In many parts of country, music teachers are finding that their positions are being cut, their instructional time is being reduced, and that their budgets are shrinking. As music teachers, we know that an important aspect of our jobs is building community and administrative support for our music programs. Do we know how to do so in an effective way?

As advocates, teachers should consider a number of factors when developing an effective advocacy plan. The first consideration is the client. Whom we represent determines the approach we take. The second consideration is the audience. The most effective arguments are tailored to a specific audience. The third consideration is the product for which we are advocating. How advocates frame music education will play a role in determining the effectiveness of their efforts. Finally, what tools do we have at our disposal? In particular, what are the important policies that music teachers should be aware of, and how can we use them as advocacy tools? In this article, I will discuss the role that the client plays in an effective advocacy campaign.

When selecting an approach to advocacy, it is important to determine who, or what, we are trying to help. Is our concern for music education, music teachers, the music industry, or students? We can learn much by looking at the different roles advocates have played, from attorneys, to patient representatives, to social activists. What role should we take for our client?

Advocacy Models
At a recent conference, I listened to a panel presentation about the relationship between research, policy, and advocacy. One of the panelists, a former attorney who now teaches educational policy, described a distinct difference in how he acted as an advocate in his previous career compared to how he views advocacy as an educator. Attorneys are concerned with the interests of their clients, while educators tend to concern themselves with the greater good.

Attorneys serve as advocates for their clients. In that role, they are required to do whatever they can - without breaking the law - to help their client. Judging from prevailing stereotypes, many people have an unfavorable image of lawyers. This view may not be entirely fair. Although attorneys earned their reputation by pushing ethical boundaries and often acting on behalf of what much of society would deem less than desirable individuals, corporations, or causes, they are ultimately doing their job, which is to look out for their clients' best interests.

Teachers and administrators serve as advocates for all of their students, and often for children beyond their own classrooms and schools. In the classroom, teachers try to ensure that they provide adequate instruction for all students. In doing so, the teacher must balance the needs of each individual against the needs of the community as a whole. Educators want policies that are equitable, curricula that serve the needs of all students, and resources that will allow them to provide students with an optimal experience. This model is very different from that provided by an attorney, and necessarily so. Whereas attorneys are ethically obligated to look out for the interests of a single client, educators are concerned with both the different needs of many individuals and the needs of society as a whole.

Advocacy in Music Education
In music education, advocates have largely employed the approach used by attorneys. There are two main "clients:" music as a school subject and music teachers. As the largest professional organization for music teachers, MENC [NAfME] does much to advocate for music in the schools. MENC: The National Association for Music Education was initially founded as the Music Supervisors National Conference, which was an offshoot of the National Education Association (NEA). One of the group's primary missions was the support of its members - first music supervisors and, later, music teachers. Protecting teachers' jobs meant advocating for school music. Even now, many teachers are most engaged in advocacy when their own jobs are threatened.

Examining the arguments that advocates put forth, you will see that they focus on the benefits of music education. These arguments fall into two categories - the music's own inherent value (such as its aesthetic qualities) and the music's utilitarian value (such as improved test scores or students' self-efficacy). When using these arguments, some advocates make claims that are unsubstantiated by research or make inferences from research that are misleading. This point can be illustrated by claims about music participation and test scores. When advocates point out that students who participate in music in high school have higher SAT scores, there is an implied suggestion that participation caused the higher scores. In fact, there is no research supporting that claim. It is just as likely that students who would have scored higher on the tests are more likely to enroll in music classes. To use research in this manner is to push ethical boundaries, much in the way that attorneys push boundaries on behalf of their clients. Unfortunately, judging from the constant battle to keep music in the schools, this approach has not been particularly successful.

Recommendations for Music Teachers
Educators have different clients than do advocates for music teachers and for music programs; teachers' clients are students and society at large. Ultimately, music teachers must look out for the educational needs of all students as determined by the society in which we live. Fulfilling this responsibility will require a change in both the objectives we have and the tactics we use in our role as advocates. I present here three recommendations for music educators engaging in advocacy.

Make students your client. I like to think that the vast majority of music educators entered the profession because of a deep desire to share their love of music with all students. Based on the many discussions I have had over the years with preservice music teachers, I have no reason to think otherwise. Even those students who came from elite, ultra-competitive high school programs graduate from schools of music with a belief that music programs are for every student, not just those with a marked talent for performance. If we truly believe in the idea of music for all, then it makes sense to start designing our advocacy efforts around student needs. The students' needs may conflict with a teacher's need for a full schedule of choral ensembles or with the community's desire for a competitive marching band. As teachers, our primary concern needs to be for the students. Determine what your students' musical needs are and develop an advocacy plan based on those needs.

Consider the needs of society at large. The larger community is a secondary client in education advocacy. Consider two examples wherein education policies were adopted because of a societal need: The Elementary and Secondary Education Act of 1965 [ESEA], which was adopted as part of President Lyndon Johnson's War on Poverty, and The Improving America's Schools Act of 1994, a reauthorization of ESEA that sought to reestablish the quality of American schools in the wake of A Nation at Risk. In each of those cases, supporters argued that the laws were in the best interests of American society. How can we apply this approach to music education advocacy? Music is part of our culture. It is an important part of our society, and therefore an important part of education. As advocates, we need to understand the role of music in society and communicate that to our audience.

Be ethical and equitable when arguing on behalf of the students and society. The reasons you give for including music in children's education must be substantiated and completely honest. Making claims that prove to be inaccurate will damage your credibility as an advocate. Remember to advocate for all students, not just the ones who display an aptitude or an interest in music. Recognize that students have diverse needs, and be sure that your arguments reflect that diversity. Finally, be honest with yourself in regard to your own intentions. As you are developing our advocacy plan, do a regular self-appraisal. Ask yourself, "Whose interests am I advocating for, the students or my own?"

Conclusion
In this article, I discussed the importance of the client in determining our approach to advocacy. Previous and current advocacy efforts attempt to secure school music programs and music teachers' jobs by using questionable research and making ubiquitous claims about the benefits of music. Future attempts should attempt to secure an adequate and equitable education that meets the needs of all students and society. This education will include music, because music is an important part of our personal lives and of our society. The distinction between these two approaches may appear subtle, but it is important.

Note: This is one of a series of four articles by the author regarding effective advocacy for music education. For information regarding those articles, contact him at: .