Student Ownership Drives Music Program Culture and Engagement

In the dynamic world of music education, the focus often shifts to performance metrics and curriculum delivery. However, a recent conversation with Craig Gustafson, Director of Orchestras at Evergreen High School, reveals a more profound truth: the bedrock of a thriving program isn't just what is taught, but the very culture in which it's embedded. This discussion unpacks the often-overlooked, yet critical, role of student ownership, collaborative spirit, and intentional community-building in fostering not just better musicians, but more engaged and successful individuals. For educators seeking to move beyond surface-level improvements and cultivate genuinely impactful programs, understanding these deeper cultural currents offers a significant advantage, highlighting how seemingly small shifts in focus can lead to substantial, long-term student growth and program vitality.

The Unseen Architecture of Engagement: Cultivating Culture Beyond the Score

The immediate impulse for many educators, when faced with stagnant student engagement or performance plateaus, is to adjust the curriculum, introduce new repertoire, or refine teaching methodologies. Yet, as Craig Gustafson articulates, the most powerful levers for change often lie not within the notes on the page, but within the very environment of the classroom and the broader school community. This conversation underscores a systems-thinking approach, where seemingly minor cultural shifts can cascade into significant downstream effects, ultimately shaping student motivation, retention, and overall program success.

One of the most striking insights is the power of student-led initiatives as a primary driver of engagement. Gustafson emphasizes that his most successful endeavors, particularly in pep band and orchestra sectionals, stem from handing over the reins to the students. This isn't about abdication of responsibility, but a strategic empowerment that fosters a deeper sense of ownership. When students are in charge of running pep band games, for instance, it transforms the activity from a teacher-directed performance to a student-driven celebration. This shift, while requiring initial guidance, cultivates a sense of agency that traditional, teacher-centric approaches often miss. The immediate consequence is increased student participation and enthusiasm, but the deeper, systemic effect is the development of leadership skills and a lasting buy-in to the program.

"My favorite thing is pep band games and just the students doing it. I mean, once they get going, the students run it, and that's really how it should be. I mean, something I've always thought is I should never be in front of the band at a football game or a basketball game. That's for the students. It's not for me."

-- Craig Gustafson

This principle extends to the often-challenging realm of after-school sectionals. Gustafson recounts a three-year journey to establish consistent student-led orchestra sectionals. The initial years were met with low attendance and uncertainty. However, by consistently offering the opportunity and empowering student leaders, the culture gradually shifted. The immediate payoff was minimal, but the delayed, yet significant, advantage was the creation of a self-sustaining system where students proactively engage in their own musical development. This illustrates a core tenet of systems thinking: investing in foundational cultural elements, even when immediate results are scarce, builds durable structures that yield substantial long-term benefits. Conventional wisdom might suggest abandoning low-attendance initiatives, but Gustafson's experience demonstrates that persistence in cultural development can unlock exponential growth.

Another critical layer of analysis involves the impact of shared experiences and inter-program collaboration. Gustafson and his colleague, David Duarte, highlight how events like pep band and shared concerts allow students from different musical disciplines--band and orchestra--to interact and form bonds. This cross-pollination of students breaks down silos and fosters a more cohesive school music community. The immediate benefit is increased social interaction and a broader sense of belonging. The downstream effect is a more supportive environment where students are more likely to stay involved in music programs. Furthermore, the conversation touches upon the importance of inter-school collaboration, such as joint concerts or festivals. While these require logistical effort and financial investment (e.g., bus costs), they offer students exposure to different musical approaches, performance standards, and peer musicians. This exposure, while not directly tied to a specific musical skill, broadens their understanding of what is possible and can ignite new aspirations, a crucial element in long-term student development and program vitality.

The discussion also delves into the nuanced role of competitions and festivals. While the immediate thrill of winning or receiving a superior rating is appealing, Gustafson and Duarte advocate for a more developmental perspective. They argue that the true value of these events lies not in external validation, but in internal improvement and the opportunity to learn from others.

"My thought Friday was, are we better than we were when we were at the Skyview festival back in December? [...] The goal is, you know, to put our art out there in the best way that we can."

-- Craig Gustafson

This perspective reframes competition as a tool for self-assessment and growth, rather than an end in itself. The downstream benefit of this mindset is a focus on continuous improvement and artistic expression, fostering a healthier relationship with performance. The immediate discomfort of not winning can be overshadowed by the lasting advantage of developing intrinsic motivation and a robust artistic identity. Conversely, an overemphasis on winning can lead to pedagogical shortcuts or a narrow focus that ultimately hinders long-term development.

Finally, the conversation highlights the transformative power of intentional culture-building activities, even those that might seem unconventional. Gustafson’s experience dressing as the virtual pop star Hatsune Miku for a student raffle exemplifies how embracing silliness and student-driven initiatives can be a profound culture builder. The immediate reaction was student excitement and engagement, with non-music students seeking selfies. The deeper impact was a visible demonstration of the educator's willingness to connect with students on their terms, fostering a more relaxed and approachable classroom environment. This willingness to step outside traditional roles, while potentially uncomfortable, creates a lasting positive impression and strengthens the student-teacher relationship, which is fundamental to a thriving program.

Key Action Items

• Empower Student Leadership: Identify specific areas within your program (e.g., pep band, sectionals, concert setup) where students can take greater ownership and responsibility. Begin delegating tasks and providing guidance, not directives.
  • Immediate Action: Identify 1-2 student leaders and assign them a specific responsibility for the next month.
• Foster Inter-Program Collaboration: Actively seek opportunities for your students to interact with students from other music disciplines (e.g., band with orchestra, choir with band) within your school.
  • Over the next quarter: Plan a joint rehearsal or informal performance between two different music ensembles.
• Prioritize Experiential Learning at Festivals: Shift the focus of festival participation from solely achieving a rating to emphasizing student learning through clinician feedback and observing other ensembles.
  • This pays off in 12-18 months: Frame festival participation internally as a learning opportunity, not a competition, and debrief with students on what they learned from other groups.
• Implement Consistent Sectionals: Begin scheduling and promoting regular, student-led sectionals, even if initial attendance is low. Emphasize consistent effort over immediate perfection.
  • This pays off in 2-3 years: Commit to offering weekly sectionals for at least two full academic years, empowering student leaders to facilitate them.
• Embrace Culture-Building Moments: Be open to participating in or initiating activities that, while perhaps unconventional, can significantly boost student morale and program culture.
  • Immediate Action: Ask students for input on a fun, non-musical activity that could build community within your ensemble.
• Develop Collaborative Networks: Reach out to fellow music educators in your district or state to explore possibilities for shared concerts, workshops, or resource sharing.
  • Over the next 6 months: Initiate contact with at least two other educators to discuss potential collaborative projects.
• Focus on Intrinsic Motivation: Encourage students to set personal goals for practice and performance that are within their control, rather than solely focusing on external outcomes like ratings or winning.
  • Immediate Action: Guide students in setting 1-2 specific, measurable goals for their individual practice sessions this week.