Culture Outperforms Content: Building Inclusive Music Ensembles

In a world often focused on immediate outcomes and easily digestible content, this conversation with Dr. Giovanni Santos, composer and Director of Bands at the University of Redlands, offers a profound counter-narrative. It reveals the hidden consequences of prioritizing surface-level metrics over deep cultural cultivation in music education and beyond. The core thesis is that true, lasting growth in any program or ensemble stems not from chasing the latest trend or perfecting isolated skills, but from intentionally building a robust, inclusive, and empathetic culture. This conversation is essential for music educators, administrators, and anyone seeking to foster genuine engagement and long-term success, providing a strategic advantage by illuminating the often-overlooked human elements that drive collective achievement. It challenges the conventional wisdom that equates content mastery with educational success, instead positing that a strong culture is the fertile ground from which all other achievements blossom.

The Unseen Architecture: How Culture Outperforms Content

The prevailing narrative in many educational spheres, particularly in music, often fixates on measurable outputs: perfect intonation, flawless technique, high-achieving ensembles. Yet, as Dr. Giovanni Santos subtly unpacks, this focus can be a strategic blind spot. The real engine of sustainable success, he suggests, is the often-invisible architecture of culture. This isn't about superficial team-building exercises; it's about the deep, systemic cultivation of an environment where individuals feel seen, valued, and intrinsically motivated.

One of the most critical, yet frequently overlooked, insights is the power of heritage and personal identity as a foundational element of a thriving ensemble. Santos recounts his own upbringing, steeped in the rich musical traditions of Puerto Rico, Cuba, and the Dominican Republic, where music was not an extracurricular pursuit but an intrinsic part of daily life. His grandfather’s intentional exposure to diverse musical forms--from Beethoven to traditional Cuban music--wasn't just about appreciating different genres; it was about understanding the cultural roots and historical context embedded within each note. This approach, he notes, was a stark contrast to his later experiences in the U.S. where music education often felt siloed and less connected to personal identity.

"Music was always such a giant part of our upbringing. None of them are professional musicians or work as professional musicians, but in the Caribbean islands, music is life. It's part of everyday life."

This personal history directly informs his pedagogical philosophy. Santos emphasizes that allowing students to bring their full selves--their heritage, their languages, their musical tastes--into the classroom is not a distraction from learning, but a powerful catalyst. When students see their own cultural backgrounds reflected and celebrated, it fosters a sense of belonging that fuels engagement. This isn't about pandering; it's about recognizing that a student who feels understood is far more likely to invest deeply in the ensemble's goals. The downstream effect of this inclusivity is a richer, more resilient group dynamic, less prone to the superficial fluctuations of performance pressure and more grounded in shared identity.

A second crucial insight lies in the profound impact of programming choices as a deliberate act of cultural storytelling and identity affirmation. Santos candidly admits his own past oversight: for years, his ensembles performed exclusively music by European and white American composers, failing to reflect the diverse backgrounds of his students. This realization, he explains, was a pivotal moment, shifting his programming from a matter of personal preference to a conscious effort to represent and honor the myriad cultures within his ensembles.

The consequence of this shift is transformative. By programming music from underrepresented composers--Hispanic, Black, Asian, female, LGBTQ+ artists--Santos doesn't just diversify the repertoire; he actively builds bridges of understanding and belonging. He recounts the powerful reaction of parents when their heritage is acknowledged through music, citing an instance where a performance of "Zacatakers" brought audience members to tears, reminding them of their roots in Mexico. This creates a feedback loop: students feel seen, parents feel connected, and the community experiences a deeper appreciation for the ensemble's role.

"We perform it and just to see the smile on kids' or adults' faces when their culture's represented, or when they learn something new from a new culture, because that's the way that we express ourselves most of the time, especially myself, is through music."

This deliberate inclusion, while requiring more research and effort than sticking to familiar canon, yields a significant competitive advantage. It cultivates an environment where students are not just learning music, but learning about themselves and their peers, fostering empathy and a broader worldview. Conventional wisdom might suggest focusing solely on technical proficiency to win competitions, but Santos's approach suggests that building a deeply connected, culturally aware community creates a more profound and lasting form of success--one that resonates far beyond the concert hall.

Finally, Santos highlights the critical, often-underestimated, skill of listening--not just to the music, but to the students and the broader cultural landscape. He observes the ubiquity of headphones among students and, rather than dismissing it, uses it as an entry point for conversation. Asking students what they are listening to opens a window into their world, their tastes, and their cultural influences. This act of genuine curiosity, he argues, is a powerful pedagogical tool that builds rapport and demonstrates care.

The downstream effect of this active listening is twofold. First, it allows educators to better understand the musical vernacular their students inhabit, potentially identifying opportunities to connect that vernacular to ensemble music. Second, and perhaps more importantly, it signals to students that their interests and perspectives are valued. This cultivates a reciprocal relationship where students are more likely to invest in the educator's musical direction because they feel genuinely heard and respected.

"The biggest thing is listen. So most democratic thing that you could do, and it's the best teaching advice that I could ever give, is to be a listener. Listen to your students."

This emphasis on listening extends to the rehearsal process itself. Santos encourages seeking student input on musical decisions, fostering a sense of shared ownership and collaborative creation. This contrasts sharply with a top-down approach where the director dictates every nuance. By empowering students to contribute, even in small ways, educators build a stronger sense of community and intrinsic motivation. The long-term payoff of this approach is an ensemble that is not just technically proficient, but deeply invested in the music and in each other, creating a durable culture of shared purpose that transcends individual performances.

Key Action Items

• Prioritize Cultural Identity in Programming: Actively seek out and program music by composers from diverse backgrounds that reflect the student population. This requires dedicated research beyond the standard repertoire. (Immediate Action, Long-Term Payoff: Increased student engagement and belonging)
• Integrate Personal Heritage into Learning: Create opportunities for students to share and explore their own cultural backgrounds and musical tastes, connecting them to ensemble music where possible. (Immediate Action, Long-Term Payoff: Deeper student investment and a more inclusive classroom)
• Cultivate Active Listening: Make a conscious effort to listen to what students are listening to and engage them in conversations about their musical preferences. (Immediate Action, Long-Term Payoff: Stronger teacher-student relationships and better understanding of student musical context)
• Empower Student Voice in Rehearsals: Solicit student opinions on musical interpretation, phrasing, and even programming choices, fostering a sense of shared ownership. (Immediate Action, Long-Term Payoff: Increased student autonomy and a more collaborative ensemble culture)
• Embrace "Feel" Over Strict Notation for Rhythmic Styles: For syncopated or groove-based music, prioritize teaching the feel and groove through listening and vocalization before focusing solely on rhythmic notation. (Immediate Action, Long-Term Payoff: Improved rhythmic accuracy and stylistic understanding)
• Develop Rhythmic Literacy Through Auditory Methods: Implement exercises that involve singing and clapping rhythms before playing them on instruments, particularly for complex or culturally specific rhythmic patterns. (Ongoing Practice, Pays off in 12-18 months: Enhanced rhythmic comprehension and stylistic fluency)
• Invest in Understanding Underrepresented Musical Traditions: Dedicate time to learning about musical styles and composers from cultures not typically featured in Western music education, aiming to integrate this knowledge into curriculum and performance. (Ongoing Investment, Pays off in 18-24 months: Broader pedagogical toolkit and more representative programming)