Why Quincy Jones Should be Prominently Featured in US Music Education
Quincy Jones, the Man and the Music
A composer, arranger, performer, and producer, Jones was a musician whose influence on American music is hard to overstate. He won 28 Grammy Awards, wrote multiple film scores, and was intimately involved in some of the most important musical developments in America in the mid-to-late 20th century, such as the rise of the jazz artist as pop music arranger. He produced the world’s best-selling album of all time, Michael Jackson’s “Thriller.”
Jones was a trumpeter who began his career playing with bandleader Lionel Hampton in 1953, but he soon branched off to become much more than a sideman.
I see Jones as an essential piece in the history of American music. Yet he’s absent from the music classroom, as are so many Black artists throughout history.
Segregation in Music
One of the most important linchpins of American white supremacy was racial segregation – that is, keeping white people and Black people apart. This racial segregation has been evident in music education, too, throughout American history.
Take, for example, the fact that the majority of composers who are studied in American music institutions such as the Eastman School of Music and the Juilliard School, along with most major university music departments, come from a Western musical tradition and are not American. I’m referring to Johann Sebastian Bach, Ludwig van Beethoven, Frédéric Chopin, and Wolfgang Amadeus Mozart, among a handful of other revered figures. These are all white, European men who died long ago.
This is one reason why students pursuing a bachelor’s degree in jazz studies generally take classes entirely outside of the generic category of “music major.” Courses on jazz, a genre deeply rooted in African American musical traditions, frequently do not count as core classes for the music major at many U.S. colleges, conservatories, and universities; classical music classes do.
Integrating Music Curricula
“American music academies,” as I’ve previously written in The Conversation, “generally reflect the social norms of the day.”
And social norms around race and racism are changing fast in the U.S., affecting an array of industries, from fashion to finance.
So what might a relevant American music curriculum look like?
I’d begin by introducing students to the first great American musician, Francis “Frank” Johnson. Born in 1792, Johnson was a prolific composer, violinist, and band leader whose life and work are rarely studied in the U.S. He’s not to be confused with Frank Johnson, born in 1789, another notable early American violinist and brass ensemble leader.
I’d continue with other significant 19th-century figures such as New Orleans pianist Basile Barès, whose music filled American dance halls after the Civil War. Or Edmond Dédé, who studied and lived in Paris, France, for years before returning to his native New Orleans.
I’d focus their attention on the Broadway composer Will Marion Cook, who studied violin at Oberlin College as a teen and later with acclaimed virtuoso Joseph Joachim in Berlin, Germany. Or on the conductor, composer, and librettist Harry Lawrence Freeman, whose 21 operas remain remarkably underexplored.
And I’d never let my syllabus skip the vocal music of Margaret Bonds, the symphonic works of Julia Perry, the atonal music of Undine Smith Moore, or the music theories of Roland Wiggins.
Though I’ve only scratched the surface, all of these musicians were African American – and I didn’t even mention any blues, hip-hop, Motown, rock, or R&B artists.
In my opinion, Black music and musical genres have had a greater impact on the course of American music than any other style or genre. For this reason, I believe universities and music schools should integrate this music into their music curricula – and feature it prominently and proudly.
From Francis Johnson to Quincy Jones, Black music exemplifies the musical greatness the U.S. is capable of producing, for Americans and for the world.
Conclusion
The absence of Quincy Jones and other Black musicians from American music education is a reflection of the racial segregation that still shapes American classrooms. It is essential that we integrate Black music and musical genres into our curricula, not only to provide a more accurate representation of American musical history but also to celebrate the significant contributions that Black musicians have made to the development of American music.
FAQs
Q: Why is Quincy Jones important to American music education?
A: Quincy Jones is one of the most influential musicians in American history, with a career spanning over 70 years. He has won 28 Grammy Awards and has produced some of the most iconic albums of all time, including Michael Jackson’s “Thriller.”
Q: Why are Black musicians absent from American music education?
A: The absence of Black musicians from American music education is a reflection of the racial segregation that still shapes American classrooms. This segregation has been evident in music education, too, throughout American history.
Q: What can be done to integrate Black music and musical genres into American music education?
A: Universities and music schools should integrate Black music and musical genres into their curricula, featuring them prominently and proudly. This can be achieved by introducing students to the first great American musician, Francis “Frank” Johnson, and continuing with other significant 19th-century figures, such as New Orleans pianist Basile Barès and Broadway composer Will Marion Cook.
Q: Why is it important to celebrate the contributions of Black musicians to American music?
A: Celebrating the contributions of Black musicians to American music is essential to providing a more accurate representation of American musical history. It is also important to recognize the significant impact that Black music and musical genres have had on the development of American music.
