Chelsea Simpkins

Dr. Abrahams
Critical Pedagogy II
22 November 2015

Philosophy of Teaching
Introduction
In high school, I was fortunate enough to be blessed with a theory teacher who
encompasses good music teaching every single day. Martha Frampton of Pennsville Memorial
High School treated her students as human beings who had feelings, interests, and lives beyond
test scores. Whether it be discussing what to do if you begin to feel faint or the precautions to
take while out partying on the weekend, she made sure to take time out of the lesson to spark
conversation with her students. I remember a specific class towards the end of my senior year
where Mrs. Frampton had us all sit in a circle and talk about where we saw ourselves in the
future. Although only two of us were planning on majoring in music she still made sure to
recognize every one of our journeys. This lesson, where we discussed things like: Where do you
see yourself? How are you going to achieve this? Do you have a plan B? is something I will
never forget.
Mrs. Frampton cared so much about all of her students. I will lead the rest of my life as
an educator with her in the back of my mind. She has taught me a valuable lesson that we teach
individuals, not subjects. Before these children are our students, they are people first with
predetermined knowledge and interests in all different fields of life. Teaching with these concepts
in mind will create a safe community within the classroom where students feel comfortable
discussing deep topics with not only the teacher but with their fellow classmates as well.

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Authentic Teaching
It is unrealistic to believe every one of your students is aiming for a career in music. This
does not mean that their learning is not taken seriously for the skills and concepts they will be
exposed to go beyond a career choice. Howard Gardner, Professor of Education at Harvard
University, suggests that children understand when they can apply learning in one context to
learning in a new and different context (Abrahams & John 11). Successful teachers are able to
provide students with tools and information that allow them to learn on their own even if the
teacher is not physically present.
Creativity is a skill not a talent. Brazilian educationalist, Paulo Freire, believed that
dialogue can lead to a critical and creative engagement with the world. It promotes possibilities
for the transformation of ones social existence. In his well known book, Pedagogy of the
Oppressed, Freire discussed depositing information from the minds of those in charge to the
minds of passive recipients. He mentions a problem-posing method of education (62) in which
students are no longer docile listeners but critical co-investigators in dialogue with the
teacher. Teachers present the students with material for them to consider and think on their own.
The teacher learns alongside their students as they express their ideas, creating a process of cocreation or collaboration. Freire said that as students work and transform the material given to
them, they are in turn transforming themselves in a process of becoming (64).
Knowledge emerges only through invention and re-invention, through the restless,
impatient, continuing, hopeful inquiry human beings pursue in the world, with the world, and
with each other (53). Teaching has the potential to foster creativity and learning as well as
encourage young people to become rather than just be. Creativity is a process that involves the
discovery of new ideas that will add value to ones life. It is fuelled by a conscious or

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unconscious insight. We must consider pedagogical delivery methods and learning environments
that not only engage pupils in new and exciting discoveries, but also ones that consolidate their
knowledge and build upon existing ideas for future success in life.
Nanci Lee and Peter Taylor of Canada and International Development Research Centre
(IDRC) wrote, Insights from an e-dialogue of practitioners on arts in transformative learning. In
efforts to generate information on transformative learning they put their theories to the test in
case-based trials. These creative expressions allowed them to look at patterns in their lives and
themselves in new ways. One participant shared their experience of dance and how it led her to a
new way of thinking:
Everything seemed to confirm what I had believed all my life I cant dance nor
should I ever think about trying ... But then, I had always loved to watch
movement and loved the feel of moving ... The changes came slowly, oh so
slowly and painfully ... I learnt so much about the learning experience in the
process. But even more fascinating (and terrifying for me) was that I realised that
I had to tackle my own demons before I could engage fully on an activity that
involved interacting and communicating with another through the joy of
movement. In 2005, key triggers caused the onset of greater self-awareness of my
emotional/psychological self and how I related in certain settings. Then the selfacknowledgement that I wanted to change but no idea of what this change
process might involve or might look like. My whole self-perception was changing
and it revealed itself in how I dressed, responded etc. People noticed. Suddenly, I
know what this dancing is about. I know it in my being, not just in my head. And

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it is opening up a whole new vista of possibilities, whole new ways of thinking
and being. No idea what I am talking about as yet but I sense it (85).
Freedom was one common theme that arose from these personal journeys. It is important to have
the freedom to experiment, play, and take risks in order for the art to lead to transformative
change.
Music educators have a history of working to ensure that we provide a
musical
education that is in response to students abilities, interests, and musical backgrounds (Bergonzi
25). That is something important to implement in the classroom. Allowing students to be creative
and take their own musical journey. Creativity requires a balance among synthetic, analytic, and
practical abilities. Synthetic ability is what we typically think of as creativity. It is the ability to
generate novel and interesting ideas. Often the person we call creative is a particularly good
synthetic thinker who makes connections between things that other people don't recognize
spontaneously. Analytic ability is typically considered to be critical thinking ability. A person
with this skill analyzes and evaluates ideas. Practical ability is the ability to translate theory into
practice and abstract ideas into practical accomplishments. An implication of the investment
theory of creativity is that good ideas do not sell themselves. The person who is only synthetic
may come up with innovative ideas, but cannot recognize or sell them. The person who is only
analytic may be an excellent critic of other people's ideas, but is not likely to generate creative
ideas. The person who is only practical may be an excellent salesperson, but is as likely to sell
ideas or products of little or no value as to sell genuinely creative ideas. Encourage and develop
creativity by teaching students to find a balance among synthetic, analytic, and practical
thinking. A creative attitude is at least as important as creative-thinking skill. By being creative

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students can build confidence and a new outlet for self expression. These qualities are applied to
other aspects of their lives outside of the classroom.
I am fascinated with the philosophy of Satis Coleman, an under acknowledged teacher in
the world of music education. Coleman believed music contained a spiritual influence and
discussed music as a spiritual art. Music has turned the most mundane and the most
challenging moments into deeply resonating human, and often indescribably divine, experiences.
Everyone is different in their musical preferences but the way it makes you feel remains the same
from person to person. Any music that helps reconnect us to our essence, to our inner and divine
nature, is spiritual. For a teenager in the city or mother living in a small village on the other side
of the world, the sound of that path is likely to sound quite different. The spiritual nature of
music cannot be defined by religion, culture or genre. Music outshines all of those frameworks.
When created from the heart and with truth and pure intention, music is a spiritual expression of
the most universal nature.
Spirituality is larger than our own egos. Colemans philosophy goes into great depth to
explaining why competition ruins a childs spiritual journey. Most of her philosophy falls within
this definition:
Musical training has extraordinary educational value, but so long as we are
interested in music as an accomplishment only, and so long as the motivating
power behind musical study is the wish to impress others, we shall never realize
its greatest value (Shevok 58).
Although she understood pursuing a lifelong career in her field, that was not her main
focus when teaching. She trained children in knowledge, taste, skill, and habits. Once you begin
treating something as a competition or as a way to impress others, you lose appreciation.

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As students take these tools and experiences outside of the classroom we see them make
positive contributions to society. When we apply improvisation principles to our everyday lives,
we find greater vitality, resilience, and joy. We learn to pay careful attention, to embrace
possibility, and to play well with others. These positive outcomes are strikingly similar to those
found on many spiritual paths. The creative person sees beyond the physical dimension on the
page through his or her inner ear. The idea that improvisation is a skill only special people are
granted with is a myth. Everyone has the ability to be creative therefore everyone has the ability
to improvise.
Robert Larson, author of Creativity in the Jazz EnsembleLets Get Away from the
Written Jazz Solo writes about the importance of true improvisation. Primarily in middle and
high school settings, we see written in solo lines in jazz arrangements. Larson believes that
because there is a high expectation for performances within middle and high school ensembles,
arrangers are throwing away the primary element of jazz music. Jazz modulates rapidly. By
breaking down the harmonic analysis for the students they can easily see where the key centers
are. Now that they know where the V chords are, we can take them a step further by writing out
the major and minor scales that correspond with the chord. Giving the students a visual of the
notes that fit with each chord is a tool he uses to promote their gateway to creativity.
Once students are familiar with these tools, they wont need them
anymore. Their music
making becomes autonomous. The learning that occurs through these pedagogies is an
exploratory process that cannot be pre-scripted. It is learning that grows out of the complexity of
interaction, of contact, one that involves discovering by trial, error and testing; using available

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materials with respect for their nature, and being guided by this appreciation of their potential.
The end-product of improvisation is the experience of it (Johnson & ONeill 44).
Teacher Roles
It does not matter to me whether or not my students can recite every term in the textbook.
I am not teaching for memorization, I am teaching for knowledge. One of the most influential
skills I have learned is the ability to analyze a song just by listening to it. Not only does this
help me out in theory class with dictations but it is also the gateway to my creativity.
Understanding the theoretical progression of a piece allows the student to know the harmonic
structure, the momentum and the line of a phrase. These skills are of the most important because
they can be applied anywhere not just in choir or solo singing. Have you ever jammed out to a
song on the radio with your friends? Imagine how great it would sound with four-part harmony
that you were able to create because you have the tools to decipher a bass line and create other
parts based off of that progression. This is creativity, collaboration, improvisation; this is music
making, and my students will be able to have these kinds of experiences whether they are singing
on Broadway or sitting in a cubicle filing paperwork.
My classroom will be one that promotes divergent thinking. Divergent thinking is the
process of generating multiple related ideas for a given topic or solutions to a problem. Divergent
thinking occurs in a spontaneous, free-flowing, non-linear manner. It's the ability to see lots of
possible answers to a question, lots of possible ways of interpreting a question. An example of a
divergent thinking question would be how many different uses can you make of a toothpick?
Students will think outside the box for their answers.
Teachers must know their students. It is one of the most important things for teachers
because knowing your students goes beyond lesson plans and exams. In chapter 8 of The

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Journey from Music Student to Teacher, Raiber and Teachout talk about the different things you
could know about your students like their race, religion, sexual orientation, etc., but goes into
knowing your students as individuals (189). Knowledge about students enables teachers to
refine lectures, class discussions, and activities so that they are more effective learning
experiences. References to student interests, backgrounds, knowledge, and even anxieties can
make the class seem more personal and the material more accessible.
Doing things like actually having conversations with you students could lead to you
finding things out about them that you never knew and that could help in the ways you teach
them. Acknowledging and showing that you value what students are already bringing to the
classroom creates a classroom for social justice. I like the idea of presenting students with a
questionnaire on the first day of classes. Some questions would be specific in regards to the
music making process such as: what level is their theory knowledge or if they play any other
instruments. I would also throw in questions that would just help me get to know them better
such as: who is your favorite musician/band or whats their favorite thing to do outside of school.
These questions will not only help me decide how to approach teaching my students but will also
help me decide what types of music to integrate into my lessons.
I am going to be my students biggest fan. In Ayers To Teach, he notes that he hangs
student work on the walls of his University classes, and that by doing so, he helps students see
their ideas helping to shape the environment, and they see that it is my job- but not mine aloneto design the space (Ayers 66). Whats a better way to show your students their value to you and
their community than a bulletin praising their success? This bulletin board does not have to be
just success in one area of their life because your students are more than just students. Promote
well-roundedness by acknowledging your students accomplishments outside the classroom.

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Pinning up blurbs about their sports, academics, extracurricular activities, etc. will give the
hidden curriculum that although music is meaningful and necessary, students should strive for
excellence in all areas of their life.
Conclusions
Mrs. Frampton has shaped the way I view teaching and education. I must remind myself
what the important lessons are. My students will not be spoon-fed but will be given tools to help
encourage creative music making until they reach the point of autonomy. All of these lessons,
tools, and experiences will be applied to the students spiritual and very personal journey through
music. My hope is that they will be able to understand that music is more than singing in a choir
or playing an instrument. That after they leave high school and have nothing to do with music
they can still apply these collaborative and communal skills in their everyday lives. With
knowledge of our students and compassion for their growth, we can inspire exceptional students
and even better individuals.

Works Cited
Abrahams, Frank, and Ryan John. Planning Instruction in Music: Writing Objectives,
Assessments, and Lesson Plans to Engage Artistic Processes. Chicago: GIA Publications,
2015. Print.
Ayers, W. (2010). To teach: The journey of a teacher (3rd ed.). New York, NY: Teachers College
Press.
Bergonzi, L. (2009). Sexual orientation in music education: Continuing a tradition. Music Educa
tors Journal, 96(2), 21-25.

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Freire, Paulo. Pedagogy of the Oppressed. New York: Continuum, 2000. Print.
Johnson, L. & ONeill, C. (2001). Dorothy Heathcote: Collected writings on education and
drama. Evanston, IL: Northwestern University Press.
Larson, Robert. Creativity in the Jazz EnsembleLets Get Away from the Written Jazz Solo.
Music Educators Journal.
Lee, Nanci, and Peter Taylor. "Insights from an E-dialogue of Practitioners on Arts in
Transformative Learning." Journal of Adult and Continuing Education 17.2 (2011): 8095. Web.
Raiber, M., & Teachout, D. (2014). The journey from music student to teacher: A professional
approach. New York, NY: Routledge.
Shevock, D. J. Satis Coleman--A Spiritual Philosophy for Music Education. Music Educators
Journal 102.1 (2015): 56-61. Web.