Multiple Intelligences in Music Education
We all ended up going to college for music education because we felt like we were musically intelligent. After all, according to Howard Gardener, we have our very own category of intelligence. Because we possess “musical intelligence,” it only seems appropriate that we pursue a vocation that reflects it.
Is that all there is to it though? Are we part of an elite group of individuals that “has it”? Or do we have a specific type of musical intelligence that happens to be what our music education programs demand? Bennett Reimer has unpacked the idea of musical intelligence and found that this is most likely the case. According to Reimer, there are in fact several types of musical intelligence. One can possess intelligence in performance, listening, composing, critiquing, improvising, or perhaps a combination of these and several others.
This does seem to make sense, doesn’t it? How many performers do we know who can’t write a lick of music, or fantastic music critics who haven’t played an instrument since high school? Wouldn’t it seem foolish to say that these individuals aren’t in fact musically intelligent?
What is intelligence anyway? Reimer says:
Intelligence consists of the ability to make increasingly acute discriminatinos, as related to increasingly wide connections, in contexts provided by culturally devised role expectations. (Reimer, pg. 204)
If musical intelligence encompasses all musicianship roles, music education should reflect tailor course offerings to meet the individual intelligences of students.
In all honesty, I think we’ve pretty much said all we can say about this chapter’s topic. The idea of musical intelligences has pretty much been the foundation of our class, and I feel like anything else I say will be redundant. However, it really has changed my thinking.
Currently, my classroom is built around four broad roles of intelligence:
•Performer
•Creator (composer, improviser, arranger)
•Listener (theorist, critic)
•Expert (anything that ties music to culture, society, etc.)
Previously, my Music Industry classes set to make each student perfectly well rounded in each category. There were some students who really struggled with some projects and thrived in others. I had a student who loved performance projects but hated listening projects. The old me would have just said to deal with it, you’re learning stuff! However, maybe I should be thinking of how I could have had that student learn content through different, alternative means. If this student truly is performing intelligent (and he is!), then maybe I should be looking to foster that as much as possible. (B)Music Education in the 21st Century
Just a music teacher that wants to keep music alive and thriving in the public school system.
JULY 13, 2011
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Establishing a Music Education Philosophy
“What is your philosophy of music education?”
I hope I am not alone when I say that, as a freshman in college, I jotted down the smattering of beliefs that came to my mind… to instill a “love of music,” to promote multiculturalism, to take a stance that music is for everyone, not the privileged few… I grabbed at every eclectic thought I could, hoping it made for a comprehensive idea of what my existence of a teacher would be.
According to Bennett Reimer, at that point in my life I was a philosophical ragamuffin.
While I’ve come to have a better sense of what it truly means to have a philosophy of music education in the last seven years, I am ecstatic to be examining this problem in-depth. As we’ve discussed in class, a music education philosophy isn’t something you throw together to impress your school board or your administration… it delves quite deeper than that. Bennett Reimer does a masterful job articulating the benefits of a sound music education philosophy in his book:
“The return on the investment made in developing a professional philosophy is extremely high, not only in providing a basis for self-respect, but also in channeling the natural dedication and commitment of students into a dedication and commitment to music education.”
Bennett Reimer, A Philosophy of Music Education (pg. 3)
Music is thriving in our society, yet it is one of the most vulnerable subjects in schools today. We all know that music education shouldn’t be a subject that exists on the peripherals of education. It is an absolute necessity. However, we find that our values in what should exactly should be taught in public schools varies greatly. Is it possible to have varying philosophies and priorities in what we teach, yet come together as a community of music educators and convey the importance of music in a cohesive way?
One of the biggest (and easiest) changes we can make is establishing a solid personal philosophy. If we can embrace our beliefs, concepts and attitudes into the classroom that will instill a love of music into all of our students as it did for ourselves, how can we not create a music program that is alive and thriving? We have talked at length over the nature of what a philosophy should be. Two things that I believe are crucial at this point is that a music education philosophy should be geared towards the setting in which you teach, and that a philosophy should be a living document. We cannot put our “blinders” on and assume that our philosophy can transcend both time and place. I’ve worked in two school districts in my life, and the divide between those school cultures could not be greater. You need to embrace time and location in order to truly put a philosophy into place that will benefit your students to their greatest extent. Once you have the students hooked, won’t the community follow suit? Once the community believes in your program, one can hope that the rest will follow.
Now the question is, how do we go about creating this statement? That’s what I’m looking forward to discussing over the next four weeks. In this period of postmodernism we live in (kind of?), how do we create a philosophy that does not embrace one “universal truth,” but synergises the multitude of stances taken over the years to create a product whose sum is greater than its parts? As Reimer states, a synergistic approach to ideas will help maintain not only a philosophical balance, but professional cohesion as well.
Fresh Perspectives (Chapter 7 included):
Multiple intelligences- something that I had assumed existed, but was great to see put so eloquently and comprehensively. I firmly believe that each way you experience music enhances the other intelligences (composing will improve your performing and listening, etc). What a phenomenal foundation for a curriculum!
Cultural intelligence- awesome concept! Never really stopped to think about how your surroundings influence who you are. I believe that time itself also has a place here. This also means that your classroom’s culture will affect your students’ intelligence… think about the implications there.
There is no “Universal Truth” in postmodernism. What a frustrating yet liberating concept.
If we want to save classical music, we must remove it from the pedestal of elitism.
Disposal Site
“One size fits all” education.
Over dependence on a few select Musical Intelligences in ensembles. I think that creating a General Music curriculum utilizing all intelligences would be far easier than that of say, a middle school chorus. How, with an ensemble of 60 students, meeting every other day with no lessons, does one truly bring out the composer, musicologist, listener, etc. in their students??
How to write a personal educational philosophy statement
A personal education philosophy statement should essentially be a brief summary of what an individual wishes to achieve within his or her educational or academic career. Personal education philosophy statements benefit individuals in many ways. Ideally, however, these statements should be a personal reflection of your goals, ultimately serving as a sort of educational "mission statement."
When writing a personal education philosophy statement, you should be sure to be as clear and concise as possible. A well-written, effective personal education philosophy statement should provide you with an overall strategic vision and general direction not only for your academic career, but also for the personal growth you wish to obtain throughout the course of your education.
Developing your own personal education philosophy statement requires a great deal of thought and meditation. In addition, the construction of these statements can be quite time consuming. So, here are a few tips to help you get started.
First, take some time to reflect on yourself. What are your strengths? Your weaknesses? What are your deepest desires? What are your biggest fears? What makes you happy? Each individual has his or her own unique strengths and weaknesses. In order to promote personal growth, your personal education philosophy statement should address methods you can use to improve your existing weaknesses and fortify your known strengths.
Just be sure to stay realistic when it comes to your capabilities. Although ideally we would all like to think that we are the best at everything and can achieve anything, being realistic when you set your goals will help set you up for success rather than ultimate failure. Additionally, a realistic, pragmatic perspective when writing your statement will also ensure that you don't make the mistake of burning yourself out.
Second, think about the people who are most significant to you in your life. Education is, without a doubt, a crucial element in the establishment of self-esteem, personal growth, and success in life, but you want to be sure that your determination to succeed does not interfere with other important aspects of your life. Maintaining personal relationships outside of your educational, academic, and professional career is extremely important to maintaining peace of mind. If you want to be sure that you conserve your social support system, be sure that you know exactly what and how much you are willing to sacrifice and what you are not willing to sacrifice.
Finally, when developing your final personal education philosophy statement, remember to list the sentences in order of importance to your intended vision and ultimate goals. Later, when you revisit your statement, this kind of organization will help you easily recognize the order of priorities in your life. Also, because life is in constant flux and our goals, motivations, and priorities are always changing, it is important that you reexamine and revise your statement as you move along through your academic career.
Whenever you feel yourself slipping, or forget the ultimate purpose of all your sacrifices, hard work, and relentless determination, turn to your personal education philosophy statement to guide you back to the "right" path. Having this little tool close at hand will undeniably help you make responsible, informed choices that will undoubtedly assist you in achieving your short and long-term goals.
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My Philosophy of Music Education (1)
Children love to be asked, “What do you want to be when you grow up?” because for whatever reason, they already have an answer ready . Some of the most common responses include doctors, firefighters, and the ever-popular, teacher. While most children’s aspirations are attainable, their goals usually change as they are exposed to more of the world and its challenges. It is very uncommon to find an adult who is in the profession that they have always dreamed of. In this sense, my pursuit of the teaching profession, especially in the field of music, is rare, since it has always been my childhood dream to become a teacher. After committing myself to music throughout high school and pursuing a degree in music education and performance in college, I am able to begin to formulate my philosophy on education. Included in this philosophy are my personal views concerning why music is an important aspect of the educational system, to whom music should be taught, and how it should be taught.
The first question that I considered while formulating my philosophy was ,”Why? What is the purpose of teaching music?” Unlike many other professions, the gratification from teaching music comes in a form other than a paycheck. In my opinion, the most important reason to teach music is to pass it along. By sharing music with others, it is possible to make others as passionate about it as you are. Even if a student cannot play very well, it is still important to help him to understand and appreciate music and its importance in his life. Another purpose of teaching music is to give students something they can succeed at through practice, which provides them with a sense of purpose and pride. Additionally, music is very important in the overall educational system. Music programs are essential because they help students to develop skills such as time management, communication, patience, and perseverance. Also, for many students, music helps them to express themselves in ways that sitting in a classroom all day never could. Music classes can also be considered a healthy break from academics in a school day. In general, the purpose of music education is to teach a universal language to students that they will be able to use no matter where they are, for the rest of their lives.
Next it is important to consider to whom music should be taught and the role of the student in a musical classroom. I believe that music should be taught to anyone and everyone without exception. Music truly is a universal language, and I believe that with enough creativity it can be taught to anyone who is willing to learn it. A student with a disability or even a student who does not speak English can be taught the fundamentals of music and be able to appreciate its significance. Since music is a form of expression, it is very important for students to have an open mind when approaching it. Since not all students come into a music classroom with this kind of mindset, it is the job of the teacher to connect with them and make them interested in learning music. Although it is the responsibility of the student to practice in order to improve, it is mostly the responsibility of the teacher to motivate his or her students and make them want to practice and improve their skills.
Since the success of a music teacher lies in their ability to reach their students, the manner in which music is taught is quite significant. First of all, I believe that it is very important for a music teacher to use many different types of teaching techniques in order to reach as many students as possible. For example, some students learn better visually, some aurally, and some kinesthetically. It is imperative for a teacher to appeal to all of these different learners by using variation in his or her lessons. Also, music should be taught with passion, vigor, and life. If a student realizes how passionate a teacher is about their subject matter, they may begin to wonder why and have more interest in the subject. Although it is important to stay on task while teaching in a music classroom, I also think that it is important to be spontaneous. Taking a short break from a rehearsal to tell a story about high school band camp or a music professor in college can be a way to connect with students by making them realize how much music has impacted their teacher’s life. Whenever my high school band director would tell the band stories about his music teachers in the past, I admired him for sharing a part of his history with us, and I aspire to leave a legacy that my students can someday tell their students about in the future. Overall, I believe that the most effective way to teach music is for the teacher to share their passion with their students and reach them by connecting with them on their level.
Although music education is a controversial issue in schools, I personally believe that keeping music programs in schools is a “no-brainer”. Music connects children with the past, the present, and the future and gives them something in which to take pride. Music is all around us and it should be analyzed, interpreted, internalized, and appreciated. As Friedrich Wilhelm Nietzsche once said, “Without music, life would be a mistake.” After all, it would be a shame to deprive children of something that builds character and changes lives the way that music does.
(2)My Philosophy of Music Education
In my opinion, music is a very important part of life as we know it. We encounter it simply and innocently as young children; and it is something that can stay with us and influence out lives for as long as we live. I have been quite fortunate, in that I was exposed to a wide variety of music as I grew from childhood to young adulthood. When I was very young, both my parents were involved in singing in our church choir. As a result, music became a part of not only my educational development, but my spiritual and faith development as well.
From my own experience, the purpose of music education seems to be to teach the students about the many realms involved in music. Initially, in the schools, the students should be taught about the basics of music theory, which would expose them to rhythms and note pitches. As they get older, they should be taught about the history and development of music through the ages, and about the many famous composers whose compositions have influenced the development of music as we know it today. If the students are involved in band or orchestra, they will also learn about how to play and take good care of the instruments that they use. If they are choral students, they must be taught how to care for and enhance the tonal quality of the voices that they have.
Music definitely should have an important place in the school curriculum. Those students who are involved in the music program often have better skills at doing math and other major subjects. They tend to have better organizational skills, and often have higher levels of achievement in a variety of areas in life. Students who participate in music also tend to have higher state test scores.
The role of the student is to be open to learning about the different things that go on in music and to retain that information for any exams. As a student begins their schooling after Kindergarten, around first grade, the student should be able to recognize what a quarter note is and be able to clap simple rhythms with quarter notes. By the second or third grade, the student should be able to recognize rhythms that involve eighth notes and half notes and be able to clap them as well. Also, during these grades, some singing should be involved while they learn these rhythms. From fourth to sixth grade, the student should start to learn more about the music that they see. For example, they should eventually be able to recognize what a motive is or what a fugue looks like. By this age, they should be able to clap any simple rhythm that would involve notes that are as long as a whole note and as short as a sixteenth note. As we approach the years in junior high or middle school, the students should be learning more about the history of the composers and how music developed over the centuries. They should learn about the famous composers like Bach, Mozart, Haydn, Handle, Beethoven, and Chopin. In an effort to learn how music has developed, the students should learn about Gregorian chant and then learn about the different time periods of music: Baroque, Classical, Romantic, and Contemporary/20th Century music. By the time the students get to high school, they will hopefully have developed a good, basic foundation in music. They can then have the option to take any other elective music courses that may be offered. These may include band, choir, a variety of choral and vocal ensembles, and some more advanced classes in music theory.
Educating students on music is like giving a flower a special nutrient to make it grow more beautiful than what it would be with out the nutrient. Our minds are like that flower, and with music as our special nutrient, it will help this flower to grow and be very strong.
(3) Music Philosophy
An article written by Captain Kirk Troen, head of the Marine Corps Music Program in Washington D.C. has demonstrated why I believe in a philosophy of music education where the student is more important than the performance.
A few people have questioned why my band program emphasizes sight-reading as the center of instruction as compared to the widely used practice of practicing mainly scales and long time preparation of a few musical selections.
As a director with almost two decades of being a high school head band director and music supervisor, as well as a former college instructor with the graduate hours needed for a doctorate and former member of the Marine Band and for years an official Marine Band Audition Certifier for west Texas and New Mexico I saw the need to change the education of music students from rote learning of a few musical selections to that of knowledge and skill transfer. Since that decision was made, for over a decade my high school students entered college with scholarships or were successful at the Armed Forces School of Music and performed with the military bands at a rate of over 97%.
This, to me, is far more important than a plaque or trophy, yet these still came - my bands have performed at Dallas Cowboy football games, District, Regional UIL Contest Champions, State UIL Finalists in Marching, Texas State Honor Band, National Color Guard Competitors, year after year 5-7 of the top 10 Music Theory Contestants at Texas State UIL Theory Contest were from my bands, performances at the Rose Bowl Parade and Cotton Bowl events, performances for several Governors, and on different occasions the Vice President and the President of the United States; so on and so on. These are nice, but compared to the education of the student, they are only the icing on the cake.
The Marine audition is held on the format of: 10% scales 40% prepared solos, and 50% sight-reading. As a professional musician who has played on both coasts and Las Vegas, I can assure you that establishments do not want to pay musicians to practice so sight-reading is a needed skill.
Captain Troen states, "The ability to read music at sight is absolutely essential for any professional musician; but this skill was lacking in every one of the high school students who failed to qualify." This is why my band program emphasizes sight reading as well as working on rhythms, scales, modes, improvisations, and all eight of the National Music Standards and New Mexico's Standards and Benchmarks besides Texas' TEKS, and not just rote scale and minimal music selections for performance perfection.
Yes, I want our students to perform well, but the performance is a small part of music education. Music education, equal for all who want to participate, not just a few select students. I believe education and motivation are the keywords for a music program; rounded education with fundamentals, sight reading, music theory, music history, and performance; not just a few selections - but many, to broaden the horizons of the students, to challenge the students to go beyond rote learning, and to create a desire to perform music for music's sake. Motivation to continue, even if they are not the best, but to continue to develop what they enjoy because they, the students, are the most important part of the band, not the band's performance being the most important part of the band.
While I am the director, student education and building self esteem come first in my band, the performance will follow.
I believe that the impact of a school music program will be the strongest if there is real teaching and learning as opposed to mere music rehearsal going on in the classroom. The ultimate goal of music education is not great student performances, but musical learning that will allow young people to actively participate in their musical cultures for their entire lives. The curriculum should go beyond the performance of published music and provide student opportunities to experiment with improvisation and composition. Music classes should encourage students to employ and develop their problem-solving and higher-order thinking skills, in the form of musical decision making, self- and peer-evaluation, and other activities involving increased student responsibility. Facets of musical understanding can also be applied to other areas of fine arts, as well as social studies, language arts, and other fields of studies.
If these elements, which define a music education curriculum, are missing from a school music program, classes can become mere rehearsals and music education becomes mere music production and education is lost from the term music education.
That is why my bands perform many selections and each student is required to pass 20 music tests each nine weeks to earn the grade of A.
(4) Philosophy of Music Education
I believe music is an essential component of the human condition. It has been said that music can express that which words cannot. While I believe all students have musical potential, and can benefit even from general study of Classical Music, those who engage in music performance encounter an emotional and aesthetic experience that is unique. In doing so, they not only develop a creative outlet, but gain a deeper understanding of the human condition than what is otherwise possible. My primary job, then, is to unleash each student’s music making possibilities by helping them to develop strong fundamental instrumental performance techniques and music literacy skills while exposing them to the best music ever written, with the goal of achieving music making experiences that are exciting, emotional, and passionate. All the while, students develop a skill that they can take pride in, one that boosts their self-image, while also gaining a valuable social experience that allows them to develop emotionally throughout their teenage years. The values of a great music education are truly innumerable!
Students will discover that it is always easier to play at a higher level when proper technique is used, and therefore proper technique, when reinforced, is intrinsically motivating. Ensemble techniques can often be complex, and require incredible sensitivity to one’s own playing and the playing of everyone else involved, but again students will be motivated to give this effort once they have experienced the musical benefits. I believe the key to motivating students toward this end is to demand excellence from both the individuals and the ensemble as a whole. Students must experience music making at a high level, because that unique aesthetic and emotional experience is addicting – it becomes the key to intrinsic motivation.
I believe students learn best in a safe, structured environment. Ensemble music making is inherently a group activity, and so success requires a classroom culture based on mutual respect and collaboration. I will strive to create a community of learners, in which students work together as I guide them towards the discovery of what facilitates the most musical outcome, whether in regards to fundamental playing techniques or musical interpretation. When an ensemble is only as good as its weakest player, it is counterproductive to demean that player. Instead, students will learn to give additional support to the weaker players because their improvement will benefit everyone. Additionally, I will solicit student’s suggestions on musical interpretation, and keep those that are effective, as I believe this will result in the students feeling more ownership over the music being performed (as opposed to forcing the students to perform my personal interpretation of the music). Advocated by Benjamin Zander, this creates a rehearsal atmosphere of collaboration not only between the students, but between myself and the students, which I believe will further increase student motivation. These activities will be focused through the use of procedures to maximize our time on task, and further increase student learning.
While students will work together to improve as individuals, they will also be held accountable as individuals. I believe the key to truly great ensembles relies on the independence of each performer, and so students will be assessed on their ability to perform independently as well as in the group. To unleash their musical potential, I will offer as much support as possible, including distributing instrument specific technique building exercises, offering private lessons as availability permits, establishing a peer tutor program, after school sectionals, and so on. I will require that students set personal goals for their playing, and I believe that with their dedicated action, and my personal support (as well as the support of their peers), that every student can reach their musical goals. It is my belief that music is just as conducive to diverse, student centered teaching methods as is any other subject, so part of how I will help them to achieve those goals is through diverse, differentiated teaching methods to address not only the various learning styles (such as auditory, visual and kinesthetic), but diverse intelligences as well.
A band can be many things, but it is certainly a team. Like any team, for the band to be successful the students must cultivate certain character traits and life skills, including: teamwork, commitment, responsibility, leadership, time management, goal setting (both in playing and personal growth), self-discipline, hard work, excellence, dependability, respect (for each other, for equipment), and more. Additionally, to make music requires that the members of the ensemble let down their walls and come together, despite the often diverse make up of its personnel. The success of the ensemble requires that I work to instill these traits into the students. As a consequence, band members become positive role models for their peers and agents of social change. If the diverse students in a band can grow as individuals, hold themselves to higher standards, and come together as a group working toward a common goal, then they can serve as a model for the rest of the school to follow.
In that same spirit, I will work to unite with my peers on the faculty towards the common goal of creating a safe and united school environment that fosters a sense of community and belonging. I will model the ideas of personal growth and cooperation as I collaborate, assist, and learn from fellow faculty members. A master teacher always seeks to learn and improve themselves as people and as teachers, and I must follow this path as well. The end result, I hope, will not only be my own improvement, but the improvement of the school, to the benefit of my students.
Also of great importance is the involvement of the parents and community. Through the use of phone calls, take home communications, and digital outlets, I hope to build good working partnerships with the parents of my students. Parental support in the form of booster activities is crucial for a program's success. While not necessarily mandatory, parental support can make a large impact on an individual student's success as well. Participation in the band often requires a financial commitment, as well as transportation, but also a good time and place to practice. Listening to a student practice is not typically pleasant on the ears, so when parents permit and encourage their children to practice at home, the likelihood that the student will practice increases significantly, and thus the student's success increases. Additionally, my band program will foster a number of universally valued character traits, which will also be most successful when the parent(s) reinforces these at home through encouraging their child to practice, or ensures that they’re at rehearsals and performances at the specified times. I feel I must also do my best to garner community support, because when students feel that their contributions are valued by the community, the sense that they are part of something larger than themselves, even that they are representatives of the community, is increased, and motivation rises.
None of this is original, but is rather based on what leading instrumental music educators recommend. As John Dewey, the progressivist might agree, reading about music is no substitute for the learning that occurs by playing it. While some teachers merely focus on selecting great music, the leaders of the best programs select the best music ever written with an eye toward advancing student's abilities based on what playing and musical challenges each work contains. The El Sistema movement, which began in Venezuela thirty years ago, also proves that using music education as a means of social reconstruction, an educational school founded by George Counts, can have a profound impact on the students and society. Masterworks often have great messages, sometimes universal, and I've found that it is only when these students understand that message that they can effectively communicate it through the music, which results in passionate performances. It is the music, not necessarily me, that will challenge the students to grow intellectually. And so these are ideas I have incorporated into my philosophy, again, not because they are strictly my ideas or philosophies, but because they are proven and sometimes even required for making music at the highest levels. And achieving this with my students is ultimately my primary goal towards which all other efforts are aimed.
(5) A Personal Philosophy of Music Education
My teaching philosophy derives from constant reflection on my experiences as both a student and teacher, as well as analyzing the current schools of teaching philosophies. Through this ongoing process I am constantly constructing my rationale for my beliefs. This rationale defines my philosophy of education. The aim of this paper is to briefly describe my experience, present a rationale for my beliefs, and integrate these beliefs into a philosophy that relates to the way I hope to teach.
I am currently a music education major at Ball State University. Several of my experiences influenced my decision to teach music. I was born in Nashua, New Hampshire where I spent the first 10 years of my life. My family moved to another more rural setting, Amherst, New Hampshire, where I’ve lived since. I have been involved in some sort of music program since 4th grade. However, music had always been more of a moderate interest and it was not until the middle of high school that I found myself actually getting into music.
I actually have a very hard time remembering my musical experience in elementary school. I can recall a handful of subject matters involving hesitant singing, recorder playing and naming the instruments and their groups. I feel that the class was very lecture based and without much individual instruction. The teacher designed the curriculum around knowledge that she felt was important for an elementary student to know. There was never discussion about multiple correct answers or interpretations, simply that the knowledge she present was concrete and correct. My elementary music teacher’s presentation of knowledge followed a executive philosophy where the information itself was the most important aspect, in other words, a very curriculum-centered structure.
In middle school I began learning the clarinet before switch to oboe and then bass clarinet. My middle school band director focused heavily on the students. Most of the skills learned were executive (the ability to play an instrument), and a few musical skills outlined exclusively by music written by Western Civilization. The goal of this program was to feed the high school program adequate musicians. He would often model playing on a variety of instruments. Student progression really depended on that students desire to participate. Self-directed learners would be pushed further than those who hardly wanted to participate. Grades were based exclusively on participation. The reward for self-directed learners emphasizes a classicist philosophy whereas the initial focus on the students is somewhat humanist.
My high school teacher was an extremely passionate musician. His desire to teach came from a sheer love for both the subject and his students’ success in that subject. He did not emphasize competition or placement. Students were heavily encouraged to participate because of a shared passion for music. My high school teacher clearly demonstrated classicism. However, he too showed a pragmatic humanist side in his expectation for the student’s role in the classroom.
Each of these teachers offered a different take on music education, and by no means exhausted all schools of thought. I believe more and more that music is the lens by which we educate. I am an extremely passionate musician, and I believe that music enhances our lives. In the school setting, music offers an opportunity. Students delve into the question of what is means to be human. They are given a powerful vessel to self-express and a tool to construct identity. Through musical experiences, students encounter aesthetic benefits. Through active engagement students learn more about the art and readily apply these lessons to other aspects of their lives.
My experiences and studies of music pedagogy have pushed me toward these beliefs. Through them I’ve crafted the follow philosophy of education. The goal of education is to inspire children to pursue paths of life-long learning and active contribution toward society. The teacher, who is passionate, knowledgeable and reflective, must therefore construct a curriculum that offers a wide variety of experiences and he must guide students through several diverse opportunities to explore and succeed within a classroom that is welcoming and ever-evolving.
The goal of creating life-long learners and active members of society is extremely relevant in music. In the music classroom, students discover that there is not necessarily a “correct” answer to every question. This subjectivity is absent from many classrooms and mirrors the real world of problem solving. Also, students are taught to think for themselves and make musical decisions without the teacher’s intervention. This process is known as comprehensive musicianship. These skills are not only applicable to music but to the rest of the student’s life as well.
The teacher must have expectations of the student to implement a successful philosophy. The student will generally work toward their interests. The student is naturally curious and needs guidance. Motivated students will not only be more willing to participate, but more receptive to new experiences. This is a somewhat humanist approach in that the ideal student is self-directed and applies concepts their own thought process to create meaning. Although I agree that a goal should be achieving personal meaning, I believe that motivation and tools are necessary for students to portray self-directed qualities.
Beyond passion and knowledge, the teacher must be willing to reflect. Reflection is an essential part of teaching. Reflection at the most basic level involves thinking about the past. If this simple action does not occur, the professional growth of an individual becomes stagnant. In order to grow, one must take a step back from themselves. The teacher must be willing to see their strengths and more importantly, their weakness. By discovering a pedagogical shortcoming, a teacher can move towards a solution.
The music classroom should involve several activities. Singing is one of the most essential vessels with which music can be taught. It is one of the easiest and quickest ways to model for students. As a strategy and an experience, singing is affective and accessible. By singing, students are able to demonstrate knowledge gained in the classroom. An alternative to singing is the use of instruments. This provides students with another method of providing students with active musicianship. Instruments can help students in ways that are very similar to singing.
Instruments are a different experience that will not only motivate the classroom, but also give students another way to succeed. A third activity in the music classroom should be movement. Children naturally move as a manner of expression and this strategy merely channels that energy in order to provide the student with a learning experience. Movement gives the students a way to express what they hear in music but cannot necessarily describe. The final strategy for teaching active movement is listening. At first sight, listening does not seem like it is a particularly active experience, which is the teacher’s struggle. The teacher must make sure to lay down guidelines when listen so that the students are actively trying to identify or find something in music.
Motivation and management are primary concerns in the music classroom. At first glance, motivation and management seem like drastically different issues, however, they have striking similarities. The teacher must create an appropriate learning environment. A teacher needs to have a defined set of goals and this standard allows for a means to achieve the goals. A teacher must motivate and manage a classroom to insure a positive atmosphere for both learning and social interaction.
The process of maintaining a positive classroom atmosphere involves both a logistical approach and an ethical decision. The logistical approach entails implementing an affective system to achieve goals set by the instructor. The teacher should make decisions from a goal-oriented standpoint. The ethical decision of the rules that the teacher enforces is determined by the teacher and based on moral character. When creating the rules for any classroom, whether general or instrumental, the teacher must be fair and abundantly clear. Once the rules are set the teacher must uphold them without exception. These are all measures of preventative discipline.
Without music, a student’s life would not be ruined. The problem is we’ve missed a vital opportunity to enhance that student’s life. Countless chances for students to gain self-worth, self-esteem, and a sense of community would be lost, as would the interdisciplinary benefits resultant from music.