Celebrating Classroom Music

At the end of term 3, we held our annual Year 12 Musicians Farewell. Over the years, I have advocated that classroom music students are celebrated alongside those involved in co-curricular ensembles. These students who choose to study classroom music as well as, or in some cases, instead of co-curricular performance music, deserve similar recognition.  After all, their learning extends beyond performance to include composition, research, and analysis and evaluation of music.

Reflecting this commitment, I was fortunate to introduce the final performance of the evening: a rock song performed by classroom music students. This tradition began last year with a combined group of classroom and co-curricular music students. This year, the performance involved only one co-curricular music student, and by 2027, it will become a full celebration of classroom music students in what is being described as “The Greatest Australian Rock Band of All Time”.

Advocating for Classroom Music

As I sat down to write my introduction, I wanted to stress the expectations we have of classroom music students and how they differ to the real-world.  I’m already stating common knowledge, but the ATAR scaling in Queensland is so problematic, people are forgetting the challenge required of classroom music. I feel that it is my responsibility to inform and advocate for these students. Thankfully, we also offer the International Baccalaureate; an education that nurtures creativity, inquiry and diverse ways of thinking through compulsory subject group selection.

Relationships, Connection and Emotion

I’ve found that even though I’ve completed my doctoral thesis everything I do at work is still informed and influenced by my findings.  My research documented that irrespective of the sex of the teacher, relationships are key to supporting learning and engagement in all-boys’ schools. The key finding was that female teachers work harder than male teachers to ‘earn’ respect and build relationships in all-boys’ schools.

Although I taught some of these students when they were younger, I was not their classroom teacher in Years 11 and 12. Even so, I remained in the background, offering additional support and feedback, and developed what I believe to be trusting relationships with these young men. 

In world that seems to increasingly undermine the arts, my greatest hope is that all classroom music students know I have their back.

The Final Act

When I stood to introduce the final act, immediately after the Headmaster’s address, I was unexpectedly overcome with emotion. My hands and legs began to shake, and I had to draw on every bit of breath support I had to keep my voice steady. Then, as I celebrated the students’ achievements, I did the one thing many female teachers try hard not to do in a boys’ school: I cried, in public, and on stage.

Knowing I was only moments away from becoming a blubbering mess, I paused, took a breath and for silly reasons, imagined myself swimming through a pool of M&Ms. That childish image helped me to regain my composure and continue.

Then I looked down and saw a Year 12 classroom music student seated in the symphony orchestra, crying along with me, and that set me off again. I did manage to finish, but it was an experience I will never forget.

What stayed with me was how that moment of genuine emotion seemed to deepen my connection with the boys in the room because of my courage to articulate their specific achievement. Without disrespecting our amazing performers, I unashamedly chose to celebrate our classroom music students. For that, I earnt respect.

I have wanted to share this brief introduction ever since that evening, but I needed time to reflect and present it with the care it deserved. I share it now as a reminder that we must continue to advocate for our students: to recognise the depth of their work, affirm its value, and in doing so, help reshape attitudes within the broader education sector and the wider community.

Let me add, emotion in public is not something to avoid.  Somehow, I avoided being labelled an ‘emotional female’. Rather, by crying, I seemed to give the young men in front of me the permission to express what they were feeling.

On that note, I hope my introduction resonates with you and the students you teach.

Meagan.

“Good evening.

In the professional music industry, people often specialise. Some become performers, others become composers, arrangers, producers, teachers, or musicology scholars.

Students who choose to study Classroom Music are asked to do all of these things. They are expected to be skilled performers, creative composers, and insightful, perceptive musicians who can listen closely, think deeply, and communicate their understanding of music with sophistication.

For those who know me, you will know that, as Head of Faculty for Music, I am passionate about music education. Some would say I am biased, and they would probably be right. Yet evenings like this remind me why. The students you are about to hear have chosen a subject that challenges them not only to perform, but to create, analyse, critique, and communicate. They have embraced that challenge, and I could not be prouder of what they have achieved.

Everlong by the Foo Fighters is a fitting choice to round out the evening. Over time, the song has come to represent a longing for something enduring, and the human desire for moments of profound connection. As you prepare to leave Churchie and begin the next chapter of your lives, I hope your connection to music continues to inspire you to break boundaries, lead positive change, and pursue your passions with curiosity, courage, and conviction.”

Tonight's performance is a celebration of your hard work, commitment, and growth as musicians.

Please join me in welcoming the Best Australian Rock Band of all time - our Senior Music students!”