Social Media Killed Music Education

The rise of social media has brought unprecedented access to knowledge and resources, but for music teachers, it has created a set of challenges that complicate the art of teaching. Platforms designed to connect people and share information are now pervasive, shaping students’ expectations and perceptions of learning, particularly in music. While some benefits exist, such as wider exposure to different musical styles and instant access to tutorials, the ways in which social media has impacted teaching music go beyond mere access to content. Instead, it has introduced obstacles that threaten the integrity of music education itself, affecting students' commitment, patience, and the depth of their learning experience.

One of the primary ways social media has negatively impacted music teaching is by fostering a culture of instant gratification. Music students are exposed to endless videos of professionals and influencers displaying highly polished performances, often without context regarding the years of practice required to achieve such proficiency. These clips, while inspiring, often give students a skewed perception of progress, causing them to expect rapid improvement without investing the necessary time and dedication. This culture of quick results can diminish the value students place on slow, deliberate practice, making it difficult for teachers to instill the patience required for true musical mastery.

Additionally, social media has created an over-reliance on tutorials and “hack” culture, where students are encouraged to find shortcuts rather than focusing on foundational skills. Platforms like YouTube and TikTok are filled with tutorials that offer bite-sized, simplified versions of songs, sometimes encouraging students to skip over crucial fundamentals. This can lead to gaps in technique and a superficial understanding of music. While these resources can be valuable supplements to traditional lessons, they often replace comprehensive teaching when students rely solely on them. Teachers now face the challenge of unlearning bad habits that students acquire from inconsistent or incomplete online instruction.

Moreover, the performative nature of social media can disrupt the learning environment by adding pressure to “perform” rather than “learn.” Many students feel compelled to share their progress online, seeking validation in the form of likes and comments. This shifts their focus from internal growth to external approval, altering the way they approach learning music. Teachers find it increasingly difficult to foster a space where students feel comfortable making mistakes or progressing at a natural pace, as social media encourages public sharing and the pursuit of social rewards over genuine development. This external focus can also erode students’ intrinsic motivation to learn music for the love of it, rather than for social recognition.

The influence of social media has also led to a decrease in face-to-face interactions, which are essential for effective music education. While online lessons have their place, especially for students in remote areas or during circumstances like the recent pandemic, they cannot replace the nuanced, immediate feedback that in-person lessons provide. Music is a deeply personal and physical art form, where posture, subtle movements, and tone are critical aspects that are difficult to correct through a screen. Social media and the rise of online tutorials can create a barrier to this type of learning, leading to misunderstandings and missed opportunities for growth that only in-person feedback can provide.

Furthermore, the rapid spread of misinformation on social media has added to the challenges of teaching music. While some credible musicians and educators share high-quality content, much of what circulates online lacks rigorous standards. Misinformation can include everything from incorrect historical context about a genre to misleading advice on technique and practice. Students who absorb this misinformation may inadvertently challenge their teachers, resulting in classroom conflicts or a need for extensive re-teaching. This has forced many teachers to spend additional time correcting false information or re-aligning students’ understanding, detracting from valuable lesson time that could otherwise be used to progress.

Finally, social media has altered the perceived value of music teachers themselves. With so much “free” content available, students and parents may question the need for formal instruction, seeing online resources as a sufficient replacement. This has led to a devaluation of music education, where the expertise and experience that qualified teachers offer are undervalued or dismissed entirely. Many experienced instructors find themselves competing with free, unvetted content that often lacks depth. This shift makes it harder for teachers to maintain a sustainable career in music education, threatening the profession and the quality of teaching available to future students.

Social media’s impact on teaching music is a complex issue, one that requires awareness and adaptation from educators. By understanding the ways in which these platforms influence students’ expectations and perceptions, teachers can work to mitigate the downsides. Educators may need to emphasize the importance of patience, critical thinking, and intrinsic motivation, while also guiding students in the responsible use of social media as a supplementary tool, rather than a substitute for real instruction. Only by addressing these challenges head-on can music teachers continue to provide meaningful, high-quality education in an increasingly digital world.

What is a Contradance?

Contradance, a lively social folk dance, has deep roots in English country dancing and French dance traditions. Originating in England during the late 16th and early 17th centuries, English country dancing was a social activity for all classes, distinguished by its formation-based style, where dancers would form long lines, circles, or squares. These structured arrangements allowed for easy participation, making it suitable for gatherings in both grand halls and small rural spaces.

When English settlers brought their customs to North America in the 18th century, the English country dance mingled with the French contredanse, a popular couple-based dance in French court culture. The term contredanse itself, derived from the English "country dance," was adapted into French and eventually reintroduced to English-speaking circles as "contradance." This blend of styles transformed in the New World, gaining local flavor as American musicians added regional tunes and rhythms, borrowing from Scottish, Irish, and even African musical traditions.

By the early 19th century, contradance had spread across New England and the American South, establishing itself as a lively, community-driven dance form that emphasized rhythmic patterns and simple, repetitive figures, making it easy for newcomers to pick up. Each community adapted the dance to its own musical preferences, solidifying contradance as an American tradition with European roots.

New England's contradance style today reflects this history, combining traditional tunes with the call-and-response method, where a "caller" guides dancers through the figures. This role of the caller originated as a way to accommodate growing groups of dancers, allowing people to follow patterns without prior experience. With a backdrop of fiddle tunes, contradance maintains its communal spirit, welcoming everyone to the dance floor.

What is the best way to practice?

We recommend that our students split their practice session into 3 equal parts that can be distributed throughout the day (sometimes that helps with motivating practice!)

The first part should always be scales, arpeggios and chords. Always practice scales with 2 octaves using 4th finger on the 7th (or 8th) fret. Don't skimp! Practice different picking patterns with each scale (we recommend quarter notes, 8th notes, triplets, tremolo). That part should at least be 12 minutes, maybe more if there's time, but at least 12 minutes.

The second part should always be new material. Whether you're learning bluegrass or roots/folk music or classical, new material is what stimulates our minds and makes us hunger for more. We recommend practicing the tunes note by note initially, using a pencil to make notes on the sheet - pencil is great because you can erase it later. For example, take Red Haired Boy: the first measure is 2 quarter notes and 4 eighth notes. Go slowly and sound out the notes you don't know. Once you can play that measure easily, move on to the next measure. Repeat.

The last part of the practice should always be review of known material. You should put tabs in the books you use to easily find old tunes you've learned, or photocopy them and make your own 3 ring binder of tunes. Either way, the faster you can get to those old tunes, the better/more successful your practice will be. In addition to using this time to review old tunes, we recommend using it to sight read new tunes (if you're learning by ear, this doesn't apply to you).

Finally, we encourage you to play as often as you can with family members and friends who also play instruments. No matter how "simple" the music is, there is an exponential benefit to playing music with other people, especially with adults. If you'd like to learn more about this, check out "Why Do People Sing" by Joseph Jordania. 

The Influence of Scottish and European Dance Forms on Irish Traditional Music

The evolution of Irish traditional dance music is often a story of cultural exchange, marked by influences from Scotland, England, and continental Europe. Certain dance forms—jigs, reels, hornpipes, polkas, and waltzes—did not originate in Ireland but were introduced over time, sometimes through itinerant dance masters, other times through cultural exchanges with Irish communities abroad, particularly in America. This post examines the documented history behind these dance forms and their integration into Irish traditional music.

The Arrival of Scottish Dance Forms in Ireland

The Scottish dance forms of reels and strathspeys gained popularity in Ireland after the relaxation of the Penal Laws in the 19th century. The Penal Laws, which were not fully lifted until the 1860s, restricted Irish Catholics from engaging in certain cultural practices. This makes it unlikely that organized teaching of Scottish dances, which would have required the presence of dancing masters, took place before this period. With the repeal of these laws, English and Scottish dancing masters began traveling across Ireland, and by the late 19th century, they were teaching reels, jigs, and strathspeys to Irish communities.

These dance masters played an instrumental role in formalizing the Scottish reels and strathspeys within Irish village dance events. Once adopted, these styles became woven into the fabric of Irish traditional music, as Irish musicians adapted the structures and rhythms to suit Irish melodies.

The Hornpipe in Irish Traditional Music

The hornpipe, another dance form originally from England, also found its way into Irish music during the 19th century. Hornpipes have a distinctive dotted rhythm and are typically in 4/4 time, making them somewhat slower and more articulated than reels and jigs. As with reels and strathspeys, the hornpipe was introduced and taught by dancing masters traveling through Ireland, especially in rural areas where such dances became central to social gatherings.

Documentation in music collections, such as O'Neill's Music of Ireland (1903) and Petrie's The Petrie Collection of the Ancient Music of Ireland (1855), confirm the presence of hornpipes in Irish music by the mid- to late-19th century. These collections contain numerous hornpipes and show that they had become well-established in the traditional Irish dance music repertoire by this period.

Polkas and Waltzes: European Influences and the American Connection

Polkas and waltzes entered Irish music somewhat later, likely in the latter half of the 19th century, as these forms gained popularity across Europe. Originating in Bohemia, polkas made their way to Ireland along with other European dance styles and took root particularly in County Kerry and County Cork, regions that embraced the polka rhythm with enthusiasm.

However, much of the popularity of these dances in Ireland is also attributed to Irish immigrants in America. In the 19th and early 20th centuries, Irish American communities adopted polkas, waltzes, and other dance forms popular in American social dances. Many Irish American musicians recorded traditional Irish tunes as polkas and waltzes, and these records circulated back to Ireland, where they influenced local musicians. This transatlantic exchange played a significant role in the spread of polkas and waltzes within Irish traditional music, particularly as American-made records became accessible in rural Irish communities.

The Dance Halls Act of 1935 and Its Influence

In 1935, the Irish government passed the Dance Halls Act, regulating public dances and leading to a shift toward organized dance halls over informal gatherings. This regulation solidified the popularity of waltzes, polkas, and foxtrots within Ireland, particularly those styles that had become popular among Irish immigrants in America. Documented evidence from this period shows that the structured dance environment of the halls accelerated the blending of Irish and American-influenced dance forms in Ireland, further embedding these newer dances into the Irish traditional music and dance repertoire.

These influences from Scotland, England, continental Europe, and Irish American communities reflect a unique historical blend that has continually shaped Irish traditional music. Through formal dance instruction, American recordings, and the spread of dance halls, each element found a place within Ireland's musical landscape. Today, the legacy of these exchanges is evident in the diverse rhythms, forms, and movements that define Irish traditional music, showcasing a dynamic history that honors both local heritage and a broader Celtic and European tapestry.

Discount Violin and Mandolin Outfits for Sale

We have a selection of used student violin outfits and student mandolin outfits available at discounted prices!  Below are pictures.  If you would like to try one of these out, contact us to set up a time.  

The violins typically sell for $279 (cash price) and the mandolins for $250 plus tax.  I prefer pickup of these instruments at the studio in Granby, MA.  I can deliver 3 or more to your place of business or home.

Contact us to set it up

Palatino student violin outfit with bow and case

Rogue student mandolin outfit with pick and case

 

Understanding Hide Glue: Grades, Uses, and Bulk Availability

Hide glue is one of the oldest adhesives used in woodworking and luthiery, prized for its unique properties, reversibility, and ability to create strong, flexible joints. For more than 20 years, I’ve been selling hide glue in bulk to professionals and hobbyists alike, ensuring access to the best materials for instrument repair, fine woodworking, and furniture restoration.

What Is Hide Glue?

Hide glue is a natural adhesive made from the collagen in animal hides, typically from cattle. It’s available in various forms—granules, flakes, or sheets—but the granules are most common due to their ease of use. Hide glue is highly favored for its ability to be reactivated with heat and moisture, making it ideal for joints that might need future repairs. This is particularly important in instrument making and restoration, where a reversible bond can be a game-changer.

Hide Glue Grades

Hide glue is graded by its "jelly strength," which is measured in jelly grams. This rating determines the strength and tack of the glue. The higher the number, the faster the glue sets, which can affect the workability. Here’s a breakdown of some common grades:

• 80–135 Jelly Grams: These are the lower grades of hide glue and tend to have longer working times. They are ideal for delicate work where slower setting times are required, such as in instrument assembly or marquetry.

• 164–222 Jelly Grams: These middle grades are commonly used in general woodworking and luthiery. They provide a good balance between working time and bond strength. Grade 192 is particularly popular for its versatility in instrument making.

• 251–315 Jelly Grams: As the jelly gram rating increases, the glue sets faster and becomes more brittle. These grades are often used in applications where a quicker set time is needed, but flexibility is still required.

• 347–512 Jelly Grams: The highest grades of hide glue, these are used in applications where a fast setting time and high strength are essential, such as in furniture repair. These grades are less commonly used in musical instrument work but are valuable in woodworking where high initial tack is needed.

Choosing the Right Grade

The choice of glue grade largely depends on the project and the material you’re working with. For luthiers, lower grades like 192 or 222 are common because they offer sufficient working time and strong, flexible bonds. For woodworkers working on furniture repair, higher grades like 315 or 379 might be preferred for their strength and quick setting times.

It’s important to experiment with different grades to find the one that suits your project best. Some professionals keep a few grades on hand to match the right glue to the task at hand.

Bulk Hide Glue: Convenience and Cost Efficiency

For professionals and avid hobbyists, buying hide glue in bulk is a cost-effective way to ensure a steady supply for all your projects. I’ve been offering bulk hide glue for more than two decades, sourcing high-quality glue in 30-pound bags and selling it by the pound. This allows my customers to get exactly the amount they need, whether it’s a few pounds for a one-off project or larger quantities for ongoing work.

By buying in bulk, you not only save money but also reduce the need to constantly restock, ensuring you have the right grade of glue available when you need it. Whether you’re restoring a vintage violin or assembling intricate wooden furniture, having a reliable supply of hide glue makes all the difference.

Why Hide Glue?

In an age of synthetic adhesives, why stick with hide glue? It’s not just tradition. Hide glue’s natural properties make it superior in many applications. Its reversibility is critical for restoration, its ability to shrink as it dries pulls joints together, and it bonds exceptionally well with wood. Hide glue also doesn’t "creep" like some modern glues, meaning once it’s set, it stays put.

For woodworkers and luthiers who value authenticity, hide glue is more than just an adhesive—it’s a critical component in preserving the craftsmanship and quality of their work.

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If you’re looking to purchase high-quality hide glue by the pound, I offer a range of grades from 80 to 512 Jelly Grams. Whether you need just a pound or a bulk order, I can help you find the perfect grade for your project. Reach out to learn more about how hide glue can enhance your woodworking or luthiery work.

TO ORDER:

Hide Glue Pricing: (we sell it by the pound) 

Grade / Price 

• 164 - $9.00 a pound 
• 192 - $10.00 a pound 
• 222 - $11.00 a pound  

To order, fill out the form on this page: https://forms.gle/MUqP4yhsHJ9oLcXMA

We will be in touch with an invoice.

Sourcing Missions

At Sweet Music, I understand that establishing strong relationships with suppliers is key to your business's success. That’s why I travel to China once or twice a year to meet with suppliers in the music industry. My travels have taken me to various regions, each contributing to my expertise in sourcing quality materials and products.

In 1999, I visited Inner Mongolia to see firsthand the areas where the horses that supply the tails originate. This experience deepened my understanding of the sourcing process. 

In 2001, I traveled to Hebei province to visit several musical instrument factories, further enhancing my connections in the industry.

In 2002, I set up a buy for a client in London, England, ensuring they received the best quality products. The following year, in 2003, I attended the Musikmesse trade show in Frankfurt, Germany, where I met with several suppliers from Europe and Asia on behalf of clients in the US and Canada. This event was instrumental in building my network and understanding the global music market.

My travels continued in 2004 when I went to Beijing and Dalian, China, to meet with suppliers on behalf of clients in the US. In 2005, I visited a mandolin and banjo factory in Kimpo, South Korea, again for a US client. The following year, I traveled to Vietnam to assist a banjo maker based in California.

From 2007 through 2019, I attended Musikmesse in Frankfurt and Shanghai, meeting with suppliers on behalf of clients in the US and Canada. I continued these travels in 2022 and 2023, ensuring I stay connected with the best suppliers in the industry.

Why In-Person Meetings Matter

While emails, instant messages, and Zoom calls have become commonplace in today's business world, nothing compares to the effectiveness of face-to-face communication. Meeting in person allows for clearer communication, as nuances can be easily missed in written or virtual exchanges. Discussing requirements face-to-face ensures that both parties fully understand the specifications and expectations.

Building trust is another critical advantage. Personal interactions foster stronger relationships, helping to build rapport and trust, which can lead to better cooperation and more favorable terms. Additionally, in-person discussions provide immediate feedback and clarification, helping to avoid misunderstandings and ensuring that both parties are aligned on goals.

Being present also enhances collaboration. It allows for brainstorming and collaborative problem-solving, which can lead to innovative solutions tailored to your needs.

If you're looking for a more personalized approach to sourcing in the music industry, I invite you to reach out to discuss your needs. Together, we can ensure your product requirements are met with the highest standards!