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Philosophy of Music Education

Madeline Birk

Education is a fundamental factor in every student’s life when preparing them for a

successful and holistic adulthood. A proper education should inspire and give students the tools to

become dynamic citizens who actively seek out relationships, opportunities, and their passions.

Teachers are one of the earliest and most significant guides in a student’ s life when it comes to

building a well-rounded and contented citizen. In order for a teacher to produce well-rounded

students, they must be well-rounded themselves. It is an educator’s duty to collaborate and learn

from a number of diverse educators and researchers in order to have the ability to create an equal

and balanced classroom for all students and society at large1. To set up a student for present and

future success, a student’s education should consist of a full variety of subject areas. Meaningful

learning implemented across an array of varied and balanced interconnected curriculum helps

students apply what they learn in a practical and real-world way.

Every single student regardless of ability or background has the right to a proper music

education throughout their entire primary and secondary education. In an instrumental setting,

every student should also have or be given access to an instrument if they so desire to play and reap

the benefits of a performance-based music education. Music holds a special place within the

curriculum as it offers countless opportunities for students to create, present, respond, and connect

on numerous levels and occasions. Music is an activity largely based on creating in which both the

teacher and student are making active choices together. The teacher is not to serve as a dictator of

their own classroom, but rather as a colleague. The teacher should never spoon feed student’s

1Miralis, Yiannis. “Clarifying the Terms ‘Multicultural,’ ‘Multiethnic,’ and ‘World Music Education’
through a Review of Literature.” Applications of Research in Music Education 24, no. 2 (Spring/Summer 2006): 54-66.
https://doi.org/10.1177/87551233060240020106. (accessed Oct. 6, 2019)
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information, but rather give them the tools to figure things out themselves so they can be successful

in the future. A classroom should be based on collaboration between both the teacher and the

student as well as between just students themselves.

Through music, students are able to develop a sense of self while also becoming a part of a

larger community. Through performance, students are able to demonstrate to both themselves and

to the rest of the world what they have learned or accomplished. Intrinsic musical experiences

through music making is a large goal of a music education, but a truly impactful music education

should also prepare students to put their music to work as an active citizen2. Through learning and

performing music, students should develop an “ethic of care” for both themselves and the

community3. It is not just the teacher’s job to put on a good concert, but to teach students how to

work collaboratively, lift one another up, and care for themselves and others. When an “ethic of

care” is put into an ensemble at an early age, not only will a great sound result, but students will

carry that philosophy with them for the rest of their life. In a performance-based music education,

every student is given the opportunity to be a part of something much larger than themselves.

The study of music requires a holistic approach in which students utilize not only their

musical intelligence, but their kinesthetic, verbal, and visual intelligences among others as well.

Utilizing a full range of intelligences in music allows students to remain engaged and find

applications for what they learned in other areas of their lives. In order to educate the whole child,

an educator must be knowledgeable of numerous content areas and how to teach them to students

2 Elliott, David J. “Another Perspective.” Music Educators Journal99, no. 1 (September 2012): 21–27.
https://doi.org/10.1177/0027432112452999. (accessed Oct. 6, 2019).
3 Ibid.
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with varying needs.4. Content should be taught through multisensory instruction where students can

see, hear, feel, and move to really understand the concepts they are learning. For proper learning to

take place, a level of trust must be fostered between the teacher and the student in a classroom that

focuses on collaboration and maintaining a positive learning environment5. Music is universal and

has the power to connect people of differing cultures and backgrounds to one another in a way that

is difficult to put into words. Through music, teachers can lend a great hand in forming a society in

which people with diverse perspectives can practice empathy, drive, and responsiveness together.

4 Lonis, Dale and Haley Ardith. “The Four Essential Pillars of Music Learning.” Canadian Winds 17, no. 2
(Spring 2019): 27-30. http://search.ebscohost.com.libgateway.susqu.edu/login.aspx?direct=true&db=asn&AN=1
3802117 1&site=ehost-live. (accessed Oct. 8, 2019).

5 Ibid.
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BIBLIOGRAPHY

Elliott, David J. “Another Perspective.” Music Educators Journal 99, no. 1 (September 2012):
21–27. https://doi.org/10.1177/0027432112452999. (accessed Oct. 6, 2019).

Lonis, Dale and Haley Ardith. “The Four Essential Pillars of Music Learning.” Canadian Winds 17,
no. 2 (Spring 2019): 27-30 http://search.ebscohost.com.libgateway.susqu.edu/login.aspx?
direct=true&db =asn&AN=138021171&site=ehost-live. (accessed Oct. 8, 2019).

Miralis, Yiannis. “Clarifying the Terms ‘Multicultural,’ ‘Multiethnic,’ and ‘World Music Education’
through a Review of Literature.” Applications of Research in Music Education 24, no. 2
(Spring/Summer 2006): 54-66. https://doi.org/10.1177/87551233060240020106. (accessed
Oct. 6, 2019)