Small Ensembles and Diverse Canons Foster Deep Musicianship

The heart of music education, as revealed in a conversation with Chris DeVona, lies not just in technical proficiency but in fostering a lifelong desire and the capacity to make music, regardless of program size or individual background. This podcast episode unpacks the often-overlooked implications of this philosophy, highlighting how embracing smaller ensembles and diverse musical canons can unlock unique teaching opportunities and build profound community. For educators, especially those in smaller programs or those seeking to broaden their pedagogical toolkit, this discussion offers a roadmap to cultivating inclusive musical environments and developing adaptable, resilient musicians. The conversation subtly reveals that the most impactful teaching often arises from confronting limitations, not from having abundant resources, and that genuine musical growth is fostered by a willingness to adapt and innovate.

The Unseen Advantage of Small Ensembles: Cultivating Deep Musicianship

The conventional wisdom in music education often equates larger ensembles with greater prestige and more comprehensive musical experiences. However, Chris DeVona’s insights, born from direct experience in smaller high school and university programs, reveal a compelling counter-narrative. He argues that the perceived limitations of small bands--fewer students, less diverse instrumentation--actually present a unique opportunity for deep, individualized instruction and the cultivation of a powerful sense of community. The immediate challenge of limited resources forces educators to become more resourceful, particularly in repertoire selection and adaptation.

DeVona recounts his early career in a high school band of just fifteen students, a stark contrast to his previous experiences. This initial shock spurred a journey of trial and error, leading to the development of strategies now codified in his book, "Small Band, Big Sound." The core insight is that managing repertoire more carefully in a small ensemble allows for a level of customization that is nearly impossible in larger groups. This means meeting students precisely where they are, adapting music to challenge some while not overwhelming others, and ensuring that every student experiences meaningful musical growth. This approach, while demanding more from the director in terms of arranging and adaptation, yields a significant payoff: highly engaged students who receive tailored instruction.

"The amount that I could cater the learning to those individual students was off the charts--I mean it was incredible. I mean you could really get every student exactly what they needed, especially when you're sort of managing the repertoire so carefully."

This focus on adaptation and individual needs directly combats the fear many music education students have about leading smaller programs. The underlying skill, DeVona explains, is arranging. While it may seem daunting, the foundational elements are often already present in music education curricula, from voice-leading exercises to composition. The key is to demystify the process. Instead of aiming for complex orchestrations, DeVona encourages starting small: arranging a duet, then a trio, gradually building confidence and skill. This iterative approach to arranging not only equips directors to handle diverse instrumentation but also models vulnerability and a growth mindset for students. The willingness to try, to fail, and to learn from those moments is, in itself, a crucial lesson.

The consequence of this approach is a stronger sense of belonging. In larger ensembles, community often forms organically within sections. In smaller groups, the entire band must work together to create that same sense of connection. DeVona likens it to building kernels of conversation and friendship through shared musical experiences, but requiring a more deliberate effort to get everyone on the same page. This deliberate community-building, coupled with the highly personalized musical instruction, creates a fertile ground for students to develop not just as musicians, but as individuals who feel seen and valued. This is where the "big sound" of "Small Band, Big Sound" truly emerges--not just in musical output, but in the depth of human connection and individual growth fostered.

Expanding the Canon: A Catalyst for Inclusive Pedagogy and Skill Development

The conversation around "Expanding the Canon" delves into another critical area where conventional practices can create blind spots: the repertoire used for conducting pedagogy. DeVona and his collaborators recognized a disparity between the increasing attention paid to diverse programming in concert settings and the continued reliance on a narrow set of excerpts in conducting classes. This creates a downstream effect where future conductors are trained on a limited musical palette, potentially perpetuating existing biases and failing to equip them with the skills needed to navigate a more diverse musical landscape.

The genesis of "Expanding the Canon" was a desire to provide a supplement that mirrors the thoughtfulness of concert programming into the curriculum itself. The book offers excerpts from composers of diverse identities and musical styles, moving beyond the traditional Western classical canon. This has a direct impact on how students perceive music and their own potential within it. By exposing them to a wider range of musical languages and compositional approaches, it broadens their understanding of what constitutes valuable repertoire and, crucially, what skills are necessary to effectively conduct it.

"It seemed a little bit of a shame that sometimes conducting classes didn't get that same attention to making sure we were getting a bit more representation in our curriculum and in the conducting excerpts we were doing."

The non-obvious consequence of this expanded canon is its role in developing specific conducting techniques. DeVona highlights that many modern wind band pieces, often found outside the traditional canon, present complex rhythmic challenges. These excerpts provide practical, engaging material for conductors to hone their rhythmic interpretation and execution skills. This is a direct contrast to relying solely on older, more rhythmically straightforward repertoire. The immediate benefit is a more robust conductor, but the long-term advantage is the ability to lead a wider array of ensembles and musical styles with confidence and competence.

Furthermore, "Expanding the Canon" serves as a practical resource for educators who are often time-strapped. Having readily available, curated excerpts reduces the planning burden, making it easier to implement more diverse and pedagogically rich conducting exercises. This alleviates a common bottleneck: the sheer effort required to find and vet new materials. By providing this resource, DeVona and his team empower educators to make more inclusive pedagogical choices without sacrificing valuable teaching time. The implication is that by making the challenging task of curriculum diversification more accessible, the field can collectively move towards a more equitable and comprehensive approach to training future music educators and conductors.

The Privilege of Making Music: Cultivating Lifelong Engagement

A recurring theme throughout the conversation is the profound sense of privilege and calling associated with music-making and music education. DeVona consistently reframes the demanding nature of the profession not as a burden, but as an extraordinary opportunity--a "gift" that many people never experience. This perspective is crucial for retaining students in music programs and fostering a lifelong connection to the art form.

The podcast highlights moments where this privilege becomes tangible for students. DeVona shares a memory of high school students delivering something to the band room and standing in awe as the band rehearsed. For the students playing, it was a routine Tuesday; for the observers, it was a revelation. This contrast underscores the transformative power of music-making and the importance of helping students recognize this gift. Similarly, DeVona recalls the palpable awe of younger students looking up to their middle and high school band idols, seeing them as "superheroes." This aspiration is a powerful motivator for engagement.

"We do this every day and a lot of people don't get to experience this ever. It's such a gift. It's such a privilege that we have to just go play music wherever we are."

The challenge, as identified by the podcast hosts, is bridging the gap between elementary/middle school and high school, and then to college, to prevent attrition. DeVona’s solution lies in facilitating interaction between students at different stages of their musical journey. Bringing college students into high school rehearsals, or high schoolers into university programs, demystifies the "next level." The primary draw isn't just the instruction, but the social connection--meeting peers who share their passion and personality traits, regardless of instrument. This highlights a sociological phenomenon: the strong bonds formed within musical communities, often transcending geographical or institutional boundaries. The idea is to show students that there are more people "just like them" waiting to become friends at the next stage, making the transition less intimidating and more appealing.

This concept extends beyond formal education. The mention of alumni bands and retirement bands illustrates that the desire to make music and connect with others through it can persist throughout life. The "once a band kid, always a band kid" sentiment suggests that the community and joy derived from music are enduring. This perspective offers a powerful antidote to the common perception that music careers are solely for professional performers or educators. It frames music participation as a lifelong pursuit, accessible and rewarding at any age or skill level. By emphasizing this privilege and the enduring community it fosters, educators can inspire students to see music not just as an academic subject, but as a fundamental source of joy, connection, and personal fulfillment.

Key Action Items

• Immediate Action (Next 1-3 Months):

  • Review current conducting excerpt repertoire for opportunities to incorporate more diverse composers and styles.
  • Identify one piece of music suitable for a small ensemble and adapt a small section (e.g., a duet or trio) to fit available instrumentation.
  • Facilitate a cross-grade-level interaction: invite a higher-level ensemble (e.g., high school band to middle school, college students to high school) to perform for or rehearse with a younger group.
  • Share a personal anecdote with students about the privilege and joy of making music, framing it as a "gift."

• Short-Term Investment (Next 3-9 Months):

  • Explore resources like "Expanding the Canon" to identify new repertoire for conducting classes or concert programming.
  • Dedicate 15-30 minutes per week to exploring online performances of ensembles from different regions or of varying sizes to broaden awareness of diverse musical initiatives.
  • Begin a small-scale "instrument guessing game" or personality-instrument association activity with students to foster community and lighthearted engagement.

• Longer-Term Investment (6-18 Months and Beyond):

  • Develop a structured approach to repertoire adaptation and arrangement for small ensembles, potentially creating a small resource guide for colleagues or students.
  • Actively seek opportunities to connect students with alumni or community music groups to illustrate the lifelong nature of musical participation.
  • Foster a classroom culture where experimentation, adaptation, and even "failure" in musical endeavors are viewed as valuable learning opportunities, reinforcing the idea that "music doesn't have to be difficult to be good."