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The online version of this article can be found at:

DOI: 10.1177/0027432114530662
2014 100: 65 Music Educators Journal
Louis Bergonzi
Sexual Orientation and Music Education: Continuing a Tradition

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by Louis Bergonzi
Copyright 2014 National Association
for Music Education
DOI: 10.1177/0027432114530662
http://mej.sagepub.com
www.nafme.org 65
In 2009 when this article was printed, Louis Bergonzi was a professor of conducting and instrumental music education, chair
of music education, and the conductor of the Illinois Philharmonia at the University of Illinois at Urbana-Champaign. He still
conducts the Philharmonia and is professor of conducting and instrumental music education, but he is now cochair of music
education and the Daniel J. Perrino Chair in Music Education at the university. He can be contacted at [email protected].
This article was originally published in Music Educators Journal 96, no. 2 (December 2009), pages 2125.
Editors note. For more information and updated statistics since the original 2009 publication of this article, go to the 2011
Classroom Climate Study available at http://glsen.org/press/2011-nationalschool-climate-survey.
Isnt it time for us to
acknowledge the
ways we reinforce
heterosexuality and
the heterosexual
lifestyle, and to
examine how
homophobia biases
our curricular content
and the lives and
work of LGBT music
teachers?
Sexual Orientation
and Music Education
Continuing a Tradition
Abstract: This article offers an overview of sexual orientation and music education, in particu-
lar how sexual orientationspecifically, heterosexualityhas been dominant in the teaching
of music in the United States. Scenarios of heterosexual privilege related to music students,
music teachers, and instructional content are presented. After acknowledging heterosexual-
itys position of privilege in music education, the author asks the question of whether people
are willing to remove it as they have done with other privileges, in the interest of meeting
students needs and as the profession has matured.
Keywords: homosexuality and education, United States, homosexuality and music, gay teenagers
O
ur society expects those in the music
education profession to contribute
to its development by affirming and
educating future generations. As individuals,
perhaps we were even attracted to music
education by that call. Historically, we have
been fairly willing to examine and transform
what we do in order to meet the changing
needs of the students who walk into our
classrooms. Commercial interests as well as
laws or statutes and other direct governmen-
tal actions have at times fostered change.
Our profession also changes because of indi-
vidual and collective dedication to children
and young adults whose needs and interests
as music learners we willingly accept as dif-
ferent from ours. Anyone who teaches in a
high school knows that teenagers do not
always think, act, or learn like adults.
Our profession is rooted and grows from
(1) our individual interest in meeting the
needs of our students and (2) our collec-
tive charge to educate our students, many
of whom will be important participants in
society in the future. Offered as an expan-
sion on these foundational values, this
article will show how sexual orientation,
specifically and almost exclusively, hetero-
sexuality, has traditionally been present in
music education. Before us is the opportu-
nity to consider how we might improve the
work we do individually and collectively by
acknowledging other sexual orientations,
specifically, homosexuality.
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Music Educators Journal June 2014 66
The focus is limited to high school
students and teachers, but the issues
raised are relevant to students and col-
leagues at other levels. To discuss how
the issue of sexual orientation might be
encountered in teachers daily work,
an online discussion group titled Do
I Know What I Would Do When . . . ?
has been set up. There, teachers will be
asked to project and discuss responses
to situations in which they unexpectedly
encounter questions of sexual orienta-
tion in music classrooms (for examples,
see the sidebar). This anonymous, mod-
erated, online discussion of these ques-
tions has been set up at http://groups.
google.com/group/MusicEd-Orientation.
[Closed due to Internet trolling.]
High School: Not the
Same for All Students
Contrary to what parents of adolescents
may think, adolescents work hard. They
exert great energy trying to fill a need
to have trusting peer and adult relation-
ships that help them find out who they
are or might be as adults.
American society has always done
its best to foster and nurture students
as they attempt to define what it means
to be an adult. Our schools offer many
programs, activities, and clubs and
support traditions designed to contrib-
ute to students social and emotional
development.
Too often, however, high schools
are developmental wastelands for youth
in sexual orientation minorities, that is,
those who self-identify as lesbian, gay,
bisexual, or transgender (LGBT). In a
recent report on school climate,
nine of ten LGBT high school stu-
dents were verbally harassed because
of their sexual orientation;
60 percent of LGBT students feel
unsafe because of personal charac-
teristics, such as sexual orientation
or race/ethnicity, compared to one
out of five students in the general
population;
about a third of LGBT students are
absent or miss class for safety rea-
sons, compared with only 5 to 6 per-
cent of students in general;
almost half (44.1 percent) of LGBT
students experience harassment or
assault; and
nearly two-thirds of LGBT students
heard homophobic remarks from
school personnel.
1
These behaviors contaminate the school
environment and make adolescence an
even greater challenge for LGBT students.
Such experiences can lead to internal-
ized self-hatred and emotional pain that
contribute to a higher risk of substance
abuse among LGBT youth as a means
of numbing those feelings.
2
These expe-
riences constitute real dangers to LGBT
students emotional and physical well-
being, even though schools are charged
with ensuring the safety of all students.
There is an increased awareness of
this reality for LGBT students. A grow-
ing number of school districts are
making efforts to curtail harassment
and discrimination in schools through
legislative and policy changes.
3
How-
ever, I could find no information about
the percentage of American school dis-
tricts that is providing in-service work-
shops on diversity or sexual orientation
that may improve the lives of LGBT
youth in schools.
Rather than well-intended sympathy,
empathy from and supportive alliances
with straight teachers, staff, and students
are needed. For LGBT students are not
at risk because they are gay, but largely
because of societal attitudes and devel-
opmental issues over which they have
little control. It is the fear, dislike, and
even hatred of LGBT people or same-
sex relationships that threaten these
students, not their emotional-romantic
interests and attractions.
When we recognize that the high
school experience is not the same for
LGBT students as it is for heterosexual
students, we begin to see the deficits
inherent in trying to treat all students
the sameas if all were heterosexual.
One of the first actions we can take as
educators is to identify the ways through
which we provide privilege for hetero-
sexual students based on our accepting
that even though heterosexuality is cer-
tainly more common, heterosexuality is
not normal for some of our students.
4
Privileges of Heterosexuality
Schools and music programs are not
neutral when it comes to sexual orienta-
tion. Heterosexual students and teachers
enjoy advantages over their LGBT coun-
terparts regarding their professional
environment, classroom experiences,
and visibility in instructional materials.
These privileges may not be evident to
their straight counterparts.
Privileges for Heterosexual
Music Students
It is likely that unless your music teacher
is openly gay, as a straight student, you
are advantaged in the following ways:
1. Your music teacher fully under-
stands what you are going through
during your first big romantic crush
Do I Know What I Would
Do When...
1. a section leader in my ensemble
talks with me that she is worried that
the students in her section dont
respect her because they think she
is a lesbian?
2. a student complains that his section
leader is picking on him because he
thinks the section leader, who is gay,
has a crush on him?
3. a new colleague is hired in the
music department who is openly
homosexual. I am comfortable
around him/her and happen to like
and respect this valued colleague.
A few months later, one of my
trusted friends in my department
pulls me aside and tells me that
there are rumors that I, too, am gay.
4. I am backstage during a rehearsal
of the school musical and catch two
male students kissing?
For an anonymous, online discussion
of these questions moderated by the
author, go to http://groups.google.com/
group/MusicEd-Orientation. [Closed due
to Internet trolling.]
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www.nafme.org 67
or your first breakup. If you want
to, you can talk to any teacher about
these matters of the heart without
having to consider her or his reac-
tion to your sexual orientation.
2. Your teacher will assume you are
just as excited as the other students
about going to events such as the
prom, the band banquet, the music
department tour, or an overnight
trip. You do not have to worry that
at these events, or even just in class,
other students will notice you star-
ing at that special someone.
3. You can comfortably and appropri-
ately show how you care romanti-
cally about someone else, and can
see your peers show how they care.
4. All the love songs you hear on the
radio, sing, or play in an ensemble
are about a kind of love you know
and understand. The annual spring
musical is, in almost all cases, going
to involve a romantic subplot about
a kind of love that resembles yours.
5. When, as a countertenor who wins
a spot in the all-state womens tre-
ble chorus, you are subsequently
excluded because you are male, you
do not have to wonder if your being
straight had anything to do with it. A
gay student singer in the same situ-
ation could not be assured that his
exclusion was a matter of policy and
not discrimination. Whether it was
or not is something you do not have
to consider if you are heterosexual.
In addition to these advantages for
straight students, heterosexuality enjoys
an advantaged position in terms of what
is taught in music classes. Curricular
content in schools is decidedly hetero-
sexual. In fact, in seven states, a teacher
is prohibited from portraying LGBT
issues or people in a positive manner.
5

This academic censorship aside, only
12.7 percent of students in a 2007 survey
reported that they were taught anything
about LGBT people, history, or events
in school. Within this subgroup, only
about four in ten students (or five out
of every thousand students) reported
being taught this type of more-inclusive
content in music classes.
6
What this means to heterosexual
students in our music classrooms is
that the information presented in their
classes will confirm the existence of
individuals just like them, and of rela-
tionships and romantic feelings just like
theirs. These benefits for heterosexual
music studentseven if unspoken or
unintentionaldo not apply to LGBT
students.
Privileges for Heterosexual
Music Teachers
Like heterosexual students, straight
music teachers enjoy advantages over
their gay counterparts. These are dem-
onstrated in the qualities of their work-
place environment, interactions with
students and their families, and even in
the teaching strategies at their disposal.
As a straight music teacher, it is perfectly
acceptable in all fifty states of the United
States for you
1. to speak freely about your personal
life and activities in response to a
students innocent question. Gay
teachers have fewer choices: tell the
truth and reveal their orientation, lie
and change pronouns to opposite
sex in referring to a partner, or share
nothing about themselves.
2. to use stories from your personal life
in your teaching, without editing.
For example, when working with a
band on a march, you can talk about
the rhythmic precision needed by
relating it to your experience seeing
a British military parade on a trip
you took with your husband or wife
to London over the summer. You
can do this
without having to conceal certain
information or using ambiguous
pronouns.
without being accused of pro-
moting the heterosexual lifestyle
or talking about sex.
without worrying that the school
administration or parents will be
upset that you talked about your
life partner, domestic partner, or
(admittedly, in a few states) your
same-sex husband or wife.
3. to put pictures of your spouse/fam-
ily on your office wall or desk.
4. to kiss your boyfriend/girlfriend/
wife/husband good-bye in front
of the school building when you
board the bus for the spring choir
trip.
5. to invite your partner to go along
on school trips and tours, and to
not wonder if anyone is going
to stare at you and your partner
when you sit together on the bus
or come out of your hotel room.
6. to answer the question, Do you
have a boyfriend? when asked
by a student, without considering
whether he or she suspects you are
anything but heterosexual.
7. to consider whether you were not
hired or you lost your job because
of your sexual orientation. How-
ever, if you are a music teacher
who is gay, laws in thirty states will
not protect you from being fired or
from not being hired or promoted
on the basis of sexual orientation.
7
8. to include all your social and
civic interests on your resume
when applying for jobs. Even as
a straight person who is an ally
for LGBT persons, you might still
worry about including the names
of gay and lesbian rights or social
groups on your resume.
9. to wear a ring on the fourth finger
of your baton hand and have peo-
ple assume you are married to a
person of the opposite sex and that
they understand what that means
in terms of intimacy and commit-
ment. You will not be asked to
comment on or be asked about
information in response to ques-
tions such as, Where do you live?
What do you do together? What
do your children think of having
straight parents? Have you ever
been a victim of straight bashing?
10. to dismiss the idea that your love
for music and your musical skills
will be seen as typical of people
like you.
11. to ignore whether people think
that you have converted a straight
student to your straight lifestyle.
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Music Educators Journal June 2014 68
12. to be just a music teacher, not
the gay music teacher.
13. to have your spouse call you and
leave a message on the music
office answering machine that ends
with Love you. . . . Later, without
worrying when a student is in the
office when you hear the message.
14. to give out your home phone
number and not worry about peo-
ples reactions when your spouse
answers the phone.
15. to give a simple No, thank you
when a colleague tries to set you
up on a blind date without won-
dering if he or she suspects you
are gay and that he or she is just
testing you with the offer.
16. to avoid being asked to speak on
behalf of all straight teachers in
America.
LGBT music students and music
teachers may indeed experience the
music classroom differently than their
heterosexual counterparts. Although
some of these differences reflect gen-
eral societal attitudes regarding sexual
orientation, heterosexuality also enjoys
privileged status in how we decide what
to teach in our classroom. This is some-
thing over which we have direct control
and is thus more easily changed.
How Standard 9 Shows
Heterosexual Norms and
Poses Homosexual Dilemmas
The normalcy of heterocentric content in
music teaching can be made clear when
we consider three examples that repre-
sent National Music Standard 9: Under-
standing music in relation to history and
culture.
8
These examples are written to
represent common ways teachers embed
heterosexuality in their teaching. Each
easily understandable and heterocentric
example is then paired with a descrip-
tion of a homosexual analogy presented
as questions to consider.
1. A composers family history will be
part of biographical information taught,
or provided to students for general
information, or as a particular way to
improve a students or an ensembles
performance.
Heterosexual norm: In studying
Mark Hindsleys arrangement for
band of Wagners Prelude and Love
Death, from Tristan und Isolde,
students might be told to play more
expressively because of the pieces
emotional message and content. You
might mention (a) that it was Wagners
love for his patrons wife that inspired
him to compose the work and (b) that
in general, Wagners romantic rela-
tionships with his opposite-sex lov-
ers (even those outside his marriage!)
were important inspirations for much
of his work.
Could we do this as easily as we
would the following?
Homosexual dil emma: What
would you do with Benjamin Brit-
ten s relationship of thirty-nine
years with the tenor Peter Pears, a
relationship that was an undeniably
important factor in the development
of twentieth-century opera? Would
you deny their relationship and this
fact when you and a colleague from
the English department have the stu-
dents watch a video of a produc-
tion of Brittens opera The Turn of
the Screw, an opera Britten wrote
specifically for his same-sex lover,
as was the case for all of Brittens
important operas except one?
2. Historical events, values, and figures
that are related to the piece in some
fashion will be communicated to stu-
dents as part of their learning.
Heterosexual norm: When teach-
ing about themes in the English Folk
Song Suite for Military Band by Ralph
Vaughan Williams, we would not hes-
itate to include information about Brit-
ish folk songs and Vaughan Williamss
deep respect for the same.
Homosexual dilemma: In studying
Lincoln Portrait, a piece for a speaker
and orchestra (or band) based
on famous speeches by Abraham
Lincoln,
(a) would we tell students that this
work was removed from President
Eisenhowers inaugural events
just two days before it was to be
played because of McCarthyism?
Could we, if not prohibited by
state law, speak about the likeli-
hood that these kinds of attacks
were directed at Copland because
he was homosexual? This char-
acteristic of the pieces historical
context also includes the fact that
McCarthyism is also referred to as
the Lavender Scare because of
the connection between the color
lavender and homosexuals, who,
as a group, were commonly per-
secuted under McCarthyism.
(b) would we ask students to recog-
nize that Coplands creative output
decreased during the period of
these attacksalmost a decade?
9
3. Important historical figures in music
will be represented as composers,
performers, conductors, vocalists,
or instrumentalists.
Heterosexual norm: You may
teach about Vivaldis affinity for
writing for the student musicians of
the orphanage at which he taught or
how the friendship between Dvok
and Brahms was important to the
development of Dvoks career,
both commercially and artistically.
Homosexual dilemma: While per-
forming music from West Side Story,
will you acknowledge that (a) the
most famous boy-girl love story
in American musical theatre is the
exclusive work of four gay American
artists: Leonard Bernstein, Arthur Lau-
rents, Jerome Robbins, and Stephen
Sondheim? Can or will you acknowl-
edge easily, openly, andmost
importantaccurately, that (b) Aaron
Copland and Virgil Thomson were
part of a circle of gay composers
who were central to the 20th-century
creation of an emblematic American
sound in concert music?
10
Not to include the contributions to
music made by LGBT composers, con-
ductors, educators, and performers
might be more understandable if gay
individuals had no role in the shaping of
music history and, particularly, American
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www.nafme.org 69
music. But contemporary musicologists
conclude quite the opposite. Sources as
mainstream as The New Grove Dictionary
of Music and Musicians, within its entry
Gay and Lesbian Music, documents
the struggles and sensibilities of homo-
sexual people of the West that came out
in their music, and of the contribution
of homosexual men and women to the
music profession.
11
Influential people
in art music, musical theatre, jazz, and
popular music who were homosexual
were of critical importance not only to
the careers they had but also to the musi-
cal styles they represented or, in some
cases, created. It is clear that the fact that
these important musical figures were
gay is not just an historical aside but an
important part of the development of
American concert or art music.
12
Whether you agree with this view-
point about the relationship between a
composers life and her or his music,
consider what a hetero-exclusive
approach to musical information about
music and musicians might mean to
them and how it would benefit your
students, both gay and straight.
What would it mean to a student
in your orchestra who, for the first
time, hears a music teacher dis-
cuss Tchaikovskys personal tor-
ment, depression, and struggle with
his homosexuality, including what
it would mean to his father if he
were(in modern terminology) outed?
What might it mean to that student
to have the very existence of same-
sex feelings acknowledged by the
inclusion of this information? How
important would this be when done
by his or her orchestra teacherthe
one adult who loves music as much
as he or she does and who occupies
such an important place in his or her
young life?
Continuing a Tradition
Music educators have a history of work-
ing to ensure that we provide a musi-
cal education that is in response to
students abilities, interests, and musi-
cal backgrounds. For example, over
the past thirty years, we have worked
hard to address the learning needs of
students whose physical and cognitive
capacities are outside the norm. Now,
special-needs students are not seen as
others in music classes and ensembles.
We also act on a positive impulse to
improve how we include and represent
historical repertoire and lives of musi-
cians who are female or musics from
parts of the world remote from where
we teach or from musical traditions that
we were taught. We simply view these
considerations as a part of our profes-
sional obligation so that our society will
benefit from the musical, personal, and
social assets we believe a comprehen-
sive music education provides.
Sexual orientation in music education
is not a new phenomenon. Isnt it time
to consider the beneficial presence of
individualsmusicians, colleagues, and
studentswhose emotional, romantic,
and physical attractions are to other
human beings who happen to be of the
same sex? Isnt it time for us to acknowl-
edge the ways we reinforce heterosexu-
ality and the heterosexual lifestyle, and to
examine how homophobia and hetero-
centrism bias our curricular content and
the lives and work of LGBT music teach-
ers? Isnt it time we eliminate heterosexu-
alitys privileged place in our profession?
NOTES
1. J. G. Kosciw, E. M. Diaz, and E. A.
Greytak, 2007 National School Climate
Survey: The Experiences of Lesbian, Gay,
Bisexual and Transgender Youth in Our
Nations Schools (New York: Gay, Lesbian
and Straight Education Network, 2008),
15, 29, 30, 37.
2. M. P. Marshal, M. S. Friedman, R. Stall,
K. King, J. Miles, M. A. Gold, et al.,
Sexual Orientation and Adolescent
Substance Use: A Meta-Analysis and
Methodological Review, Addiction 103,
no. 8 (August 2008): 54656.
3. Kosciw, Diaz, and Greytak, 15, 29, 37.
4. An anonymous moderated online discus-
sion of these examples and of the ques-
tions posed in this articles sidebar,
Do I Know What I Would Do When . . . ?
can be found at http://groups.google
.com/group/MusicEd-Orientation.
5. Gay, Lesbian and Straight Education
Network, The State of the States
(2004): A Policy Analysis of Lesbian,
Gay, Bisexual and Transgender (LGBT)
Safer Schools Issues (New York: Author,
2004), 3. Although this information is
not current, the source of these data,
the Gay, Lesbian and Straight Education
Network, is not aware of any laws passed
since 2004 (e-mail correspondence with
author, February 2009). These seven
states are Alabama, Arizona, Mississippi,
Oklahoma, South Carolina, Texas, and
Utah.
6. Kosciw, Diaz, and Greytak, 99.
7. Most states do not have laws protecting
employees from discrimination based on
real or perceived sexual orientation or
gender identity, although states are
passing such laws each year. See
http://www.hrc.org/issues/workplace/
equal_opportunity/8752.htm.
8. Consortium of National Arts Education
Associations, National Standards for Arts
Education (Reston, VA: MENC, 1994).
http://www.menc.org/resources/view/
national-standards-for-music-education.
9. Nadine Hubbs, The Queer Composition
of Americas Sound: Gay Modernists,
American Music, and National Identity
(Berkeley: University of California Press,
2004), 157.
10. Hubbs, The Queer Composition, 4.
Hubbs investigates the development of
this American sound. She highlights that
this identity was more social than sexual.
Copland and the younger composers
he influenced musically and personally
shared a status that was both minority
and closeted. Bonds of secrecy were part
of the social, professional, and artistic
connections that, along with other fac-
tors, contributed to the development of
the modern American sound in classical
music (see pp. 117).
11. Philip Brett and Elizabeth Wood, Gay
and Lesbian Music, in The New Grove
Dictionary of Music and Musicians.
Paragraph 1, http://www.oxfordmusic
online.com/subscriber/article/grove/
music/42824 (accessed May 27, 2009).
12. See Philip E. Brett, Elizabeth Wood, and
Gary C. Thomas, Queering the Pitch: The
New Gay and Lesbian Musicology, 2nd
ed. (New York: Routledge, 2006); Brett
and Wood, Gay and Lesbian Music;
Hubbs, The Queer Composition; and Alex
Ross, The Rest Is Noise: Listening to
the Twentieth Century (New York: Farrar,
Strauss and Giroux, 2007).
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