Block Scheduling vs. Music Ed

When block scheduling first appeared it was supposed to push students to new academic heights. The unfortunate side effect has been the death of music in some schools.

In the late 1980's a movement began in education to move secondary schools from the traditional seven or eight period day to a new schedule format known as "The Block." Block scheduling promised the benefits of more class time, more classroom opportunities, and less cost to the school district. From the very beginning most music educators were against the idea, worrying that it would destroy their programs as they were forced to move from daily contact with their students to longer classes at less frequent intervals. It has always been a premise of being a musician that daily, focused practice is the best way to guarantee improvement. Block scheduling slapped this idea in the face. With the reality that most instrumental music students simply do not practice outside of the school day, the idea of block scheduling appeared to be a horrible idea for our music education programs.

Now, twenty years later, the majority of schools in the United States have switched, or are planning to switch, to block scheduling. Many of these schools have been living in the block for a decade or more and in general the overall quality of the music programs in most schools seems to have remained steady while enrollment in the overall program suffers. In many schools teachers have adjusted and found new ways to thrive in this new format. In others, the change to block scheduling has indeed initiated a decline in their programs. It is my opinion, however, that in most of these cases block scheduling is not the culprit so much as the overall climate of the school and the administration that are pushing the block schedule format.

If the overall climate of the school toward music education is positive and everyone in the district has an honest and vested desire to see it succeed, music education in that school will survive and continue to flourish even while on block scheduling. If the program does not have this unwavering support from the community,administrators, and staff, moving to the block is often the first nail in the coffin for that school and for its fine arts programs in general.