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Sacred vs. Secular Music In Public School Concerts |
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Curriculum
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Written by Chad Criswell
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 It's that time of year again when thoughts turn to holiday concerts and
that one, slight possibility that lingers in the back of a teacher's mind that
someone, somewhere in the audience will make a stink because of the inclusion of one or two sacred selections into the program. The squabble
over whether or not to include sacred music in a secular band or choir
concert is always inflamed around the Christmas holidays but can occur
at any time of the year. What should a teacher do to program a high quality experience while avoiding any unneeded stress?
In 2007 Cedar Wood Elementary school was just one of many schools that changed their Christmas musical programs
under fear of possible complaint or litigation. In Cedar Wood's case
the change was in response to the district being sued for including the
Ave Maria in a graduation ceremony the year before. This case is by no
means unique, and it underscores the importance that teachers must
place on basing their music selections on a firm curricular
foundation. These types of challenges have become more and more common
in the sixty years since the 1948 Supreme Court ruling that religious
instruction in public schools was unconstitutional.
Is Sacred Music in a Public School Concert Illegal?
The Music Educator's National Conference (MENC) has just published a new discussion on the topic of Sacred vs. Secular
and a person can tell from the comments that the topic has touched a
large percentage of teacher's lives. They also have a very useful and
informative official statement about the use of Sacred Music In The
Schools, including citations of court cases such as a 1971 opinion by
Chief Justice Warren Berger that set forth these basic questions as a
partial litmus test as to whether or not sacred music should be allowed
to be used in a particular instance (quoted from the MENC article):
1. What is the purpose of the activity? Is the purpose secular in
nature, that is, studying music of a particular composer's style or
historical period?
2. What is the primary effect of the activity? Is it the
celebration of religion? Does the activity either enhance or inhibit
religion? Does it invite confusion of thought or family objections?
3. Does the activity involve excessive entanglement with a
religion or religious group, or between the schools and religious
organizations? Financial support can, in certain cases, be considered
an entanglement.
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