More frequently than ever before, I have been thanked for programming sacred music for my choirs by students' parents. Some have gone as far as thanking me for witnessing to their children. Concurrently, I have had multiple conversations with colleagues who are either not permitted or have been discouraged to program sacred music for their ensembles based on conversations with administration or due to school board policies.

The appropriate use of religious music in the public school curriculum is an ongoing issue that music educators encounter daily. While the artistic and curricular value of teaching with sacred music may seem obvious to those in the music education community, communicating its purpose and value historically, aesthetically, or technically is a challenge. If music educators intend to expose their students to sacred music, it must be done within legal guidelines, and when selected and approached appropriately, it must be directly related to and supported by the curriculum.

Our National Association for Music Education (NAfME) holds a very direct and specific position regarding the use of sacred music in public schools. NAfME states "the study and performance of religious music within education context is a vital and appropriate part of a comprehensive music education. The omission of sacred music from the school curriculum would result in an incomplete educational experience." NAfME not only rationalizes and supports the inclusion of sacred music in public school classrooms, it contends that omitting it from the curriculum would be educationally irresponsible.

The First Amendment of the United States Constitution provides for the separation of church and state. However, within restrictions defined by the United States Supreme Court, public schools are "neither to advance nor inhibit religion(s)." According to the First Amendment Center: The First Amendment does not prohibit the use of sacred or religious music in public schools as long as music instructors adhere to legal guidelines. When programming sacred literature, educators should approach repertoire selection cautiously. NAfME suggests music educators consider the following questions when determining whether or not sacred literature should be programmed: 1. Is music selected on the basis of its musical and educational value rather than its religious context? 2. Does the teaching of music with sacred text focus on musical and artistic considerations? 3. Are the traditions of different people shared and respected? 4. Is the role of sacred music one of neutrality, neither promoting nor inhibiting religious views? 5. Are all local and school policies regarding religious holidays and the use of sacred music observed? 6. Is the use of sacred music and religious symbols or scenery avoided? Is performance in devotional settings avoided? 7. Is there sensitivity to the various religious beliefs represented by the students and parents?

Regarding the legal ramifications music educators face when selecting sacred music, NAfME cites Abraham Schwadron: In accordance with the First Amendment and court rulings, sacred music can be used in a religiously neutral manner as a part of standard educational practices. As a matter of curricular content in music education, sacred music exemplifies the music practice of various historical periods, the music practices of various cultural traditions, and a tremendous variety of musical styles and genres.

The vast majority of classical music, specifically choral music, is sacred. Most well-known classical composers prior to the 17th century were trained and employed by the church. If music educators were to eliminate sacred choral music from the curriculum, composers such as Johann Sebastian Bach, George Frederick Handel, Heinrich Schütz, Johannes Brahms, and Antonio Vivaldi would not be referenced in the public schools. The study of cultures and cultural traditions would be incomplete if the music within that culture was omitted. Music plays an especially key role in the religious traditions of cultures. Therefore, the music associated with these traditions, such as African spirituals and African praise songs, must be included in a comprehensive music curriculum. The study of various musical styles and genres must be explored to provide a complete educational experience.

Students need to encounter opportunities that develop the whole child in order to experience a well-rounded education. Sacred music is a major part of a complete music education. Sacred music can touch the spirit of a learner in ways that other subjects cannot. Religion in music can also be interpreted as spirituality, yet spirituality encompasses so much more. It is imperative for students to understand how and why music affects the human spirit, and in turn, how the human spirit impacts musical performance and its interpretation. When asked how to differentiate spirituality from religion, Nel Noddings eloquently states that "spirituality is an attitude or way of life that recognizes something we might call spirit. Religion is a specific way of exercising that spirituality and usually requires an institutional affiliation. Spirituality does not require an institutional connection." In reference to spirituality through the music of Brahms, T. Lloyd maintains, The ongoing debate regarding sacred music in the public schools is a constant dilemma for music educators throughout the country. However, when approached within the legal guidelines and directly connected to the curriculum, music with a sacred text or with a religious origin has an important place in music education.

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