For this application paper I will seek to use theories within Langer, Dewey, and Jorgensen to suggest an understanding

of music that will give our students more appreciation without being a racket. Within the paper I will not explicitly talk about theories from any writer, but instead outline a plan that I feel uses beneficial philosophical ideas from each writer. In doing this I hope to show how classical music still matters, in conjunction with Dr. Kramer, but that contrary to his thinking we must become guided through (and experience)listening and context in order to benefit fully from what classical music offers. This new education experience I will not be calling music appreciation, though one might mistake it for just that. What we usually mean by saying music appreciation is a music history class. The student is bombarded with music from Gregorian chants to modernist music, with the hopes that they will gain some new meaning within this art form. By the end of this paper I will hope that though the goals may be oriented the same the means will be very different. To begin with is the notion of education. This is not going to solely be a design for a class room. What we want is to find moments of education in many different forms and guiles. This experience could be applied within a school, within a home or in a care facility, or spontaneously from one enthusiast to the student. For the express purposes of this paper, lets use the example of the home. An older sibling studying at college has come home and wants to take their younger brother to a concert for his birthday. While picking the concert to go to, the younger sibling wants to go to a concert that is too expensive, but the local philharmonic is playing a free concert with music from many different composers. Though the younger sibling is not as excited about it as the other concert, because it is free our older sibling is going to buy dinner as well. Our goal is to not simply pass information from a teacher to a vessel, but rather to engage the younger brother. We will call them Susanne and John for this paper.

Now that we have our educative scenario we must press forward. Susanne decides that she wants her brother to learn something from this concert, because she feels classical music matters, but is not sure how to convince someone else that this is the case. Studying piano she takes it upon herself to learn some of the major thematic material used in the upcoming concert. There will be a total of four pieces but only two of them have more than one movement. She finds the major of the main themes online; she also tries to read about the historical context surrounding each of the particular pieces. After spending some time learning the pieces in her room, she goes into the living room and asks if she can practice on the piano, while the brother works on some of his homework. At first she just simply plays each theme, without any accompaniment or descriptions. As she starts playing them again, she makes it clear that she is trying to come up with words to accompany the themes. Working just with one, Susanne provides several attempts at expressing different emotions, some closer to what she thinks the music is saying, and some more distantly related. At this point, pretending to be frustrated with her unsuccessful attempts, she asks for her brothers assistance. I just cant quite figure out what emotion this has, in doing this she has asked him both to figure out what emotion he subjectively feels when listening, the other is to have him experience the music, with purpose. In doing this, Susanne has begun to lead her brother, not in a series of facts, but rather an organized series of subjective experiences. Susanne starts subtlety adding some historically accurate accompaniment. John was particularly interested in one piece in particular, the theme from the violin concerto that was being featured. He was particularly excited because he had come up with words for almost the whole thing by himself. Susanne was excited as well because she thought John did a really good job of following the form of the piece without her telling him what it was.

Susanne then asked him if he wanted to learn how to play it on the piano. She very rarely teaches him anything on the piano because usually he is not interested. But, now he was really excited and had already been asking her questions before she offered this next step. Though John didnt know these pieces of music were on the bill for the concert he was about to attend, he already almost knew the concert by heart. Susanne was really excited to see what her brother would think when he found had he had sung, and created words for many of the themes he was about to hear. Having already experienced all the music in his own terms would he be able to hear the themes within the larger context. Susanne showed John the program notes, but instead of asking him to read, she instead engaged him with the music he already knew, and asked him this time, as the concert was approaching if there was a story he could tell about each one. During the intermission, with only the violin concerto to come, Susanne began asking questions of John. Susanne still did not want to talk too much about context or composers yet. John of course had figured out her scheme, and began to think of it almost as a game. He knew, as she did, his favorite song they had created days before was left, and he kept quizzing her on which movement it was in. As the concert ended Susanne again asked what story the emotions told within particular piece. While never explicitly telling John what the context of each piece was, he was able to notice how her improvised accompaniment was similar. Within this paper I showed one such example of a method-love of music, in which our student is left with an excitement and subjective experience with music itself. Though I did not highlight specific philosophical ideas used, I gave credit to three specific thinkers that I am in debt to for both the ideas used and inspiration. Though I gave an example of only two people with a very specific relationship, I feel that this process of learning music, creating music and experiencing music will lead to loving music.