Nicholas Busch

Dr. K. Veblen
Music 1800
12/11/2015
Bergonzi, L. (2014). Sexual orientation and music education: Continuing a
tradition. Music Educators Journal, 100(4), 65-69.
doi:10.1177/0027432114530662

This paper unearths a very serious issue that has been growing
exponentially in importance within the last few decades. This article
acknowledges the oppression of LGBT students in the music classroom,
which is a place not commonly acknowledged. One thing that made me
happy about this article is when Bergonzi said 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. It is very
important to acknowledge the fact that LGBT people are not the problem,
rather it is the mindset of the homophobic oppressors of these people that is
the problem.
One thing that really frustrated me in this article was the numerous
statistics of reported violence against LGBT students. It is hard for a straight
person to understand the struggles of being oppressed every day of your life
just because of the way you were born, and these statistics really put my life
into perspective for me. The school system (particularly high school) needs

more teachers identifying as allies to make these students feel welcome.

Something of the same idea that interested me was the privileges of being
heterosexual in a music classroom. I have always taken these things for
granted in my own life, and I really shouldnt. It is extremely unfair to the
LGBT community that they do not get to connect with society the way
heterosexuals do, and I am glad that this has been put into perspective for
me.
I found it fascinating how many historical music figures were
homosexual, and am surprised that I knew so few about it. Including these
facts in music history lessons should be included in the curriculum not only
because it would make the LGBT students feel more accepted, but also
because it would give a much better understanding to the process and
emotion behind a particular piece. The fact that this is not already taught in
music classrooms across the United States and Canada disgusts me, since it
is something that defies a person and would help students get a much better
understanding of early composers.
If I could ask Bergonzi anything it would be what steps should be
taken by school administration to hire more understanding music teachers
and increase the acceptance of LGBT students in music classrooms?
Bergonzi covers extremely well the inherit problems that LGBT students face
every day, but includes no steps that should be taken to overcome them. I
would love to chat more with Bergonzi on ways I could improve my stance as
an ally and become a more accepting teacher.