Barzun's account of the challenge and necessity of clearly defining a subject in writing was relatable. When I begin writing I often find that I have a strong notion of what I want to write, but it takes great effort to find the language to express it. Having a clear subject requires a moment of inspiration; conveying that subject so that it's meaningful for the reader requires perfection of the writer's craft.
Roger Angell touches on the challenge of perfecting craft, arguing that "writing is hard, even for authors who do it all the time." He conveys a certainly universal experience, that an idea that is so clear in the writer's mind ends up distorted through the process of writing.
E.B. White, in his introduction to William Strunk's The Elements of Style, pays homage to the professor's seminal guide to style in the English language. White highlights the importance Strunk places on clarity in writing, noting that Strunk loved "the clear, the brief, the bold."
Angell and White, in their introduction to Strunk's book, compliment Barzun's argument, revealing the elements of craft needed to maintain a clear subject in writing. I found all three articles entirely relatable; they stated neatly the obstacles I face in maintaining clarity as a writer, and they described a kind of strong, clear writing I aspire to create.
I'm interested in researching the place of large performing ensembles in the American music education system, or perhaps what other class formats would better reach our goals as music educators. I am troubled that so many students stop making music as adults despite the presence of music in our schools and wonder if our system in which the large ensemble is the core of the music program is not to blame. I'm also curious about how change occurs in the field and what barriers to change exist. These are ideas I've been toying with since my undergraduate studies and my experiences in the field have only served to fuel my discontent with the current system. My non-ensemble classes that focus on composition and creativity have been more fulfilling for both me as a teacher and for my students. I wonder for how long large ensembles will be core of music education in America given the changes that have occurred in our musical culture.
Admittedly my topic is very broad and needs focus, but it's an idea that interests me greatly and that I'd like to pursue.
I'm curious as to what about the large ensembles you feel is contributing? What do you see as the future of community music ensembles: choirs, bands, etc.? There is a growing body of music ed research into community music. Can that sense of creativity somehow be transferred into the ensembles? Is there something stifling about being part of a large ensemble that isn't present in smaller groups?
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