Eli$Badra$ 4/29/2013$ Seminar$in$Music$Education$ $

Final&Paper& & I.#My#Philosophy#of#Music#Education# # $ In$todays$educational$climate,$where$empirical$results$often$trump$less$ tangible$accomplishments,$it$can$be$difficult$to$justify$why$music$should$be$given$ equal$priority$to$the$core$subjects.$Instead,$it$is$often$regarded$as$extraneous,$a$ means$of$keeping$some$students$entertained$while$providing$a$select$few$with$a$ path$toward$more$advanced$performance$experiences.$Unfortunately,$this$is$how$a$ number$of$music$programs$are$set$up$nationally,$and$so$the$perception$perpetuates$ itself.$Having$a$strong$philosophy$of$music$education$therefore$becomes$incredibly$ important:$because$the$subject$is$so$often$relegated$to$secondary$status,$a$music$ educator$must$be$able$to$explain$why$music$education$should$be$included$in$all$ school$curriculums$and$embraced$by$the$community$at$large.$ My$philosophy$of$music$education$moves$away$from$the$talentocracy$that$ has$taken$over$so$many$programs.$Students$will$be$empowered$to$make$their$own$ musical$decisions,$whether$as$a$listener$or$performer,$rather$than$being$forceOfed$a$ canon$that$may$not$represent$their$interests.$Because$music$can$have$such$a$ profound$impact$on$our$lives,$I$believe$this$will$help$them$live$happier$and$healthier$ lives.$On$a$more$practical$level,$music$encourages$a$number$of$positive$behaviors,$ including$commitment$to$a$longOterm$project,$deep$analysis,$and$critical$thinking.$ Students$should$not$be$taught$that$music$is$for$an$elite$few$and$that$the$concert$is$ the$necessary$final$product,$and$I$hope$to$cater$my$program$to$the$majority$of$kids$

who$will$consume$music$more$than$create$it,$while$still$providing$an$outlet$for$those$ who$wish$to$pursue$a$more$performanceOheavy$curriculum.$ Before$discussing$the$fine$points$of$this$philosophy,$we$must$address$two$ fundamental$questions:$why$teach$music$at$all,$and$why$teach$music$in$schools?$ According$to$Bennett$Reimer,$music$should$be$taught$because$it$allows$one$to$ develop$a$form$of$intelligence$that$encourages$the$formation$of$meaningful,$ cognitive$experiences$unavailable$in$any$other$way1.$Engaging$with$music$is$good$ for$ones$mental$health.$It$allows$us$to$achieve$a$selfOknowledge$that$no$other$art$ form$is$able$to.$We$react$to$music$immediately$and$viscerally$$in$fact,$a$pleasurable$ response$to$music$causes$activity$in$brain$functions$most$commonly$associated$with$ food,$sex,$and$drugs2.$In$this$light,$music$is$the$most$human$art$form$out$there.$It$ stands$to$reason$that$something$that$reaches$us$on$such$a$base$level$deserves$ proper$education.$I$believe$that$achieving$this$sense$of$mental$wellObeing$when$ listening$to$a$particularly$affecting$piece$of$music$can$be$taught,$and$that$the$ discipline$achieved$through$learning$how&to$listen$to$music$makes$it$possible$to$ immerse$oneself$in$other$aspects$of$life$in$a$similar$fashion.$ If$music$is$to$be$taught,$why$teach$it$in$schools?$Can$one$not$achieve$the$same$ goals$through$his$or$her$own$research$and$attentive$listening$in$the$course$of$dayO toOday$life?$Answering$this$question$calls$into$question$the$very$nature$of$schools$ themselves.$Let$us$assume$the$reasonable$assertion$that$schools$are$meant$to$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
1$Bennett$Reimer,$A&Philosophy&of&Music&Education:&Advancing&the&Vision&(Upper$Saddle$River:$

Prentice$Hall,$2003),$28$ 2$Blood,$Anne$J.$Intensely&Pleasurable&Responses&to&Music&Correlate&with&Activity&in&Brain&Regions& Implicated&in&Reward&and&Emotion.$PNAS,$11$July$2011.$ <http://www.pnas.org/content/98/20/11818.short>.$ $

prepare$children$to$be$informed$and$functional$members$of$society$according$to$its$ established$values,$and$that$students$are$encouraged$to$become$the$best$version$of$ themselves$through$the$educational$system.$Developing$a$healthy$relationship$with$ music,$as$discussed$above,$can$help$the$process$of$selfOactualization.$Preparing$ students$for$a$musical$life$outside$of$school$proves$to$be$a$bit$more$difficult:$music$ must$be$taught$in$schools$because$it$is$our$responsibility$to$place$what$they$hear$in$ a$proper$context.$Although$I$certainly$acknowledge$the$value$of$musicOmaking$and$ performance,$as$Reimer$asserts,$the$vast$majority$of$students$are$not$interested$in$ pursuing$a$performanceObased$curriculum.$Therefore,$I$think$the$first$priority$ should$be$creating$empowered$listeners$who$can$make$their$own$meaningful$ musical$decisions$while$still$providing$an$outlet$for$students$who$want$to$play$an$ instrument.$ We$need$no$help$in$exposing$our$students$to$music$$they$have$no$choice$but$ to$listen$to$it$every$single$day$of$their$lives.$Music$simply$pervades$all$aspects$of$our$ society.$Unfortunately,$this$does$not$mean$music$is$always$used$to$positive$effect$in$ our$society:$it$can$disempower$individuals,$perpetuate$stereotypes,$and$create$a$ false$image$of$how$the$world$actually$works.$I$do$not$mean$to$argue$that$pop$music$ is$without$artistic$merit$(by$its$very$nature$it$is$downright$enjoyable)$or$especially$ cynical$in$its$worldview.$However,$it$is$still$important,$especially$for$young$students,$ to$understand$how$pop$music$actually$functions$in$our$society,$both$as$an$art$form$ and$a$commodity.$It$can$be$easy$to$let$what$is$popular$dictate$the$rest$of$ones$tastes,$ which$is$why$the$educator$needs$to$be$able$to$place$what$students$hear$outside$of$ school$in$context.$

Societys$relationship$with$music$becomes$more$complicated$when$we$ consider$the$distinction$we$have$made$between$high$and$low$art.$Even$though$ one$can$draw$a$direct$line$from$Bach$to$Jimi$Hendrix,$we$are$taught$that$the$former$ is$fit$for$the$ancient$concert$hall$and$consumed$by$an$elite$few,$while$the$latter$is$for$ the$rest$of$us.$There$is$a$wealth$of$enjoyment$to$be$found$in$old$art$music,$and$to$ be$able$to$trace$its$development$up$to$the$present$day$can$be$immensely$rewarding.$ Though$I$disagree$with$the$idea$of$placing$musical$styles$in$a$hierarchy$of$value,$I$do$ believe$a$lot$of$music$is$simply$easier$to$listen$to.$If$the$primary$goal$is$to$create$ empowered$listeners,$the$value$of$a$challenging$listening$experience$cannot$be$ denied.$This$is$where$flow$theory$comes$into$play.$Originally$coined$by$psychologist$ Mihalyi$Csikszentmihalyi,$David$Elliott$has$expressed$his$belief$that$when$our$ levels$of$musicianship$match$the$challengeOlevels$of$the$pieces$we$interact$with,$we$ achieve$the$central$values$of$musicing$and$listening:$namely,$musical$enjoyment$(or$ flow),$selfOgrowth,$selfOknowledge$$and$$selfOesteem.$ Because$students$are$already$familiar$with$the$structure$of$the$music$they$ listen$to$outside$of$school,$it$is$the$teachers$responsibility$to$present$them$with$ works$that$will$challenge$the$scheme$they$have$created.$In$this$way,$the$student$ slowly$learns$how$to$achieve$a$flow$state$through$active$and$engaged$listening.$This$ practice$can$begin$with$relatively$simple$exercises,$such$as$presenting$a$typical$ sonata$form$and$having$the$student$identify$the$main$components,$then$slowly$ expand$into$more$complex$tasks,$such$as$working$through$a$12Otone$piece$and$ identifying$how$the$tone$row$is$manipulated$throughout$the$score.$Luckily,$the$ history$of$Western$music$suits$this$sequence$of$learning$well,$so$a$chronological$

presentation$of$styles$and$genres$can$help$the$student$work$in$a$specific$context$ while$simultaneously$increasing$in$difficulty$over$time.$ Implementing$this$sort$of$program$requires$a$fundamentally$different$way$of$ thinking$about$what$music$education$should$be.$At$the$moment,$beyond$elementary$ school,$music$becomes$a$matter$of$haves$versus$haveOnots.$General$music$ courses$are$typically$not$offered$in$middle$and$high$school,$save$for$theory$classes$ that$seem$intended$to$prepare$students$for$highOlevel$performance,$or$obligatory$ history$courses$designed$for$nonOmusical$students$to$fulfill$an$arts$prerequisite$for$ graduation.$This$means$that$the$majority$of$students$are$only$receiving$an$ absolutely$minimal$education$in$music$$elementary$classes$do$an$excellent$job$of$ giving$them$the$fundamentals$like$pitch,$rhythm,$and$perhaps$even$how$to$read$ music,$but$they$are$left$to$do$nothing$with$this$information$after$moving$up$to$ middle$school,$right$when$they$are$primed$to$be$able$to$pursue$it$on$a$deeper$level.$ If$we$ask$ourselves$who$should$learn$music,$current$curriculum$structure$suggests$ a$select$few$who$demonstrate$enough$aptitude$to$begin$learning$an$instrument.$This$ should$absolutely$not$be$the$case$in$our$schools:$simply$put,$all$people$should$learn$ music.$ Who,$then,$is$responsible$for$teaching&this$music?$This$question$may$appear$ simple$at$first$glance,$but$simply$hiring$an$accomplished$musician$will$not$do.$A$ teacher$with$a$high$level$of$musicality$is$important,$to$be$sure,$but$we$must$be$ careful$to$not$define$musicality$as$exceptional$performer.$Doing$so$leads$to$a$ number$of$problems.$First,$it$further$perpetuates$the$performanceObased$ curriculum,$as$those$with$a$primary$background$in$the$concert$hall$(without$any$

educational$training)$may$place$having$students$actually$play$music$above$fostering$ a$longOterm$relationship$with$the$subject.$According$to$Reimer,$good$music$teachers$ have$a$high$degree$of$musical$sensitivity$and$pedagogical$experience4.$ Performance$experience$is$necessary,$but$it$should$not$be$the$metric$by$which$we$ define$the$potential$of$an$educator.$What$is$more$important$is$having$a$broad$ foundation$in$music,$which$allows$the$teacher$to$cater$his$or$her$curriculum$to$the$ needs$of$individual$or$groups$of$students.$Every$musician$will$naturally$have$an$area$ of$specialization,$but$teachers$must$at$least$be$wellOversed$in$a$wide$array$of$ pedagogy,$if$only$so$that$they$are$prepared$to$teach$where$they$are$needed.$$ I$believe$a$certain$amount$of$objectivity$is$also$required$in$an$effective$music$ teacher.$It$is$only$natural$for$one$to$have$his$own$biases:$someone$who$comes$from$ a$jazz$background$is$likely$going$to$prefer$that$music$over$classical.$However,$it$is$ important$to$not$allow$these$biases$to$overly$bleed$into$the$curriculum.$It$can$be$ easy$to$underestimate$just$how$much$impact$an$expert$in$the$field$has$on$the$ attitudes$of$his$or$her$students,$and$placing$too$much$of$an$emphasis$on$a$particular$ type$or$music$or$educational$theory$can$dictate$their$preferences.$If$the$issue$of$ taste$is$not$dealt$with$delicately,$students$can$wind$up$creating$the$hierarchical$ distinctions$discussed$above.$A$good$music$teacher$does$not$need$to$$nor$can$he$or$ she$be$expected$to$$equally$enjoy$all$music.$I$do$believe$that$he$or$she$must$ appreciate&all$music$for$its$relative$merits.$ This$brings$in$the$question$of$what$music$should$be$taught$in$my$ideal$ classroom.$We$live$in$an$age$where$the$Western$canon$cannot$be$considered$the$beO $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
4$Reimer,$97$

all$endOall$list$of$good$music.$In$fact,$it$would$be$irresponsible$to$make$such$a$ claim.$Granted,$the$contemporary$music$we$consume$in$the$United$States$is$largely$ beholden$to$the$Western$canon,$and$so$it$is$understandable$if$one$wanted$to$ emphasize$this$tradition$over$others.$However,$we$cannot$ignore$music$from$other$ parts$of$the$world,$especially$now$that$it$has$become$so$easy$to$find$and$consume$it.$$ It$is$also$the$teachers$responsibility$to$ensure$his$or$her$minority$students$are$ represented$musically.$While$I$do$believe$that$music$is$a$universal$phenomenon,$it$is$ not$a$universal$language:$musical$traditions$are$quite$variable,$as$is$how$music$is$ valued$among$the$worlds$cultures.$Comparing$a$Beethoven$string$quartet$to$a$ traditional$Indonesian$gamelan$ensemble$is$enough$to$demonstrate$that$our$ Western$reliance$on$the$overarching$tonicOsubdominantOdominant$cadence$is$not$ the$only$way$to$construct$harmony$and$form.$Furthermore,$music$occupies$different$ aspects$of$a$culture.$In$the$United$States,$it$is$dominantly$something$we$seek$for$ enjoyment.$However,$other$cultures$view$it$as$a$deeply$religious$practice,$and$one$ that$is$not$to$be$taken$lightly.$$ How$can$we$begin$to$define$good$music,$then?$Expression$of$intention$may$ be$a$good$starting$point:$does$the$piece$successfully$convey$what$it$intends$to$ convey?$If$so,$it$is$suitable$for$the$classroom.$This$definition$is$necessarily$nebulous,$ as$music$serves$so$many$different$purposes$for$us.$It$allows$the$teacher$a$certain$ amount$of$freedom$when$selecting$works$while$still$providing$a$foundational$ question$to$pose.$As$long$as$the$music$is$good,$the$rest$of$the$work$is$easily$taken$ care$of.$There$are$many$examples$of$the$musical$refrain,$so$the$teacher$should$have$ no$problem$finding$one$that$suits$his$or$her$pedagogical$purposes$without$

compromising$the$quality$of$the$work$itself.$Of$course,$making$this$decision$is$highly$ subjective,$but$if$the$educator$brings$a$strong$foundation$of$musical$knowledge$to$ the$classroom,$we$may$trust$him$or$her$to$make$the$decision$from$an$informed$ standpoint.$ Theorizing$about$the$most$effective$practices$in$the$music$classroom$is$all$ well$and$good,$but$how$should$this$music$actually$be$taught?$I$look$again$to$Reimer,$ who$prefers$to$emphasize$the$general$music$classroom$above$specialized$courses.$ Because$the$majority$of$students$will$not$be$looking$to$perform,$I$believe$it$is$ important$to$do$away$with$the$productObased$orientation$that$dominates$a$number$ of$programs.$Music$curricula$are$currently$such$that$we$naturally$place$less$of$an$ emphasis$on$developing$musical$sensitivity$and$critical$listening.$These$two$ practices$may$naturally$arise$in$a$performanceObased$program,$but$it$cannot$be$ assumed,$and$performance$in$and$of$itself$is$not$a$solid$enough$foundation$for$music$ education.$$ The$role$of$the$general$music$class$should$be$greatly$expanded.$Elementary$ schools$work$well$enough:$children$are$given$the$foundations$of$music$and$even$ introduced$to$some$repertoire.$In$middle$school,$the$curriculum$should$begin$to$ emphasize$perceptive$listening.$Early$on,$this$can$mean$an$introduction$to$the$ Western$canon,$specifically$focusing$on$the$Classical$period,$which$students$are$ likely$most$familiar$with,$and$which$is$easiest$to$follow,$given$its$emphasis$on$form$ and$order.$It$is$important$that$we$begin$to$foster$a$relationship$with$art$music$as$ early$as$possible$so$that$children$are$more$likely$to$seek$it$out$on$their$own$when$ they$are$out$of$school.$Simple$forms,$like$the$rondo,$theme$and$variations,$and$

sonata,$are$easy$enough$for$middle$school$students$to$grasp.$At$this$point,$the$ repertoire$should$be$easy$to$follow$$Mozart$will$be$especially$useful$here,$as$his$use$ of$form$is$quite$clear.$At$the$same$time,$the$teacher$should$place$these$practices$in$ context:$without$delving$too$deeply,$one$may$use$a$Baroque$piece,$with$its$relentless$ stream$of$melody,$to$demonstrate$how$the$Classical$period$was$a$specific$movement$ against$what$came$before$it.$From$here,$the$teacher$can$provide$a$brief$road$map$of$ how$we$ended$up$with$the$music$that$we$have$now.$The$sooner$students$are$able$to$ internalize$the$concept$of$musical$evolution,$the$easier$it$will$be$for$them$to$ appreciate$the$progression$and$creation$of$what$they$listen$to.$ Students$should$also$be$aware$of$music$from$other$cultures.$I$believe$ something$like$Gahu$drumming$is$an$excellent$starting$point$for$middle$school$ children$$improvisation$is$minimal,$which$makes$it$easy$to$structure$a$lesson,$and$ individual$parts$are$simple$enough$that$students$can$find$success$without$much$ difficulty.$Gahu$drumming$also$teaches$students$how$to$play$in$an$ensemble$and$ presents$the$beginnings$of$musical$performances$(even$if$they$are$just$performing$ for$themselves).$The$key$with$the$general$middle$school$curriculum$is$to$ensure$ students$have$continual$success$in$a$number$of$aspects$of$music,$such$as$analysis,$ performing,$and$listening,$while$ensuring$they$are$continually$placed$in$a$historical$ and$cultural$context.$In$practice,$there$would$not$be$very$much$choice$regarding$ what$specific$courses$to$take,$as$the$curriculum$should$stay$general$enough$to$keep$ students$interested$regardless$of$their$musical$aptitude.$Beginning$instrumental$ classes$should$be$made$available$to$ensure$those$who$would$like$to$start$working$ toward$a$performanceObased$education$are$able$to$do$so.$

When$we$reach$high$school,$the$choice$of$courses$should$expand$greatly.$At$ this$point,$students$should$start$to$really$develop$their$own$personal$tastes$and$ begin$to$realize$what$they$are$most$interested$in$learning.$Students$who$would$like$ to$play$instruments$will$have$a$number$of$ensembles$to$choose$from,$including$ band,$orchestra,$chorus,$jazz$band,$and$rock$band.$Those$who$choose$to$not$perform$ (the$majority$of$students)$will$have$more$specialized$general$music$classes$at$their$ disposal,$such$as$History$of$Western$Music,$World$Music,$History$of$Rock/Jazz,$Form$ and$Analysis,$and$perhaps$a$higherOlevel$philosophy$class.$Essentially,$all$of$the$ subjects$touched$on$briefly$in$middle$school$will$be$expanded,$allowing$students$to$ continue$to$explore$what$they$are$most$curious$about.$Because$they$have$a$strong$ foundation$from$elementary$and$middle$school,$they$can$be$trusted$to$access$music$ they$are$not&focusing$on$from$an$informed$standpoint.$As$with$the$educator,$the$ students$will$have$a$strong$and$wellOrounded$foundation$of$knowledge$and$an$area$ of$specialization$they$can$claim$expertise$in.$ Ultimately,$the$goal$of$this$philosophy$is$to$put$students$in$a$position$where$ they$do$not$need$a$teacher$to$help$them$make$musical$decisions.$The$resources$ required$for$its$implementation$are$certainly$daunting,$but$it$is$not$inconceivable$ that$it$could$be$a$reality,$especially$if$the$music$department$has$established$strong$ ties$with$the$community.$For$something$as$fundamentally$human$as$music,$it$would$ be$a$disservice$to$not$enable$young$minds$to$learn$how$rewarding$it$can$be.$ $ $ $