Jessica Vaughn

Graduate Seminar

Philosophy of Music Education

Music exalts the human condition, and thus every person deserves the opportunity to

participate in aesthetic-expressive experiences provided by high-quality music education.

Furthermore, the history of music as an art form and the perpetual importance of music to the

human race solidify the need for music in our society (Madsen & MENC, 2000). “Music is one

of the most powerful, most compelling, and most glorious manifestations of every cultural

heritage” (Lehman, 2002). To be most effective, school music programs must take into careful

consideration the plethora of functional components necessary to foster intentional knowledge

and skill development. These attributes are vital to ensure all students receive a comprehensive,

enriching music education that leads to a life filled with music.

Music has existed forever and has incredible meaning to the human race. Historians have

tangible evidence of music existing in societies from over 40,000 years ago – longer than there is

evidence of concepts used in any other academic discipline (Grout, Burkholder, & Palisca,

2001). Over these years, music has been used in the best and worst of times to communicate

unspeakable feelings symbolically. For instance, a string quartet performing Nearer My God to

Thee as the “Titanic” slowly sank or the piece Aurora, composed by Hans Zimmer, after the

terrible mass shooting in Colorado in 2012. These are two examples of how music can be used to

express what cannot be grasped by words alone. As music has always existed and is an important

vehicle for non-verbal, symbolic expression, it has maintained a place of reverence in society and

should be included in schools (Phillips & Soltis, 2001).

Music education teaches the heart of the human condition, or aesthetic-expressive

emotional awareness, through an environment filled with compassion and empathy (Rogers,
1961). Musicians are able to experience emotions they may not have personally felt before in a

safe environment which fosters empathy and the ability to understand the perspectives of others

(Meriam, 1964). Gardner advanced that each person has a unique blend of seven different

intelligences, with music being one of them (Gardner, 1993). As music is a unique intelligence, it

must be developed intentionally alongside the other intelligences. In addition to teaching the

aesthetic expressive awareness of humanity, musicians develop creativity and unique ideas, an

attribute that can benefit society in the form of innovative problem solving (Meriam, 1964).

Finally, Meriam states that, through music, humans validate social, cultural, and religious norms

and contribute to the continuation of culture in society.

Due to the unique way music education positively affects individuals, music must be

taught to all students, an idea pioneered by Lowell Mason (Mark, 2008). This means ensuring

music programs are available and readily accessible for all students in schools from grade K-12.

In K-5 education, opportunities must include general music for all students and may include

instrumental music for students when deemed developmentally appropriate. In grade 6-12,

general music courses must continue to be offered along with instrumental, vocal, and other

musical offerings that authentically reflect the interests and cultures of the community being

served (Madsen & MENC, 2000). Regarding access, multiple entry points to music education

must be made available at all levels from K-12, including courses with no prerequisites and re-

entry courses for interested students (Fonder & MENC, 2003). All students, including students

with special needs, gifted and talented learners, and multi-lingual learners, must have

developmentally appropriate music curriculum available in schools and instructors who are

prepared adequately to teach them (Madsen, 2000). Finally, students wishing to pursue a career
in music must have pathways to reasonably achieve their goals, including course offerings,

music lessons, and guidance from mentor music teachers.

The primary goals of the music program are to encourage lifelong music-making (Ernst,

2001) and to promote betterment of self and of society (Meriam, 1963). This is accomplished

through providing a variety of musical experiences in which students see themselves represented,

both culturally and personally, and in which students can connect with one another in a social

context. Additionally, these goals are realized when teachers meet the needs and interests of the

students they are serving (Hodges & Sebald, 2011) and help them realize the vital role music

plays in their lives and the lives of others (Madsen, 2000).

In order to establish quality music programs that enrich the lives of all students, music

teachers must take into consideration many components, including fostering a positive learning

environment and utilizing pedagogically sound teaching strategies, a standards-based curriculum,

authentic assessment, a balance between process and product, and a diverse offering of musical

experiences. Maslow states teachers must intentionally create an environment in which all of the

basic needs, culminating in self-actualization, are met, including developing a sense of esteem

and belonging in a socially situated context (Hodges, 2011). Additionally, Rogers insists an

environment that is genuine, accepting, and empathetic must be cultivated in each learning

community (Rogers, 1961). Whenever possible, a democratic environment should be normalized

to encourage student ownership and leadership in the pursuit of self-actualization (Scruggs,

2009). Facilitation must be present in the music classroom, with students having the autonomy to

create, perform, connect, and respond with the teacher’s guidance (Cremata, 2017). When

appropriate, music students should be supported in developing communities of practice in

peer/mentor models that assist younger students in learning about music (Phillips, 2001).
 Pedagogically appropriate curriculum must be a staple for music education programs.

Gordon’s Music Learning Theory states that sound before sight should be used to introduce new

concepts in the same way students learn to speak before writing (Bluestine, 2000). In preparation

for learning, developmental considerations and prior knowledge of students must be gauged and

curriculum adjusted to meet these needs. The four national standards for music education –

Create, Perform, Connect, and Respond – must all be addressed by the savvy music teacher in

their curriculum (www.nafme.org/core-music-standards). Teachers must use their best

judgement to ensure the aesthetic-expressive reasons music is taught are always at the core of

each musical experience (Reimer, 2003).

To ensure effectiveness of curricula and pedagogy, assessment must be valid and reliable,

and must measure a students’ progress toward meeting benchmarks outlined in the National Core

Arts Standards in Music. These assessments must be leveled appropriately to reflect past music

education experiences and developmental stages of all students. Finally, process and product

must be kept in careful balance (Reimer, 2003), particularly in performance-based music

courses, in order to ensure that all students are able to reflect on their own growth while

participating in authentic musical experiences (Madsen, 2000).

For all children to progress in music, a wide array of musical experiences must be

cultivated to meet the unique needs and interests of learners (Hodges, 2001). Among these

opportunities, contemporary repertoire as well as small ensemble experiences must be built into

the music curriculum (Scruggs, 2009; Green, 2002). Ostling (1978) provides a thorough

description for determining quality music in traditional music ensembles, defining form and

melody, craftsmanship, ingenuity, and consistency as factors for consideration. There is currently

no resource paralleled to Ostling for contemporary music repertoire selection. However, as music
education aims to teach the aesthetic-expressive, Reimer insists repertoire selected for study

should be ‘soulful’ as a prime consideration (Madsen, 2000). Furthermore, the National Core

Arts Standards state repertoire must expose students to a variety of cultures, historical periods,

and genres of music.

The National Association for Music Education states music courses for all students from

grade K-8 are strongly recommended, and continued study in music after grade eight must be

encouraged. The most recent over-arching federal statute for education in the United States, the

Every Student Succeeds Act (2015), also includes music as an essential part of every child’s K-

12 study. With the development of highly-effective music courses that reflect the interests of the

community and students being served, the majority of students will likely choose to continue

their musical studies into grade 9-12. Teachers may have prerequisites for courses that require

previous knowledge or experience – such as an upper level of an ensemble – as long as a

sufficient collection of reentry level courses are offered as well. As advanced by Maslow and

supported by the humanist lens, teachers should guide students in their choice of courses through

conversation and a focus on what is best for the student regarding their previous experience,

interests, and goals in music and beyond (Phillips, 2009).

Knowledge and skill development resulting from arts education experiences must include

musical, technological, and 21st century skills that lead to opportunities for continued

development beyond schooling. The primary musical skills developed through music education

are tonal, rhythmic, creative, executive, and notation skills (West, 2015). All five skills are

necessary for all students to be able to authentically experience music as performers, creators,

responders, and connectors. Cell phones as recording devices, YouTube and other applications

for access to music, as well as communication technology can be leveraged to exemplify media,
information, and technology literacy. Among the 21st century skills, the 4 C’s – creativity,

critical thinking, collaboration, and communication – must also be infused into the music

curriculum to support the primary goals of the discipline (The College Board, 2011).

Speaking to the importance of music education, Reimer (2003) said, “As a primary way

in which mind, body, and feeling are unified in acts of meaning-making, musical endeavors

represent a pinnacle of what the human condition exemplifies.” As such, music is vital to the

human race and, therefore, music education is vital for every child. Teachers must ensure music

education programs are carefully constructed to provide opportunities for all children to

experience and develop a life-long love for music. This music education, which is enriched by

being rooted in the aesthetic-expressive, will lead to the betterment of each person and all of

society.
 Citations

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