Philosophy of Music Education Creating students who will act as respectable member of our society is the axiom of music

education. It is no coincidence that the abilities necessary to succeed in music are also those required to operate as an elite citizen todays society; however, music education can offer much more to our youth. The complexity of music content is due to the incorporation of most other disciplines: math, history, literacy, and foreign language to name a few. Music education is an opportunity for students to enhance their fine-motor skills, intensify focus levels, build unity with class mates, and gain skills needed for success in life (responsibility, accountability, flexibility, etc.). All of this provides sufficient criteria for music educators, but the element that is all-to-often left out is music for musics sake. Music is the source of happiness, it feeds our personalities and unifies our cliques, and it intensifies any human emotion and has the power to change it. My philosophy of music education is to create two types of citizens: those who produce music for a career or hobby, and those that consume music intelligently. It is my responsibility to educate my students on how to engage in music making and listening on a level that initiates optimal brain activity; the real benefits of music come from thinking about what is being heard, which can be enjoyable too. The music discipline is not incapable of formal standards similar to what one would find in a traditional classroom (term, grade level, graduation). The setting of clear standards in regards to technique (specific to each instrument or voice type), literacy (pertaining to music reading abilities), vocabulary (recall of musical phrases), terminology (recall musical terms), and the affective domain (expression and musicality) are essential to an exceptional music curriculum. Every instrument has different techniques required to manipulate it and, furthermore, every student is different. Therefore the teacher must be informed guide to make the adaption of this new voice natural and fast. Reading music, like any other type of reading, has four elements: phrasing, vocabulary, fluency, and comprehension. In order to properly teach students how to read music, an emphasis must be put on using all four elements as if it were reading in another class. Playing music without phrasing is like speaking without punctuation and inflection, nonsense. Experiencing music without comprehension is like listening to an unknown language, completely unfulfilling. Lastly, the affective domain is the one least discussed and it might be the most important. It is at the root of my philosophy that music has the ability to change people, if we do not show students how to do that and discuss the repercussions of such events then we have robbed them of the most important aspect of our discipline. People do not need to be a professional musician to be moved by music and it is my responsibility to teach that. All of the deep elements involved in a music curriculum appear grandiose, beyond this world, and immeasurable, this is a falsehood. Though my content area is relentlessly historically expanding and has remained culturally relevant since the beginning of time, I do believe there are opportunities to measure student progress through out. Full group ensembles (student count of 25 150; ex. marching band) provide me with an opportunity to assess the students ability to produce music with others, formally known as collaboration and flexibility. Small group work (2 20 students; ex. jazz band) provides the students with an opportunity to play a part alone but still in the comforts of a group. This is my chance to assess the abilities to balance, blend, and

think on their feet in response to what they are hearing from their peers; formally known as accountability, flexibility, responsibility, creativity, and collaboration. Individual lessons are where most of the private instruction takes place, though that is not to say that differentiation is impossible in a large group setting, it is just here that the pinnacle of student-centered teaching can be achieved. The student is guided through instrument specific topics to help them better master their new voice. The scenarios listed above are but examples of the mediums available to music for assessment to take place, but the actual measure of a students progress takes place similarly in each one. Self-assessment will take place when a student records themselves playing and then listens to it again; can be submitted in any class setting as a project. A peer-assessment can take place at any point during rehearsals when I consult the students on their observations of their peers (always in a constructive form) and can be used immediately when prompted by a pre-conducted authentic assessment. Formal assessments are solo, small-group, and large group performances; these are performed several times a year similar a traditional grading system. My passion for music education is driven by the complexity and flexibility of the discipline that materializes as one of the most enjoyable activities known to man. Music supplies students with numerous leisure opportunities as well as promotes both enjoyment and academic excellence. Music making is a social environment for most students and that simultaneously nurtures collaborative skills. The students in todays world are worked tirelessly by manic schedules, high standards, and all the traditional pressures of just being a kid; music provides them with a get-a-away, it is a place they can succeed while simultaneously cultivating lifelong relationships and a wealth of experiences that are applicable to all endeavors. Ultimately music requires focus, it reinforces literacy, supports twenty-first century skills, and fosters good mental health but the most valuable attribute is that is accomplishes all of these great things without the students even realizing it. Music is the linkage necessary to connect academic excellence with a respectable, well-rounded, and happy citizen in modern and evolving society.