exposed through the choices made. Teacher and pupil orientations will soon be evident.
Teacher and pupil orientations
Figure 8 and figure 9 in Kathryn Jourdan’s ISME handout address the orientation of the teacher and pupil respectively. Download accompanying handout here
Amongst other things, Kathryn proposes that the teacher
‘introduces contextually rich, complex material which keeps offering fresh insights and challenges’
and furthermore that the teacher
‘embraces complexity, resists early closure and allows time for pupils to explore unexpected pathways into deeper learning, responding with flexibility to follow new turnings.’
For the pupils’ part there is the call for
‘learning to be responsible to each other as they play, compose listen, craft, discuss together, leading each other into deeper engagement, facility and sensitivity’
‘to learn to stay in the encounter, resisting the desire for easy answers with which to close down learning.’
In thinking about all this my recent conversation with secondary music teacher Jo gave me insights into how this might be. Together we developed ideas about how to present to other teachers the possibilities opened up by introducing ‘contextually rich, complex material’ while keeping in mind infinite possibilities and the avoidance of early closure. Jo has been working with Steve Reich’s Different Trains with year 8.
Thinking Different Trains
Richard Taruskin writes:
‘’… in Different Trains (1988) Mr. Reich went the full distance and earned his place among the great composers of the century. … Mr. Reich based the melodic content of the piece on the contour and rhythm of ordinary human speech. But in his case the speech consisted of fragments of oral history, looped into Reichian ostinatos, then resolved into musical phrases conforming to normal tunings, scales and rhythms of ‘Western music’, imaginatively scored for string quartet. These speech melodies were set in counterpoint with the original speech samples, all of it measured against a Reichian chug.’’ 
What if we presented the above for year 8 pupils to read? What sense would be made of it? You might say, ‘not much, it’s packed with sophisticated concepts’. I counted twenty-five! A lot of abstractions there. Please, not a list of ‘key words’. No, no, please. Handle abstractions with care.
But what is a speech melody? I guess year 8 know what a melody is and they have sung and imagined a good many musical phrases. Fragments of oral history? Counterpoint? Reichian ostinatos? String quartet? Not so likely.
Perhaps these will be things we talk about, ideas that become a part of our classroom discourse over time.
What do these pupils read in their English lessons, History, RE lessons? What would their English teacher say about the appropriateness of the above passage?
Well, a suggestion from Jo – what if we rewrote the passage above for year 8 to read or whichever group we might have in mind? And before they come to the lesson?
Taruskin continues by telling about the significance of the Different Trains. Reich’s childhood train journeys from coast to coast and the train journeys of children to Auschwitz.
I note above that Richard Taruskin places Different Trains in the 20th century canon of art music and Reich becomes a ‘great composer’. What a ‘talking point’. Jo’s pupils are well schooled in purposeful talking with ground rules well internalised. 
And there are lots more talking points. Who is a great composer? Who decides? What is art music? What is a canon? What’s your canon? Why does it change? Does it?
So perhaps the Taruskin text rewritten by the teacher could be a central resource.
Assuming there will be lots of reasons for making music in response to Different Trains, why would pupils have a reason for writing about their encounter with the music?
What narratives, musical and literary, will they produce as they develop their processes of making and how could these be shared with others?
What range of musical techniques might be taught?
How will technologies serve the musical impulses that arise?
At what points will Steve Reich be invited (metaphorically) into the classroom as a guest?
What range of intervention (disruptions) might the teacher prepare to help deepen and sustain the work?
What will mark the culmination of the work?
How will it generate fresh thinking, further possibilities, ideas about other good places to go?
How will the project be evaluated? What will be worth assessing?
Well, that’s enough. We should be ready now to ask one or two questions that will frame the project. Here’s one possible question:
How do personal histories become music?
In Figures 8 and 9 Kathryn presents the idea of teacher and pupil orientations. How are each disposed towards encountering music? This I think is a helpful way of approaching the question of what is ‘worthwhile’ and one way of responding to Ofsted’s concern about the wasted early years of secondary school.
What contextually rich, complex material do you have to bring to the classroom?
How will you embraces complexity, resist early closure and allow time for pupils to explore unexpected pathways into deeper learning, responding with flexibility to follow new turnings?
I have presented the case of Different Trains. There are a thousand other possibilities waiting to be explored.
The continuity between projects will be the processes of making and thinking music and therein will lie progression.
The report is based on observations in subjects other than music.
 Taruskin, R. (2010) The Danger of Music and other Anti-Utopian Essays. University of California Press: London. p.101.
 I am hearing from music teachers about the value of teaching their pupils how to engage in productive talk. For example, Karen in her Norfolk school is impressed by the way classroom conversations now seem natural. See blogpost March 22, 2014 for ‘Talking to Think’.