Philosophy of Education

Brianna Shepardson

Although music is ubiquitous in human society throughout all of history, the reasons for

its value, while plentiful, are diverse and often elusive. For this reason, it is critical for the music

education profession, and for individual music teachers, to determine both why music should be

taught in schools and in what ways it should be taught to fulfill those goals. Most importantly,

music education provides students with a means through which they may a cultivate a deeper

understanding of themselves, their cultures, their peers, and their world. This understanding

materializes as a result of elevated emotional experiences derived from excellent musical

experiences that encourage students to express themselves freely and genuinely.

In order to make music education meaningful for all students, various cultures should be

explored throughout the curriculum, especially those represented by and those least likely to be

experienced by the student population. As stated in the Housewright Declaration, all music has

a place in the curriculum. Not only does the Western art tradition need to be preserved and

disseminated, music educators also need to be aware of other music that people experience and

be able to integrate it into classroom music instruction (Bell et al., 2000, p. 219). Not only does

including music from many cultures help all students to feel understood, it also prompts them to

recognize and learn about the cultures of their peers, of their building community, and of the

larger social and global community. When students feel connected to each other, they develop

empathy and become responsible, compassionate members of society.

The function of music education is to educate the whole student, to develop community,

and to provide a space where students can safely explore and interpret emotions. In a school

environment, music gives students purpose, elicits transfer of knowledge across subjects, and

encourages creativity. Bennett Reimer (1989) explains the intimate power of music beautifully
when he identifies it as an art so powerful in human experience and rich in human meaning as

to be at the core of that which is good about life and that which must be shared through

education (p.25). To that end, when taught well, music enables students to collaborate with

each other to create something inexplicably beautiful and meaningful. As students work together

to produce a beautiful work of art, they often experience a strong emotional connection to the

music, creating a powerful bond between them. There is something indescribable about the

connection made between musicians who work hard to produce a heartfelt performance. This

experience should not be limited to professional musicians, but in order to cultivate loving,

accepting members of society, it should begin as early as possible.

The aesthetic-expressive value must be the heart of music education, but other, more

tangible benefits should not be overlooked. According to Kenneth Phillips (1983), it is necessary

for music programs to embrace both the utilitarian and aesthetic purposes of music, as the more

practical benefits are often the most readily respected by those outside of the professional music

culture. Higher level thinking skills, for example, are developed when students make informed

musical choices and ask difficult questions about the music they are studying. For this reason,

educators should provide students with opportunities to make their own musical choices instead

of providing all musical interpretation for them. Music also inspires creativity when educators

allow students to interpret, improvise and compose. Students involved in music are often asked

to imagine themselves in situations they have never encountered in order to understand the

meaning and background of a song. The creativity cultivated in the music classroom or ensemble

transfers to many other subjects and teaches students how to connect to subjects and concepts

they may not otherwise understand.

 With this as the desired outcome for music programs, the elementary general music

education must provide students with the solid musical foundation needed for the end goal of

aesthetic-espressive musical experience. Students should leave the program with a basic

understanding of musical notation and interpretive skills, but most importantly they should have

developed a genuine appreciation for music. In order to reach this goal, teachers must provide a

careful combination of technical music training and enjoyable, memorable experiences. In doing

so, students must be actively involved in music making during every class period. According to

David Elliott's (1997) praxial philosophy, music education ... centers on achieving self-growth

and musical enjoyment in the thoughtful actions of artistic music making (of all kinds) (p. 30).

If students enjoy their experience in general music, they are more likely to continue making

music throughout their lives, whether that be casually or in an organized ensemble. The avenue

through which students continue making music is much less important than fostering a lifelong

appreciation for music and creativity the ultimate aim of music education.

Because music expression is a powerful means for development of the whole child, music

must be a general requirement in the elementary school setting. Through this curricula, students

must experience the music from various cultures and countries that will encourage respectful

curiosity about different cultures and people. Children will learn to listen critically, to read basic

musical notation, to sing with healthy technique, to compose their own music, and to play basic

percussion and wind instruments. If available, technology must be thoughtfully implemented as a

means to expose students to the diversity of the musical world. All students must be given the

opportunity to perform for their families and classmates at least once every school year and to be

involved, as much as possible, in community events such as nursing home concerts, sporting

events and various other public activities. In order to make education meaningful, teachers must
consider the interests of the students, even if that means moving outside of the teachers comfort

zone. Bennett Reimer (2012) maintains that every additional musical interest met successfully

equals a new group of people who will insist on its continuation (p. 26). Understanding and

supplying a culturally relevant and diverse music education heightens the probability of fostering

an interest for lifelong music making.

All students must receive quality musical instruction through experiential learning and

performance opportunities. According to David Elliott (1991), ... the proficient musical

performer, like the proficient surgeon, must learn by experience and practice how to put

principles into action (p. 27). In the music classroom, students must explore music through

hands-on activities, composition projects and rehearsals in order to develop critical thinking

skills necessary both for excellent music making and for everyday life. In addition, collaboration

with the instructor and peers must be strongly encouraged in order to help students develop a

sense of ownership over their music making.

This necessity of student creativity is cited in the National Music Standards as creating,

along with performing, responding and connecting. Music educators must guide students through

original composition activities in accordance with their developmental stage and allow for

creative student contributions to class activities. Along with creating, educators must provide all

students with opportunities to perform for each other and the community in order to develop

confidence and discipline. Listening, analyzing and interpreting music of all cultures and eras

intelligently is also critical to informing their own music making practices. Finally, students must

understand that music exists beyond the context of the classroom and demonstrate an

understanding of musics connection to culture, art, society, history, and their personal lives

through improvisation, discussion and composition (Core Music Standards, 2014).

 In conclusion, music education is critical for the holistic education of the child, and thus,

all students must be given the opportunity to have authentic aesthetic experiences. With a focus

active participation through playing, singing, listening and creating, the music program must

develop creativity, imagination, cultural appreciation, and self-expression, must keep in mind the

students interests, and must utilize diverse music including from the cultures of the participating

student. In addition, the music program must focus on student independence and active

involvement with ultimate goals of music literacy and of music competency related to the myriad

ways of participating with music making. Most importantly, students will develop the self-

respect, community building skills, and lifelong love for music central to the transformation of

self and society.

 Works Cited

Bell, R., Carter, W. L., Feldstein, S., Gates, T. J., Glidden, R., Hope, S., . . . Madsen, C. K.

(2000,March 8). Vision 2020: The Housewright Symposium on the Future of Music

Education. Retrieved from https://nafme.org/about/history/vision-2020-the-housewright-

symposium-on-the-future-of-music-education/

Core Music Standards. (2014, June 4). Retrieved from https://nafme.org/core-music-standards/

Elliott, D. J. (1991). Music as Knowledge. The Journal of Aesthetic Education,25(3), 21-24.

doi:10.2307/3332993

Elliott, D. J. (1997). Putting Matters in Perspective: Reflections on a New Philosophy. The

Quarterly Journal of Music Teaching and Learning, 7(2-4), 20-35.

Phillips, K. H. (1983). Utilitarian vs. Aesthetic. Music Educators Journal, 69(7), 29.

doi:10.2307/3396296

Reimer, B. (2012). Another Perspective: Struggling toward Wholeness in Music

Education. Music Educators Journal, 99(2), 25-29.

doi:10.1177/0027432112463856

Reimer, B. (1989). Music Education as Aesthetic Education: Past and Present. Music Educators

Journal,75(6), 22-28. Retrieved from http://www.jstor.org.ezproxy.ithaca.edu:

2048/stable/3398124