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Miles 1
Philosophy of Music Education
Seminar Summer 17
The ineffable feeling people get from listening to their favorite piece or playing in
their favorite ensemble is reason enough to enjoy music, but why is it taught? Music
addition, music must be taught for the simple beauty of music (Reimer, 2003). Thomas
the other hand, the Elliotts paraxial philosophy focuses only on the making of music. A
healthy synergy must be achieved between both of these philosophies because music
making centered around beauty, through its very nature, captures the mind and
ensnares the soul. This concept is embodied by Merriams (1968) functions of music.
Therefore, music education must take our students on a journey to discover the
adventure, and this creativity is the flourishing of human nature (Elliott & Silverman,
2015). The Greeks thought music would help a person become more human and
Boethius believed that music leads us to a moral way of life. Later Reimer (1999) stated
that music helps to define aesthetic beauty in the human condition. Christopher Small
(1998), an ethnomusicologist who turned his lens onto western art music, says that
music is the interactions between every single person involved in the creation of music.
Daniel Miles 2
Philosophy of Music Education
Seminar Summer 17
These interactions are what make music special to us humans. Merriam (1968) has two
functions of music that helps with conformity to social norms as well as validates
social institutions and religious rituals further strengthening the argument that music is
a social event (p. 244). In each case, the focus is on the improvement of the human
race. Furthering Merriams functions of music, humans enjoy music for the aesthetic
how music promotes continuity and stability of culture all show the importance of music
All of these great philosophers point to the idea that we study music to give us
communicating, and deriving meaning musically in our human world (Gates, 2000, 77-
78). The social and communicative nature of music helps elevate the human condition
and the human condition can only be elevated if all people are given a music education.
need to be active participants in making music, in whatever form is appropriate for them.
This can be in the traditional ensembles, rock band, guitar, music technology, etc.
Boespflug (1999) argues that musical concepts can be taught through any medium.
Gone are the days where the only road to a music education is through band, choir, or
orchestra. One method for ensuring that music as an art form is taught in the ensemble
Performance (CMP) model. The three outcomes of CMP are: knowledge, skill, and
affective; and they act as guides and have only been applied to large performing
ensembles for large performing ensembles. Often, only skill outcomes are effectively
Daniel Miles 3
Philosophy of Music Education
Seminar Summer 17
taught in these ensembles because skills are what make sound happen at the next
concert. At the same time, affective outcomes are left up to chance in the hopes that
students find beauty in music. All the while knowledge outcomes are neglected because
who has the time to teach the history of a piece because the right notes need to be
played on the next concert. All three of the outcomes are inextricably linked to the point
where they all rely on one another (OToole, 2003). Each outcome should not be taught
on its own, instead they should be used to inform each other. Through the outcomes
students should learn all of the elements of music: pitch, rhythm, expressive techniques,
texture, timbre, and form. By teaching through the elements of music, students will learn
By increasing the knowledge students have about a piece the closer they come
to developing an understanding. Then, the affective outcomes will lead to the ineffable
experience that helps the very nature of humanness flourish. This music only reaches a
experience, it is criminal only a select few students are given this opportunity of music
education.
However, unfortunately traditional band, choir, and orchestra only reach a select
few of our students in schools. These ensembles need to reach as many students as
possible because music should not be for the select few. Large performing ensembles
may not be for every budding musician and that is where quality general music electives
and experiences can reach all students. These courses need to reach all students?
Regrettably, general music courses like guitar, piano and/or theory are often secondary
and subpar because they are taught to fulfill FTE or elective requirements. Instead, they
Daniel Miles 4
Philosophy of Music Education
Seminar Summer 17
need to be taught with as much effort, focus, excellence, and excitement as possible.
whatever else the teachers and students want are all approaches that, if taught
properly, will be appealing to many students who are not in the large ensembles.
Students are more motivated to join these non-traditional approaches because they are
more relevant, and they are more conducive to student independence and creativity.
This experience allows all students to participate in music. Then, students who
participate in music need to learn the skills to participate in music once they leave
performing outlets, and either find music or learn it by ear. These are all skills that can
be learned. This type of education fosters lifelong learning so students are able to enjoy
music beyond school. Further, while students are in school they must have a highly
To foster the most effective music education experience the music must be of the
highest value. In addition, since music takes on its own meaning for each individual a
variety of music must be selected; this diversity in, and quality of, music and experience
is most likely to promote student interest while also broadening the participants
perspective related both to music and to the human condition. There are several
methods for selecting quality music. The Ostling-Gilbert selection method offers a
systematic look at music selection while focusing on quality music for quality teaching
moments. CMP offers a section that focuses on what the teacher believes the students
need to learn. The primary selection criterion for CMP is called The Heart. This is the
over-arching reason for selecting this piece of music and the teacher will always keep
Daniel Miles 5
Philosophy of Music Education
Seminar Summer 17
the heart in mind while teaching this piece. Stephen Budiansky (2005) makes a case
that only the best literature is read in English class. If English classes were told to read
anything else, parents would be frustrated and students not enriched. Quality music is
involved. Concerts should not be forma or for the sole purpose of assessment and
joyful experience (Reimer, 2003). More meaningful concerts could center on broader
Informances create meaningful experiences for all involved because the music is
accessible to all because it is explained. Concert goers do not need to be well informed
musicians to make understanding Using music for humanitarian purposes, could include
performing concerts at nursing homes and refugee camps, etc. in order to elevate the
human condition for all. Meaningful concerts result in meaningful musical experiences.
The meaningful musical experiences also come from the skills and knowledge
the students gain during the process of learning music. Above all students need to have
such a strong connection to music that they have a desire to seek out quality musical
experiences when they leave the confines of school. Boespflug (1999) says, one way to
teach students to appreciate music is through the elements of music: pitch, rhythm,
expressive techniques, form, texture, and timbre. How each of these elements is taught
depends on the type of music class. A performing ensemble should teach these
concepts through performing music, as that goes beyond. A GarageBand class should
create musical works that clearly employ the elements of music. These non-typical
Daniel Miles 6
Philosophy of Music Education
Seminar Summer 17
classes are another way for students to express themselves through music once they
performance based setting is a profound way to enter into music in a holistic way.
The Action Ideals from the MayDay Group provide programmatic ideas for
teaching music in a holistic and transformative way. The most powerful action ideal for
international music teachers is number 3, As agents of social change who are locally
and globally bound, we create, sustain, and contribute to reshaping musics [sic], ways
of knowing music, and spaces where musicing [sic] takes place. Thus, music educators
must always strive to provide equitable, diverse, and inclusive music learning practices.
This statement shows how teachers are agents of social change and can provide
culturally affirming music to all of our students. David Elliott calls for music teachers to
create a new type of citizenship as a way to promote positive social change in people.
Both the Mayday Group and Elliott argue the masterpieces do not need to be
abandoned, instead create a culture of people who at least in part identify with
themselves as artists.
quoting Karl Gehrkens(1937), Music for every child, Every child for Music (p. 31). This
means that quality music expressive experiences should be made available to all
students where musiking is authentic and envelopes the students soul instead of, for
example, the teach yourself guitar class. This course does not ensnare the soul of
students. Music must be available to every student and music must be taught with an
Reference:
Boespflug, G. (1999). Popular Music and the instrumental ensemble. Music Educators
Budiansky, S. (2005, January 30). The kids play great. But that music. Washington
Elliott, D. J., & Silverman, M. (2015). Music matters: a philosophy of music education.
Gates, J. T. (2000) Why study music? In C. K. Madsen (Ed.), Vision 2020: The
VA: MENC.
Gehrkens, K. (1933). Music for Every Child; Every Child for Music. Music Supervisors'
University Press.
Publications.
music for curriculum theory in music education [Web log post]. Retrieved
Daniel Miles 8
Philosophy of Music Education
Seminar Summer 17
from http://www.maydaygroup.org/2003/04/implications-of-aesthetic-versus-
praxial-philosophies-of-music-for-curriculum-theory-in-music-
education/#.WWEnZMaZM0Q
Reimer, B. (1999). Facing the risks of the "Mozart effect.". Phi Delta Kappan, 81(4),
278-83.
Reimer, B. (2003). A philosophy of music education: Advancing the vision 3rd ed..