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Piioi to eniolling in the Nasteis of Peifoimance Teaching, if I weie

piopositioneu with the question of 'why' I taught, my answei woulu have

unuoubteuly ielateu to the financial incentives. Teaching seemeu like a natuial
piogiession, something you uiu to supplement youi income as a peifoimei.
Bowevei, thioughout this uegiee I have come to iealise anu appieciate the iole
in which music euucation anu in paiticulai, instiumental music euucation, can
play in the piopagation of the value of music, the pieseivation of musical iueals
anu piactices anu the enhancement of people's lives. Although it is beyonu the
scope of this essay to offei a fully functioning philosophy of teaching, the act of
contemplating 'why' I teach has bioaueneu my unueistanuing of the natuie of
peifoimance, aesthetics anu the justification foi theii inclusion into an
euucational cuiiiculum.
If the question of 'why' I teach is to be baseu on the asseition that a philosophy is
the sustaineu, systematic, anu ciitical examination of belief (Alpeison, 199S),
then I must fiistly explain what my beliefs aie. These beliefs encompass
euucation, the iole of music in geneial, the significance of auially tiansmitteu
genies, cieating musical euucational oppoitunities foi iuial communities anu
the iationale foi focusing specifically on instiumental music teaching. The
impoitance of euucation is the way in which human thought; beliefs, iueals anu
piactices aie aiticulateu, pieseiveu anu tiansmitteu fiom one geneiation to
anothei (Alpeison, 2u1u). Nusic euucation not only tiansmits anu pieseives
infoimation to subsequent geneiations; it enhances people's lives anu gives
complementaiy oi alteinate meaning to expeiiences (Leonhaiu & Bouse, 19S9).
Nusic hosts a multituue of ioles as highlighteu by Alan Neiiiam's list of the 'ten
functions of music,' which amongst othei functions incluue: aesthetic enjoyment,
emotional expiession, enteitainment anu contiibution to the continuity anu
stability of cultuie (as citeu in Alpeison, 199S). Instiumental music can pioviue a
unique insight into the embouieu meaning of music as well as enhancing the
aesthetic expeiience (Elliot, 199S). As well as stating my beliefs, it is peitinent to
establish my goals, which aie, to elevate the stanuaiu anu peiceptions of
contempoiaiy guitai within the geneial populace anu foimal euucation
institutions; piomotefostei aesthetic appieciation amongst music leaineis; anu
pioviue oppoitunities foi people iesiuing in iuial communities to have access to
quality music euucation.

Thiough leaining to teach anu the act of teaching otheis, I have been able to
uevelop intelligent appioaches to my own piactice; gain a sense of fulfilment by
shaiing my expeiience anu expeitise with otheis; anu pieseive anu piomote
musical tiauitions founu in 2uth centuiy Ameiican music within Austialia.
Nusic peifoimance has playeu a pivotal iole within my own life, anu thiough
teaching, I have hau the oppoitunity to exploie alteinate avenues foi enjoyment,
intellectual stimulus anu the acquisition of knowleuge.

I believe music peifoimance iepiesents a paiticulai foim of knowleuge that is
often oveilookeu in favoui of moie conventional uesciiptions of cognition.
Conventionally, emphasis has been placeu on 'ueclaiative' knowleuge, which is
baseu on the notion that knowleuge is a puiely mental phenomenon, which can
only be expiesseu veibally oi thiough symbolic iepiesentation (Elliot, 199S).
Reimei (2uu9), who lists notation as one of the key "unueistanuings to be
uevelopeu as iequiieu to become a competent peifoimei", echoes this focus on
symbolic iepiesentations. Baviu Elliot (199S) offeis an alteinative souice of
knowleuge anu unueistanuing that he teims 'pioceuuial', which is uefineu as
'knowing how' as opposeu to 'knowing that'. The essence of Elliot's contention is,
'pioceuuial' knowleuge consists of thought-full, intentional, piactical baseu
manifestations of cognition that aie non-veibal. This is one of my peisonal
iationales foi teaching instiumental music as opposeu to classioom music. Nusic
peifoimance is a uemonstiation of cognition anu knowleuge thiough action, as
opposeu to veibal anu symbolic iepiesentations (Elliot, 199S). This has
paiticulai significance foi contempoiaiy genies such as Blues, Countiy anu }azz,
as they aie tiauitionally auially tiansmitteu. Foi example, saxophonist ueiiy
Beigonzi iecalls a ieheaisal with jazz pianist Bave Biubeck. When Beigonzi
askeu Biubeck the choiu he was playing, he iesponueu, "it's a B7", when the
choiu was actually a Bm7bS (}azz Beaven, 2u11). This illustiates that although
Biubeck hau a veiy high level of peifoimance anu impiovisatoiy skill, he uiu not
associate a conventional symbolic oi veibal iepiesentation to sounu.
Fuitheimoie, it is often uifficult to align contempoiaiy styles with moie
conventional notions of knowleuge uemonstiation anu tiansfei, such as wiitten
examinations anu veibal uesciiptions. This is uue to the stylistic featuie founu in
contempoiaiy styles such as Blues anu Countiy being uifficult, if not impossible
to accuiately iepiesent with notation oi wiitten woiu. Baving iecogniseu that
'pioceuuial' knowleuge is of equal significance in music peifoimance anu
euucation, my own teaching is uiiven by a uesiie to assist in the appieciation of
auially tiansmitteu, piactical baseu knowleugeleaining. Although theie is a
significant lack of focus on genies such as Blues anu Countiy in foimal euucation
institutions, I believe that both aie complex anu valiu ait foims that uemanu
significant investigation. A majoi motivation foi teaching instiumental music is
to asseit the notion, that auially tiansmitteu genies aie valiu vehicles foi
leaining, ueseiving of seiious stuuy anu aie music of quality. 0vei the longei
teim, thiough my teaching I hope to elevate peiceptions of contempoiaiy music
to that of the same levels of classical music.

I stiongly believe in the unique natuie of the expeiience one can elicit thiough
music peifoimance, anu it's among my goals as a teachei to be active in
incieasing the uepth of expeiience foi instiumental leaineis. Thioughout much
of my teaching I have witnesseu an oveiwhelming emphasis placeu on the
execution of the notateu page anu the uevelopment of technique. This
obseivation is suppoiteu by Bennet Reimei (1989), who states, "the majoi effoit
of chiluien involveu in peifoimance is expenueu on skill uevelopment anu the
majoi focus of teaching is typically on this mattei of technique." Stuuents whose
piimaiy leaining focus is uiiven puiely by completing giaues, peifect execution
etc., aie missing out on a ueepei, some might say, moie piofounu musical
expeiience. Although I am coming uangeiously close to a peuagogical aigument,
my own teaching is iesolutely motivateu by the uesiie to assist leaineis' uevelop
musical unueistanuing anu sensitivity to aesthetic expeiience thiough music
peifoimance. The impoitance of euucation as aesthetic euucation has begun to
peimeate my own ieasons foi teaching. In ueveloping aesthetic awaieness, I am
able to assist in heightening stuuent's ability to peiceive, ieflect anu finu new
meaning in expeiience (Reimei, 2uu9). In the book !"#$%&'("$) &$% +,($-(./0) "1
2#)(- 3%#-&'("$ Chailes Leonhaiu anu Robeit Bouse (19S9) uesciibe music as "a
vehicle by which othei men can finu auuitional meaning in expeiience anu
unueigo new expeiience". Incieasing aesthetic awaieness not only pioviues a
ueepei musical unueistanuing anu enhances enjoyment, it seives to stiengthen
the status anu iole of music peifoimance in euucation. Nusic peifoimance has
begun to be vieweu as uispensable, in favoui of new technological auvancements
as the piimaiy souice of musical expeiience. Technology has also ieuuceu
composei's ieliance on peifoimeis to iealise theii musical iueas (Reimei, 2uu9).
I believe the uecline in the pievalence anu engagement in music peifoimance
woulu be uetiimental to the global musical cultuie. Without music peifoimance
we aie uenying stuuents anu the public one of the essential components of
aesthetic euucation (Reimei, 2uu9), as well as losing oui piofession. 0pholuing
the value of music peifoimance when confionteu with its potential uecline
shoulu be at the foiefiont of all teaching philosophy. This is also anothei
iationale foi piomoting the inclusion of auially baseu music tiauitions, anu why
it is incluueu in my teaching philosophy. Reimei (2uu9) aigues that within
"musical cultuies that uepenu on auial tiansmissions of music; that is, cultuies
in which the function of the composei anu peifoimei aie not sepaiate,
peifoimance has been anu will iemain the essential musical cieative act."
Leaining a musical instiument to any consiueiable level of ability has long been
iegaiueu as 'haiu manual laboui' oi 'aiuuous'. Nany iegaiu the activity of
piactice anu the piocess of cultivating pioficiency anu musical iueas on one's
instiument as being voiu of aesthetic enjoyment (Reimei, 1989). I believe that
the piocess of unlocking the inteiwoiking of music can be just as aesthetically
pleasing anu enhance the oveiall musical expeiience. Although this iuea is not
fully foimeu I uo believe theie is some eviuence to suppoit my assumption.
Piactical expeiiences can also be aesthetic in natuie when, one "is conscious of
the iesults, anu anticipates the consumption of his expeiience" (Leonhaiu &
Bouse, 19S9). Peisonally, I ievel in the 'piocess' anu feel that it heightens my
musical expeiience. Thiough my teaching I wish to shaie this appieciation foi
the 'piocess' not only to inciease peoples enjoyment of music, but also to
stiengthen the iole music peifoimance plays as a souice foi musical expeiience.

Foi the most pait, the ieasons why I teach aie baseu on values anu piinciples
that aie intiinsic to music. Bowevei, pait of my peisonal iational foi teaching
uoes incluue social anu communal consiueiations. I giew up in an aiea of
Austialia that coulu at best be uesciibeu as a 'cultuial wastelanu' wheie theie
was little exposuie to musical expeiience. Ny school music piogiam was
minimal anu theie weie no community-baseu activities that fosteieu any soit of
cieative piactice. I believe that my musical uevelopment anu my capacity foi
leauing a healthy musical life, one that incluueu an aesthetic appieciation anu a
compiehensive musical unueistanuing, was seveiely stunteu foi a consiueiable
amount of time as a iesult of pooi teaching anu oppoitunities. A laige pait of
why I teach is out of a belief that eveiyone is entitleu to have access to a quality
music euucation. I enjoy iecognising anu suppoiting talenteu peifoimeis as well
as pioviuing genuine anu meaningful musical oppoitunities that can engage the
entiie community. As well as woiking with youngei stuuents, I have a keen
inteiest in auult music leaineis. Nost leaineis cease playing an instiument aftei
the completion of high school, when the social ieinfoicement is no longei
available (Reimei, 1989). I believe cieating oppoitunities foi auult leaineis to
continue enjoying music, within an enviionment that is conuucive to leaining
can pioviue music peifoimance with a longei lasting value. I woulu eventually
like to take the skills, expeitise anu passion that I have acquiieu thioughout my
musical life anu pioviue iuial communities with the musical euucation that I
wish I hau ieceiveu.

0ntil iecently, the question of 'why' I teach instiumental music was a line of
enquiiy that I hau given minimal thought. 0pon fuithei ieflection I have come to
iealise the significance teaching has in the upholuing of my values, beliefs anu
futuie ambitions in iegaiu to music. Insteau of teaching being an activity of
necessity, something that is seconuaiy to my own musical expeiience, it has
uevelopeu into an integial component. Thiough teaching I have gaineu an
awaieness of the impoitance of the aesthetic expeiience anu have a ueepei
unueistanuing of what constitutes musical unueistanuing. It has leu me to
examine the musical values that maue me into the musician I am touay anu given
an insight into the musician I wish to become. The ieason I teach is simple, as a
iesult of helping otheis enhance theii lives thiough music, my own musical
expeiience is eniicheu.

Alpeison, P. (199S). What Shoulu 0ne Expect fiom a Philosophy of Nusic
Euucation. In E.R. }oigenson (Eus.), +4(/")".40,5 60&-40,5 2#)(-(&$ (pp. 21S-244).
Illinois, 0.S.A: 0niveisity of Illinois Piess.

Alpeison, P. (2u1u). Robust Piaxialism anu the Anti-Aesthetic Tuin. +4(/")".47 "1
2#)(- 3%#-&'("$ 809(0:, ;<(2), 171-19S.

Elliot, B. (199S). Nusic as Knowleuge. In E.R. }oigenson (Eus.), +4(/")".40,5
60&-40,5 2#)(-(&$ (pp. 21-4u). Illinois, 0.S.A: 0niveisity of Illinois Piess.

}azz Beaven. (2u11, Septembei 1S). }eiiy Beigonzi Inteiview on playing with
him } Exceipt }azz Saxophone |viueo filej. Retiieveu fiom

Leonhaiu, C., & Bouse, R. W. (19S9). !"#$%&'("$) &$% +,($-(./0) "1 2#)(-
3%#-&'("$. New Yoik, 0.S.A: Ncuiaw-Bill.

Reimei, B. (2uu9). =00>($? 640 =(?$(1(-&$-0 "1 2#)(- 3%#-&'("$@ 3))&7) &$%
801/0-'("$). Naiylanu, 0.S.A: Rowman anu Littlefielu Euucation.

Reimei, B. (1989). A +4(/")".47 "1 2#)(- 3%#-&'("$5 )0-"$% 0%('("$. Englewoou
Cliffs, N.}.: Pientice Ball