Reimagining Music Festivals: A New Format for True Musical Growth

In the world of school music programs, festivals and competitions are a staple. Yet, many educators and musicians have raised concerns about the way these events are structured, and the impact they have on students’ musical growth. David Whitwell, one of the best conductors and music educators of the twentieth century, offers a thought-provoking solution with his proposal for a radically different type of festival. His concept moves away from the traditional, competitive framework and instead focuses on collaboration, musical growth, and education.

The Purpose of a Music Festival: A Shift in Perspective

Whitwell’s vision for a music festival redefines the very essence of what such an event should achieve. Traditionally, music festivals have been seen as opportunities to showcase a band’s skill level, competing for ratings or awards based on their technical performance. While these festivals do provide valuable feedback, they often fall short in terms of fostering a deeper understanding of music as an emotional and communal art form. Whitwell’s approach, on the other hand, places music at the center, emphasising listening, learning, and growth over mere competition.

The purpose of a music festival should be to listen to music, not just to perform.

This simple yet powerful statement reflects the core of Whitwell’s approach. He argues that students should come to a festival prepared to engage with the music of other bands, listening intently to understand various musical interpretations, discover new repertoire, and reflect on how other ensembles approach similar pieces.

Unlike traditional competitive festivals where the focus is solely on performing for judges, Whitwell's format promotes the idea that the act of listening is as crucial as the act of playing. When students hear multiple bands perform, they gain new insights into the music, absorb different styles of interpretation, and expand their musical understanding. This approach helps students cultivate a more well-rounded appreciation for music beyond technical performance.

The Festival Format: A Collaborative, Educational Approach

In Whitwell’s proposed format, the festival is structured around six participating bands. Each band performs a 30-minute set during the morning, but the schedule is carefully organised to ensure that the experience is as much about listening and learning as it is about performing.

Active Listening

Rather than focusing solely on one band’s performance, Whitwell’s format encourages all bands to engage in active listening. After each performance, students from other bands are given time to listen attentively to the music, fostering a deeper connection with the performance. This experience is not passive; students are encouraged to critically reflect on what they’ve heard, allowing them to absorb new ideas and refine their own understanding of musical interpretation.

Whitwell emphasises that listening is a vital component of any musician’s education. For students to grow, they must hear other interpretations of the same music, and this exposure leads to a better understanding of what works musically and why. It also helps build an environment of shared learning where students aren’t just focused on being “the best,” but on discovering ways to enhance their own musical journey.

No Competition, Just Growth

One of the most striking elements of Whitwell’s festival proposal is the absence of competition. Traditional music festivals often rely on a system of ratings, awards, and adjudication that can create unnecessary pressure and limit the focus on true artistic expression. Whitwell suggests that these systems may inadvertently reinforce the idea that music is about winning, rather than about learning and growing as musicians.

Instead of a traditional adjudication panel, Whitwell’s format calls for a more collaborative approach, where feedback is offered in a constructive, non-competitive environment. Adjudicators rotate between different bands, providing private feedback to conductors on how to enhance the musicality of the performance, without focusing solely on technical precision.

Combining Bands for Larger Ensembles

Whitwell’s format introduces another innovative aspect: the creation of larger, combined ensembles. After the morning performances, the six bands merge into three larger groups, where the conductors of each band work together to rehearse and perform a new piece. These combined rehearsals give students a chance to work with other musicians and learn from different conducting styles and musical interpretations.

This collaboration helps break down the barriers of individual competition, emphasising the importance of teamwork and the benefits of sharing musical ideas. In this setting, students are not just competing for top honours; they are learning from one another, enhancing their skills through collaboration.

Adjudication: Feedback Focused on Musical Growth

Instead of the usual ratings and scores, Whitwell’s festival proposes a feedback structure that focuses on the process of musical growth. Adjudicators are present throughout the day, offering guidance to conductors and bands. However, their feedback is centered on helping the conductor improve the musical expression of the performance, rather than critiquing small technical errors.

Each adjudicator works with the conductor, discussing ways to enhance the performance and encouraging a more expressive and musical interpretation. One adjudicator may focus on providing private feedback to the conductor about the overall performance, offering insights into how to bring more musicality into the piece. Another adjudicator may provide public feedback to the band members themselves, praising their musical achievements and offering suggestions for improvement.

One key aspect of this process is the use of video recordings. Adjudicators review video footage of each band’s performance, watching from the conductor’s point of view. This ensures that the feedback is focused on the conductor’s ability to bring out the best in the musicians, rather than simply evaluating the band’s technical performance.

Why This Matters: Fostering a Culture of Musical Expression

Whitwell’s festival format aims to shift the culture of music festivals from a competitive, score-driven environment to one that emphasises musical expression, collaboration, and personal growth. By removing the competitive element, the festival allows students and conductors to focus on what truly matters: making music.

This model also encourages a more holistic view of musical education, where the process of learning and growing is as important as the final performance. It’s about making connections with other musicians, exploring new repertoire, and honing one’s artistic expression. This approach helps to nurture future musicians who are not only technically proficient but also deeply connected to the emotional and expressive power of music.

A Call for Change in Music Education

David Whitwell’s proposed festival format challenges the status quo, advocating for a shift away from traditional competitions and towards an environment where collaboration and education take precedence. By focusing on listening, growth, and mutual learning, Whitwell’s model offers a new path for music festivals that can be more meaningful and impactful for both students and educators.

As music educators, it is important to recognise that competitions have their place, but they should not overshadow the true purpose of music-making. Whitwell’s proposal provides a refreshing alternative, one that encourages students to explore music in a deeper, more thoughtful way.

In a world where we are often driven by results and rankings, Whitwell’s vision reminds us of the importance of the journey—the journey of learning, growing, and creating music together.

You can read all of David Whitwell's "Proposal for a New Festival Format" in his book, Essays on the Modern Wind Band.