PHILOSOPHY OF MUSIC EDUCATION

A Philosophy of Music Education Shannon Booth University of Lethbridge

PHILOSOPHY OF MUSIC EDUCATION

Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.-Plato What is music? How does one define something that in itself describes what words cannot say? Meriam-Websters dictionary defines music as the science or art of ordering tones or sounds in succession, in combination, and in temporal relationships to produce a composition having unity and continuity. This definition does not serve music justice. The emotions that are evoked by music are nearly indescribable. Many scholars avoid attempting to define music as it is such an identifiable feature within our lives; attaching a definition to music may put constraints on one of lifes most creative and expressive forms. Music, and its importance, means something different to everyone based on their upbringing, their nationality or simply their current state of being at a particular time in life. Music holds not only the power to move a nation, but more importantly holds the power to move a soul. If not to define, but to associate music with another term, the most relatable term may be beneficial. To gain these benefits, it is essential that individuals receive an education in music. Music education should be taught by a trained music educator or music specialist in order for students to have the most rewarding and authentic experience possible. When a trained music educator brings their knowledge, passion and determination to the classroom, the door opens to possibilities and experiences to nurture and encourage the souls of their students. Being a fine art, music is often overlooked by individuals who have not experienced the program first hand. Grammy award winning singersongwriter Jewel said, Some people think music education is a privilege. I think its essential to being human. Music education should not only be taught at music conservatories, but should be available to students in all schools whether public or private. Providing students with music

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education enriches their sense of creativity and is essential in promoting an aesthetic learning experience. Music education should be available to all children regardless of their age, socioeconomic status, learning ability or geographic location. It is essential that music be taught in schools not only to enable a child to strive and excel as a musician, but also to provide them with the opportunity to achieve non-musical benefits, foster creativity, expand cognitive abilities and develop competencies for 21st-century learning. Tell me and I forget, teach me and I may remember, involve me and I learn. Benjamin Franklin Music education should start as early as possible. Kodly believed that the musical experience should start before birth (Neumann, 2006). As this is not a reality for all individuals, beginning music education in early childhood is equally acceptable. [However, one is never too old to begin a music education]. At this young age both the Orff and Kodly method are plausible for teaching music in the classroom. The Orff approach is beneficial for students as it encourages their natural sense of play. Learning musical concepts through singing, dancing and other kinesthetic learning techniques gets students actively involved in their experience. One of the most pervading learning concepts in the Kodly method is the use of the child-centered approach of "sound before sight" also known as "concrete before abstract." The learning that takes place in Kodly focused classrooms always involves active music making and evolves from the musical experiences that students encounter in their classroom (Neumann, 2006). Both of these well respected methods focus on ideas of actively involving students in music making within their classrooms. The music curriculum should encompass a broad variety of musical genres for study. Students being taught to appreciate a wide range of musical genres, while developing essential

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musicianship skills including rhythmic training and sight reading abilities will help in the development of a passion for music. If music educators can influence a child to develop a passion for music, it is a hope that their music education will never end. Having the opportunity to be involved in music education is a primary stepping stone in developing a students musicianship skills. Donald Schn, influential scholar of reflective professional learning in the twentieth century, describes musicianship as thinking in action and knowing in action (Eliott, 1995).To develop their musicianship skills, students must actively participate in sight reading, rhythmic exercises, ear training and scale practice. This all must be done with some degree of challenge for students so that they are able to excel and maintain an interest in what they are learning (Eliott, 1995). A principal goal in music education is to engender a life-long involvement with (and love of) musicing and listening (Eliott, 1995) which can be done by allowing students to experience and appreciate a wide array of music cultures. Students musicianship is likely to strengthen as a result of exposure to different musical genres as they venture into new territory and challenges to overcome. It is important as a music educator to gauge the skill level of your ensemble and choose appropriate repertoire that challenges students in order to keep their abilities developing and their interest levels high. In many subjects, students are limited in the amount of their personal experiences and passions brought into the classroom. Music education offers a safe environment for students to develop their personal connection with music and foster their creative needs. Within the music classroom, it is essential to teach students that making mistakes and trying new things is the best way for them to not only grow as musicians, but as individuals. Sir Ken Robinson discusses the role that schools playing in killing creativity. He argues that individuals do not grow into creativity, but rather out of it. Instead of educating students out of their creative capacities, we

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need to be educating them into their creative capacities. This can be done in the music classroom by promoting self expression, opportunity for improvisation and inviting students to bring their personal tastes into the classroom. By providing students with the opportunities to share their musical interests in the classroom, the more willing they will be to experiment with music introduced by the teacher. By fostering creativity in the music classroom, we are diverting the belief that schools educate from the neck up, and instead promote educating the soul. Being involved in music education and in an ensemble not only develops students' musical ability but also equips them with non-musical life-long skills. Being a member of an ensemble requires an individual to develop skills in reliability. Each member of the ensemble is responsible for preparing their music, attending rehearsal and when in rehearsal being attentive and ready to learn. It is the responsibility of each ensemble member to seek out help and make use of practice time with areas of struggle in the repertoire. In doing each of these things, students are being molded into reliable citizens. In order for the ensemble to strive for its best, members must be able to rely on each other. Developing leadership skills within the music classroom is vital. Music exposes the emotions and abilities of students to their peers. In being a leader, students learn to respect one anothers ability, accept responsibility for the work of their entire section and learn to be supportive and encouraging members of the ensemble. Team work is imperative within a music ensemble. Both within sections and across the group, students participate and endorse team work through fundraising, competing in festivals and in everyday rehearsals. In developing these skills through participation in the ensemble, students gain lifelong skills that will help them in whatever future path they may choose. A multitude of skills are used in playing an instrument which can help enhance cognitive stimulation and ability. Playing an instrument is a multisensory motor experience. Reading

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musical symbols and translating them into sequential motor activity [playing an instrument]depend on multisensory feedback; developing fine motor skills coupled with metric precision; memorizing long musical passages; and improvising within given parameters (Schlaug, 2006). Research has demonstrated that music training in children results in long-term enhancement of visual-spatial, verbal, and mathematical performance (Shlaug, 2006). Mathematical skills may be enhanced by music learning because understanding rhythmic notation actually requires math-specific skills, such as pattern recognition and an understanding of proportion, ratio, fractions, and subdivision. Learners of the 21st-century need to not only be learning course curriculum within the classroom, but also developing learning competencies that will equip them for life in the 21stcentury. Through music education many 21st-century learning competencies are acquired by students. The competencies gained by students include creativity and innovation, collaboration, leadership, lifelong learning, self direction and personal management. Several of these competencies have already been discussed including creativity and innovation, collaboration [team work] and leadership. Lifelong learning is promoted by students gaining an appreciation and interest in different musical genres. When students develop a passion for music and for their instrument, they are more likely to continue further studies in the field. Self direction and personal management are required in the music classroom as each member of the ensemble is responsible for making a personal contribution. Students ability to monitor their progress and gauge where their skill level is will help them to decide how much practice needs to be done in order to meet an acceptable standard within the ensemble. By equipping students with these skills through music education, they are more prepared to be self-directed and successful 21stcentury learners.

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By providing students with an authentic and enriching music education, their life-long learning and enjoyment for music will thrive. Music education provides students with opportunities to grow both as musicians and individuals in the 21st-century. It is essential for students to actively participate in the course in order to reap all of the benefits. The benefits obtained through participation in a musical ensemble are indispensible. In order for this to happen it is vital for music educators to bring their passion, enthusiasm, knowledge and commitment to every lesson. The passion within the music educator is infectious and has the potential to reach every student; each students passion will affect and impact the lives of others. Music education initiates the ripple effectthere is no knowing where, or if the influence of music will ever stop.

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Bibliography Elliott, D. J. (1995). Music matters: A new philosophy of music education. New York: Oxford University Press. Music. (n.d.). In Merriam-Webster online. Retrieved from http://www.merriamwebster.com/ Neumann, C. (2006). The Kodaly Method and Learning Theories. The Canadian Music Educator, 4(47), 48-49. Retrieved January 19, 2013, from the CBCA Complete database Peters, S. (1993). Orff Schulwerk, music for children: Origins and Insights. The Recorder, 1(36), 28-30. Retrieved January 22, 2013, from the CBCA Complete database. Schlaug, G., Norton, A., Overy, K., & Winner, E. (2005). Effects of music training on the child's brain and cognitive development.. Annals of the New York Academy of Sciences, 1060 (The Neurosciences and Music II: From Perception to Performance), 219-230. Serafine, M. L. (1988). Music as cognition: the development of thought in sound. New York: Columbia University Press. TEDTalks: Sir Ken Robinson--Do Schools Kill Creativity? (2006) http://www.youtube.com/watch?v=iG9CE55wbtY