ME741: Foundations of Music Education Paper 3 - Richard

Thompson 1
Prior to my enrollment in Foundations of Music Education, I thought I was an effective

music teacher. I knew, however, that I had room for improvement, and this was the direct

impetus for my enrollment in graduate studies. While I had hoped to pick up a new teaching

method or two, I have instead developed a deeper understanding of my role in music education,

and the role of music education in my students’ lives. This knowledge came about in response

to the questioning of my long-held teaching practices.

As a private music teacher, I spent the early part of my educational career following in

the footsteps of my own music teachers. Regelski (2002) mentions the adage, “teachers teach

as they were taught” (p. 112), and my situation was no different. As a private piano instructor

teaching young middle-class children, I used the Bastien method books exclusively, because

that was what I had studied when I was a child. While this method worked well for a portion of

my students, there were instances when it did not work. Due to a lack of reflection of my own

teaching practices, I continued using the method in spite of its deficiencies. I’ve since realized

the error of my ways: by blindly following the path and method that I was taught, there was no

way for me to progress as an educator (Regelski, 2002).

As mentioned in the introductory paragraph, coming into this class I was prepared to

learn any number of new teaching methods that I could apply to situations with my students.

Methods (such as Kodály or Orff,) which I could add to my teaching toolbox, and turn to when

my beloved Bastien method failed to produce the desired results. What I did not anticipate was

questioning the effectiveness of my adherence to any particular method, what Regelski terms

“methodolatry” (p. 111). By questioning the basis of my entire teaching system, rather than just

the delivery method, I now understand why my particular method did not work for certain

students. The method’s failure was not due to any student related variables such as lack of

practice or talent, but to my own inability to question the educational situation and goals for each

individual student, and to adapt my teaching practices to honor those educational aspects.
ME741: Foundations of Music Education Paper 3 - Richard
Thompson 2
In addition to questioning the effectiveness of methodolatry in my teachings, this course

has helped me question my aims of music education as well. Prior to this class, my aims for the

music education of my students were very simple: to improve their facility on their chosen

instrument. I did not take into consideration the future musical lives of my students, other than

to hope that they became proficient instrumentalists. I had not questioned whether this was

enough, and I have since realized that I failed my students as a result of my lack of self-

reflection (Regelski, 2002).

Elliot’s praxial approach to music opened my eyes to a larger musical world than I had

previously considered in my teachings, and has broadened my educational aims. Elliot (1995)

describes music as a multi-dimensional, and multi-contextual human activity, involving a variety

of styles, and types of music making. To focus on only one aspect of music excludes the rest,

and does not paint a complete picture. As Elliot says, “we must consider all these dimensions

and their interrelationships as they contribute to our understanding of nature and significance of

music as a diverse human practice” (p. 45). Only by considering all that is significant about

music, and incorporating this knowledge into my teachings, can I offer a thorough and complete

musical education.

The praxial approach to music education is also important because it speaks to the idea

of music education’s relevance, both to the students involved, and to the community at large.

For music education to be successful, it must be relevant to the students’ lives, and must remain

relevant as time goes on (Abrahams, 2014). Because I had at one time received what I felt was

irrelevant music education, I have always considered this aspect of my teaching practice.

However, I did not extend this consideration to my students’ lives, or question if my curriculum

was relevant enough. Beyond just using current popular music, I should discover things about

my students like “the dances they enjoy, the television shows and movies they watch, the video

games they play, and the kinds of activities they enjoy with their friends” (p. 21). Only by truly

knowing my students can I foster long-lasting learning.

ME741: Foundations of Music Education Paper 3 - Richard
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The knowledge I have gained from questioning my previous teaching practices has

already been put to use, and has changed the way I currently teach. As a private music teacher

beholden only to my own curriculum, I have abandoned my reliance on any particular method in

response to Regelski’s (2002) writings. In honor of Elliot’s (1995) praxial approach to music, I

have broadened my teachings to include more genres of music, and more ways of music

making, such as composition, improvisation, arranging, and singing. I have also encouraged

my students to do more listening, another important element of the praxial philosophy.

Furthermore, I will do the best I can to really understand the lives of my students, and make

their education truly personal and meaningful (Abrahams, 2014).

Beyond these short term changes to my curriculum, I know that my time spent in this

course will benefit my teaching in the future as well. The self-reflection skills I have gained from

the readings and class discussions will help me to continue to improve as a teacher. Regelski

(2012) writes of reflection as a necessary component of applied ethics in music teaching, while

Bowman (2009) says that without “critical reflection, action deteriorates into mere activity” (p. 5).

As I have learned to reflect on my past teaching practices, so will I continue to question my

educational aims, outcomes, and relevance.

Without the questions brought up by this course, I would have remained narrow-minded

in my teachings, and oblivious to the totality of music, thereby dangerously restricting my

effectiveness as a teacher. Even without providing answers, the mere act of questioning one’s

teaching practices can illuminate (and help eliminate) long-standing deficiencies. As Bowman

(2009) said, “critical discernment is a crucial part of knowledge that is truly professional” (p. 10).

References

Abrahams, F. (2014). Starbucks doesn’t sell hot cross buns: Embracing new priorities for pre-
service music teacher preparation programs. In M. Kaschub & J. Smith (Eds.), Promising
practices in 21st century music teacher education (pp. 41-60). New York, NY: Oxford University
Press.
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Thompson 4

Bowman, W. (2009). Professional knowledge: Imagining the obvious as if it weren't. Action,

Criticism, & Theory, 8(1), 1-12. Retrieved from
http://act.maydaygroup.org/articles/Bowman8_1.pdf

Elliott, D. J. (1995). Toward a new philosophy. In D. J. Elliott, Music matters: A new philosophy
of music education (pp. 18-46). New York, NY: Oxford University Press.

Regelski, T. (2002). On “methodolatry” and music teaching as critical and reflective praxis.
Philosophy of Music Education Review, 10(2), 102-123.