Megan Tompkins

Summer, 2019

Philosophy Paper

Music creates emotions and feelings and it is through music education that students are

able to harness their feelings and explore them in a creative and meaningful ways. There are

many reasons to teach music. It also has a great power for bringing communities together. It is

through music that we can connect with people of all languages and backgrounds. Music creates

a place where all students, regardless of class, gender, talent, or physical ability benefit from

working as a team to create something substantial. It creates emotions and feelings and it is

through music education that students are taught how to harness those feelings and express them

in a healthy and creative way. Not only is music education important on its own, but it teaches

critical skills like self-discipline, teamwork, time-management, and problem solving. It increases

self-esteem and facilitates self-expression (Boardman). Beyond hand-eye coordination and

reading a second language, a music education allows students to expand and mature themselves

as more expressive human beings.

There are so many connections between music and religion, would it be so bold as to say

that music is almost in itself a religion? Similar to religion, music is greater than the mind can

fathom. Since religion is an invisible force that can only be felt, many people have a hard time

expressing the exact feelings it creates (Gary, 50-51). One could say the same for music.

Religion also helps teach morals and creates an emotional attachment. Again, doesn’t music do

the same thing? This is why it is important to teach music. Whereas religion can only reach those

who believe in that entity, music can reach all people of all religions and faiths (Gary, 51). Music

then becomes almost a religion. It helps create a human connection with something much bigger
than what we can comprehend within the mind. This is why it is important to teach it in the

schools. It teaches the same concepts, but leaves the conflicting ideas that religions create at the

door. It is almost as if we are striping all religions of their core and expose the good things of all

religions; the human connection.

Music is an art form. We express ourselves through reflection, creation, and performing.

Music education does not only teach these things, but it also teaches the art of expression. When

life gets messy, music creates a safe place for people. Not all students get to express themselves

at home, so the music classroom should be a safe space for those students to experiment and

connect with another person (Leone, 93). When a student connects with another student on

music, that teaches the value in the relationship created in the process. Music allows people to

get in touch with different emotions and think of them/live in them while listening/performing

music. Since the listener is not in active conversation, they are able to take in the information and

connect with it using different schemas (D'Ausilio). Since music is not a conversation with the

listener, the listener can take in and listen to their surroundings.

A music education is for all people. It is an outlet for all people of all religion, race,

ability level, class, and physical ability to connect with each other. It should be mandatory for all

ages just as physical education is Per-K through 12 and should continue throughout a person's

life. Students should be actively engaged in music no matter the vehicle. Whether through

traditional ensembles, the general music classroom, or an emerging ensemble, they should have

access to a valued musical experience. Traditional instruments can be adapted for student

interests up to a point, but that is where technology kicks in. Music can be altered to match the

ability of each student. Instrumentation can be altered. And finally, if there still need to be

alterations, the student can use pre-recorded tracks to help create the same effect. The bottom
line is that as educators we must find a way to bring music to students and students to music.

They should be able to connect, perform, respond, and create music (All aspects of the National

and NYS Standards). It is incredibly important to touch on each of these standards throughout

one's education. If not for the fact that they are the standards of our music education in America,

but for the fact that they help shape the student into a competent life ling music learner

(Noddings, 10). The students of today will grow up to be the adults who run our country, so why

not help shape them into lifelong music appreciators.

Music is everywhere. It is on the radio, on TV, in movies/video games, in our schools, in

our homes, on our phones. It is so prevalent that students cannot escape it. Students now come to

school knowing more music than students 50 years ago (Colwell, 44). The study of music should

help students be able to not only have the skills to join and perform once they leave school, but

to also find the groups to participate in. There should also be an emphasis on the enjoyment of

music in schools. Too often the music teacher focuses on the skill sets rather than the leisure

aspect (Elkin, 38). Music instruction should emphasize the making of connections within

ourselves and with others. As music educators, we should teach how to connect with our feelings

and express them through an outlet. Music should be taught by making connections between not

only skill sets, but also makes connections to the student’s social level. We can accomplish these

things the use of quality literature. Quality literature entails music that creates a response.

One of the most important musical skills a student can learn is the ability to feel empathy.

It is so important to be able to connect to an emotion being portrayed and the more you are able

to do that with music, the easier it is to do that with other people. Without that skill, the student

only remains a passive listener rather than an active listener and performer. As educators, we are

not only educating the musical skill, but the whole child. As stated in Stanley Leone’s book, “We
are creating the next generation, so if they can only read and write and not connect and feel, then

we have failed (Leone, 42).” By showing students how to connect with their emotions in school,

they are able to connect with things outside of school. We are in the business of not only making

great musicians but making great people who can see outside of the box and think independently.

Without community organizations, all of the work we put into our students is for naught.

As educators, we have a responsibility to not only provide opportunities within the classroom,

but also within the community. Whether that is through community outreach programs,

community music making projects/groups, or improve hour at the local coffee shop, we need to

show students that their musical education is not over once they leave our classrooms. We have

future business men/women, politicians, superintendents, etc. in our classrooms. Then why not

teach them to appreciate and understand music before they go out into the world? By creating a

space where they can make music in the community, we are reaching more people than those just

in the chairs of our ensembles. We should be sharing the magic of music rather than keeping it

behind our little four walls.

Similar to Bennett Reimer’s philosophy of music, music is such a powerful experience. It

needs to be experienced rather than just performed. It is so unique to the individual, that no

music education can really be the exact (Reimer). Similar to lighting, it has a purpose, but it is

unique to each individual. Each lightning strike creates a reaction between positive and negative

particles bouncing off one another. Since this happens at random, each strike of lightning is

different. That analogy can be applied to music. If a person hears a song, the song is completing

the purpose, but the listener will interpret the song however they personally connect. This effect

will be different every time.

 Citations

Boardman, E. (2001). Generating a theory of music instruction: Eunice boardman has devoted

her life to getting those she teaches to ask themselves these questions: What and how

am I teaching and why? Music Educators Journal, 88(2), 45-53.

Colwell, R. (2000). The best from the past: Richard Colwell examines what he considers to be

the best of past developments and events in a half century of music education. Music

Educators Journal, 86(5), 43-49.

D'Ausilio, Alessandro, Leonardo Badino, Yi Li, Sera Tokay, Laila Craighero, Rosario Canto,

Yiannis Aloimonos, Luciano Fadiga (2012). Leadership in Orchestra Emerges from the

Causal Relationships of Movement Kinematics (Measuring Leadership in Orchestra).

San Francisco Vol. 7, Iss. 5, (May, 2012): e35757. doi:10.1371/journal.pone.0035757

Elkin, M. (2013). A Student's Good Vibrations. Jewish Exponent, p. 38.

Gary, C. (2001). Faith of Our Fathers: Music educators, as missionaries of the truth in beauty,

can bridge the gap between universal experience and spiritual vision, proving the need

to keep music in schools. Music Educators Journal, 87(6), 50-52.

Leone, Stanley, Jr. (2017). No Place Like Hope. Providence, ON. doi:0692931805

NAfME. (2014, March). 2014 Music Standards. Retrieved January 16, 2019, from

<https://nafme.org/my-classroom/standards/core-music-standards/>

Noddings, Nel. (2005). What does it mean to educate the whole child? Educational

Leadership, 63(1), 8-13.

NYS Education Department. (2017, June). Arts Standards. Retrieved July 16, 2019, from
 <http://www.nysed.gov/curriculum-instruction/arts>

Reimer, B. (1989). Experiencing music. A philosophy of music education (2nd ed.). Englewood

Cliffs, N.J.: Prentice Hall.

 Name:_Megan Tompkins_
Graduate Seminar in Music Education
Presentation Self-Assessment
1) To be completed immediately following your presentation and turned in the following class period
2) Your honest self-assessment is important to self-growth and will be utilized in the determination of your
presentation grade. (each area must include justification with written comments.)
************************************************************************
I. The content of my presentation was thorough:

Strongly Agree Undecided Disagree Strongly

Agree Disagree

Comments: I felt that I included all of the areas expressed in the rubric. I also incorporated the ideas of
9 other people whom I have included in the citations. I could have included more people on the
opposing side of my argument (such as Reimer and Elliot). I also think I did a good job on including
different elements of music as well as brought in resources that are important to my own school
district (Leone).

II. The content of my presentation emphasized issues and individuals important to the development and
philosophy of music education:

Strongly Agree Undecided Disagree Strongly

Agree Disagree

Comments: Again, I felt that the individuals that I included were of great importance to my
philosophy. They all brought something unique but were all connected by the same idea. I also felt
that I was able to use the National standards to help argue in favor of my philosophy.

III. My presentation was engaging and interesting:

Strongly Agree Undecided Disagree Strongly

Agree Disagree

Comments: I felt that it was quite wordy. I tried to incorporate a quote that was important to me as
well as use helpful analogies that tie into my philosophy.

IV. I used supplemental (e.g. audio / visual) materials to enhance my presentation:

Strongly Agree Undecided Disagree Strongly

Agree Disagree

Comments: I am not quite sure how to answer this. Since I am not presenting this, I did not include
audio/visuals. I did include a variety of sources. I took sources form the previous reading material as
well as outside sources and a book that my school is requiring all teachers to read.
V. I related my presentation to current issues:

Strongly Agree Undecided Disagree Strongly

Agree Disagree

Comments: I tried to make connections to issues happening today multiple times. Some of those
include the discussion of the National Standards as well as the discussion of the role of the orchestra. I
could insert more current events.