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Carley Standish
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Music Education Philosophy

Music directly imitates the passions or states of the soulwhen one listens to music that
imitates a certain passion, he becomes imbued with the same passion; and if over a long time he
habitually listens to music that rouses ignoble passions, his whole character will be shaped to an
ignoble form. Aristotle

Music is something that benefits many aspects of our lives. From spiritual to physical, there

is no room for argument that music plays a vital role in our personal development. Music allows

us to express the needs and desires through melody and song while allowing us to turn back to

some of the most talented people known in history. Music is influential in aspects that it allows us

to develop a broad form of expressions; allowing us to understand the world around us to a greater

degree. My personal experiences and research have led me to create my music education

philosophy. With this philosophy, it is essential that one understands music to be able to understand

music education.

What is music?

Musics importance is different for everyone, yet the same for every single person. When

looking at Handels Concerto a due cori No.2, HWV 333, the newer generations may not

appreciate or understand. In contrast, older generations listening to Daft Punk may classify this as

noise or nonsense. This can also be seen through different cultures, with diverse stresses in the

musical importance from culture to culture. What one might describe as beautiful in India, the

effect might be taken differently in North America. With this, music is an individual experience

for each person. With differences in music this implies that there is a unifying definition; a

collection of sounds that combined, serve a purpose that are welcomed by the listener. Through

history and cultures, it has been proven that the purpose of music can be infinite. Whether for

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religious practices, entertainment, communication, healing or a myriad of reasons, these are the

purposes of music and demonstrate there has always been and will always be a raison d'tre for

music. Additionally, I believe it requires noting that there is no substitution in our lives for music,

regardless of the size of role it plays and is without a doubt a phenomenon for not only the human

species, but the influence on animals as well.

Why should music be taught in school?

Music is a fundamental mode of human expression and should be placed among the

subjects as the core of the school curriculum. We must enable all students to embrace music as an

expressive medium in ways that are both legitimate and meaningful. Therefore, it is an essential

mode of literacy and must be part of every childs education. (Wasiak, 2017). This quotation from

Ed Wasiak, lightly touches the edge of reasoning behind music education in the curriculum. It is

beyond reasoning that music has paramount values, reason being the implication of music

education, as mentioned by Wasiak, some values including: self-knowledge, self-growth, and

emotional experience of musical enjoyment. I believe these values are the crux of music education

and the reason behind implementing it into the curriculum. It is reassuring that these values are

accessible, achievable and applicable to all students; providing we are capable of helping enhance

our students music-making abilities while combining listening and performing abilities. If we are

equipping our students with these values, music education will contribute to the development of

student self-esteem and equally importantly, self-identity. Incorporating musicianship, listening

and performing skills expands the scope of peoples expressive and impressive potential by

providing opportunities to formulate ones own musical expression of emotion, musical

representations (of people, places, things, etc.) and musical expressions of different cultural

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meanings as mentioned by Marie McCarthy in her journal article Music Education Philosophy:

Changing Times focus on preparing students to perceive and respond appropriately to music

works as forms of art in order to educate feelings, the importance of these values are

accentuated and considered of higher importance of music education. When this scope of

opportunities for music expression and creativity is combined with performance opportunities, our

student music-makers gain numerous possibilities of giving artistic form to their cognitive

abilities; thinking, knowing, valuing, believing and feeling.

Who should receive music education?

It is my belief that all students, regardless of socio-economic status, physical or intellectual

ability, should be offered the opportunity to discover and explore their innate potential as

musicians, and to increase these natural capacities through formal music instruction. Every sound

child with good eyes and ears is able to learn music and should learn music, (Kodaly, 2002).

There is no boundary to what any human can do when playing music, whether that be singing,

playing an instrument, playing a rhythm, or just listening to the sounds the world has to offer.

Music is a personal experience that needs to be shared with all.

Who should teach music?

Gardeners know that they dont make plans grow. They dont attach the roots, glue the

leaves, and paint the petals. Plants grow themselves. The job of the gardener is to create the best

conditions for that to happen. Good gardeners create those conditions, and poor ones dont. Its

the same with teaching. Good teachers create the conditions for learning, and poor ones dont.

(Robinson, 2015). Sir Ken Robinsons quote sums up the role of an educator quite eloquently. This

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role of which he speaks entails many pieces that form this educator. Those that receive music

education should be taught by those that are driven by passion. This passion surrounds their

everyday life and is the reason they can excel in their abilities as an educator. Firstly, they are

passionate about music; the visual and non-visual causes and effects. Secondly, they are passionate

about educating others; seeing the changes they make in the lives of others, knowing that this is

the most rewarding profession. Great music educators understand that every single child that walks

into their class can become proficient at their craft. We need to understand that inherent music

ability is simply a myth. Excellent teachers grasp the need to build skilled young players one day

at a time, understanding and identifying that some will excel in a short time while others will need

clear communication through their teaching, on ways to grow and reach their potential. These

educators should be (and want to be) more than willing to help all students flourish. While passion

is a key element, I believe it is necessary that all teachers must also possess a degree of skill in

what they are teaching. Musicianship and teaching ability are interdependent. We must embody

and exemplify musicianship as we are the ones that our students see as a main form of musical

inspiration from day to day. This is how the students are able to develop their own musicianship;

through actions, transactions and interactions with musically inclined teachers. Also, with more

experience and skill, it allows the teacher to have a higher degree of knowledge and ability to help

the students in this area ensuring the highest degree of education possible for children.

What should be taught in music curriculum?

I believe that music should be taught as an experience rather than a performance. As a

music educator, our role is to teach all aspects of music ensuring that every single student continues

to not only listen (a typical activity in every persons life) but also to actively participate in music

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for the rest of their lives, and fully appreciate the impact of music. A large portion of Albertas

music curriculum today focuses on the lead-up towards the concert(s) (typically the final goal),

but I believe need to include the overarching musical concepts that are within the lead-up. It is

known among students that band is the place for fun and exciting activities but it should be

appreciated and treated like a core subject. The mindfulness that is applied to each lesson, unit and

full year plan in math, English, Social Studies, etc. should also be applied in music. Furthermore,

the classics of music should rightfully have a place in the classroom alongside new compositions

of today. Allowing the students to feel more connected in the classroom encourages active

participation and willingness to grow further. I truly believe, in addition to the musical concepts,

the importance of being able to express ones self and the ability to use music as a medium for

emotions is one aspect that should be included within the music curriculum.

When should a childs musical education begin/end?

Children are exposed to music and sounds before they are born; hearing sounds from outside

the womb, making them familiar with what is yet to come. I believe that there is no age too young

at which a child can be exposed to some form of music education. This quote from Kodaly: The

smaller the child, the more easily it learns, the less it forgets. (Kodaly, 2002) accurately reflects

that the sooner the students begin their adventures with music, the longer they will have to grow.

The fashion in which music education should be introduced is one in which young children can

relate and find enjoyment after all, that is the basis of music. Along with their enjoyment, have

a positive reaction to music and extension throughout their music education is realized. It is evident

that music education should never end in ones life. There is always room for improvement and

growth. With an example like Arnold Jacob (1915-1998), his career as a tubist lasted until his 70s

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until his forced retirement due to asthma. He is a symbol that one is never too old to continue their

passion for music, and improve upon ones abilities.

How should music be taught?

Undoubtedly, music should be taught with the delicacy as music is itself; intricate and delicate.

Music education should be taught with an openness, as music is, like all arts, a mode of self-

expression that cannot be taken away. It is important that music educators value the significance

of respect when bringing music into the classroom, understanding (and ensuring their students

understand) that every thought is valued and important. Without this consideration, the community

that encompasses music would not be whole. It is essential that music is taught to be valued and

appreciated; going back to its roots and understanding why and what music is. With this, music

should be taught in a manner that is exciting. When a student finds joy in a class, and can see

themselves succeed, it is the best form of intrinsic motivation.

What are the implications of cutting music program?

When removing music education from the curriculum, you are taking away possible career

opportunities for the students; opportunities related to music and opportunities encompassing these

values that are learnt throughout their musical education (performance opportunities). Methods in

which the student can positively express themselves, a mode in which a student can accumulate

life-long skills, a place where a student can find solace and comfort, a community with similar

interests and passions, and the list does not end there. I truly believe that without a structured

medium in which music is provided to our children and students, the possibility of jeopardizing

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our students well-being is inevitable. Without this inclusion, the ideal goal to allow children to

shape their own unique musical identity is lost and they lose a piece of individuality.

References

Grout, D. J., & Palisca, C. V. (1980). A History of Western Music. New York: Norton.

Jorgensen, E. R. (2006). Reflections on Futures for Music Education Philosophy. Philosophy of

Music Education Review, 14(1), 15-22. doi:10.1353/pme.2006.0001

Kodaly, Z. (2002). Music Should Belong to Everyone: 120 Quotations from His Writings and
Speeches. Budapest: International Kodaly Society.

Mccarthy, M., & Goble, J. S. (2002). Music Education Philosophy: Changing Times. Music
Educators Journal, 89(1), 19. doi:10.2307/3399880

Robinson, K. (2015). Creative Schools: The Grassroots Revolutions Thats Transforming

Education. New York: Penguin Publishing Group.

Wasiak, E. (2017, January 2). Why I Hate the F (Frill) Word. Speech presented in Galt Museum
& Archives, Lethbridge, Alberta, Canada.