Running head: PHILOSOPHY OF MUSIC EDUCATION: REACHING EVERY STUDENT

Philosophy of Music Education: Reaching Every Student Caitlin E. Schafer Westminster Choir College of Rider University

PHILOSOPHY OF MUSIC EDUCATION: REACHING EVERY STUDENT Philosophy of Music Education: Reaching Every Student

My musical journey started in high school when my friends convinced me to get involved with the school musical. This eventually led to me joining the choir. We were a relatively small group; the choral director was also responsible for the theatrical productions and some instrumental classes. There were quite a few of us who put in the effort, eagerly sitting on the edge of our seats, prepared with music in hand, ready to sing our hearts out for the next forty-five minutes. And yet, a good number of people only took the class for credit. They talked during warm ups, rarely paid attention to their music, and fiddled with their phones most of the class. As a dedicated student, I found it annoying, but as a future teacher I now find it concerning. The truth is that not every student in our classroom will become a music major. Chances are, a good deal of students will have little interest in music classes at all. Should these students be ignored or pushed aside? Are the only students worth teaching the ones who excel in music? I dont believe this to be true. My experiences in the classroom and my research on the subject have shaped my philosophy to be this: All students are capable of learning and every student can gain something from music education. To reach every student, the teacher needs to meet the student on their level with a diverse curriculum, and work to establish an interest in and love for music. Teaching what is Under the Surface The purpose of an educator is to help students obtain life skills and knowledge on a given subject. Teaching the subject is important, but a good educator teaches what is under the surface as well. Music is a unique subject in the way that it not only engages a person cognitively, but also socially and emotionally. The value of music goes way beyond knowledge of theory or the ability to perform advanced repertoire. Music teaches acceptance of others and their ideas, and

PHILOSOPHY OF MUSIC EDUCATION: REACHING EVERY STUDENT an appreciation and understanding for other cultures and art forms. It teaches students to think critically, how to work hard, and how to work together to achieve a goal. It gives students an outlet for emotion and encourages them to be open and empathetic. These skills are valuable in

all professions and all aspects of life, which is why music is an essential part of education. If my students can take these skills and use them to make positive, well-educated choices, then I have been successful as a teacher. Love and Skill My music education started with my high school choir. We performed some pop and folk songs, a few contemporary choral arrangements, and musical theatre medleys, but nothing from the classical repertoire. I hardly learned anything about music theory, history, or proper technique. We memorized the lyrics, sang the notes our teacher played for us on the piano, and that was enough. Now that I am being educated in the areas of music theory and history, I believe them to be an important part of music education and want to teach these topics in my classroom. While my experience was not as comprehensive as I wish it had been, this environment did do one important thing to jump start my career in music: it was fun. I loved being part of something bigger and making music with my friends. As basic as our work was, I enjoyed every minute of it. This love for music made me want to do more and go further with my education, and so my philosophy is deeply rooted in the idea of creating a love for music. Daniel Coyle discusses this idea of teaching love in his book The Talent Code. Coyle lists the three essential elements of unlocking skill: deep practice, ignition, and master coaching. He discusses a study conducted in the early 1980s by the University of Chicago in which 120 world class musicians, artists, athletes, and intellects provided information about their first teachers in

PHILOSOPHY OF MUSIC EDUCATION: REACHING EVERY STUDENT their field, whether they were very good, better than average, or average. Of twenty one professional pianists, sixty two percent reported their first teacher as being average, with two individuals reporting very good first teachers. These same teachers were commented on as being really great with young kids, very kindly, very nice, and enormously patient and not very pushy. By making music a positive and enjoyable experience, a teacher is activating a students ignition, their desire to improve their skill (Coyle, 2009). Interest in the subject needs to be established before meaningful learning can occur.

One of a teachers primary goals should be to establish a love and appreciation for music in their students. This love can be taught in tandem with teaching skills; however it needs to be present. The idea of pairing love and learning is practiced in the Suzuki method. Teachers and mothers should teach with love and should always try to make learning fun When we wish children to learn something, we must first create a willing attitude and a happy environment (Starr, 1983). The ways in which a teacher develops this willing attitude will differ from class to class, though the concept remains consistent through all ages and skill levels. The acquisition of advanced skills are important, however they are irrelevant to an uninterested student. By instilling a love for music along the way, you create a situation in which students will want to learn more and improve their skill. Naturally, a teacher cannot force their students to like a certain subject, however there are ways that a teacher can create a learning experience that is enjoyable as well as educational and more likely to hold a students interest. Meeting the Student No teacher knows who will walk into their classroom at the beginning of the year or what their skills will be. However a teacher can count on each student coming into the classroom with

PHILOSOPHY OF MUSIC EDUCATION: REACHING EVERY STUDENT some musical background. This does not necessarily mean they are knowledgeable in classical

music or music theory, but they do have some experience listening to music and a preference for certain songs or genres. This knowledge and these opinions are valuable to both the student and the teacher, as they provide a gateway to greater learning. Similar philosophies of teaching can be found in the methods of Paulo Freire and Henry Giroux, and even here at Westminster Choir College of Rider University. Frank Abrahams, a professor of music education, describes how Critical Pedagogy advocates a shift in the power structure in classrooms by acknowledging that students come to the class with information gleaned from their own life experiences. The goal of Critical Pedagogy is to use that knowledge as a bridge to new learning (Abrahams). If you link a students and preexisting knowledge to something new, they are more likely to connect to it and develop an appreciation for it and better retain information. While all students are capable of learning, not all students learn in the same way. My philosophy includes the understanding that a teacher needs to present information in several different ways to reach every student. Bernice McCarthys 4MAT system is based on the idea that there are four steps in learning information: experiencing, reflecting, conceptualizing, and acting (2010). These steps create a learning cycle that defines the four types of learners found in the classroom. Type one learners are imaginative and learn by listening and sharing ideas. Type two learners learn by analyzing and thinking through ideas. Type three learners utilize common sense in the learning process by testing theories and ideas. And lastly type four learners, the dynamic learners, who learn best by trial and error (Abrahams, 2005). McCarthy believes that students need to be exposed to each of these types of learning, though students tend to favor one or two learning types in particular (2010). By utilizing the 4MAT system in my classroom, I will

PHILOSOPHY OF MUSIC EDUCATION: REACHING EVERY STUDENT be able to ensure that I am teaching to every student, rather than catering to just one type of learner.

Additionally, there are an infinite number of factors that affect learning. What happens in students life outside of the classroom has a huge impact on what happens inside of the classroom. This includes a students home, school, and social life. While a teacher cannot always resolve these issues, they need to be mindful of this if they are to reach every student and provide them with the best learning experience. Diverse Curriculum A good curriculum is essential to a successful classroom environment, and in a musical setting should include multiple styles and genres. Americas population consists of people from all over the world, and so we have children from a variety of cultures flooding our classrooms and bringing their individual knowledge of music with them. Because of this our old views of traditional music are no longer valid. An ideal curriculum would incorporate music from many different cultures. This not only pleases the diversity in the classroom, but helps to encourage acceptance and understanding in a society in which all kinds of people are coming together. Teaching only one type of music would alienate a huge number of students, which is contrary to the purpose of music education. A teacher should also do their best to present a balanced music education. This means covering a little bit of everything, including practicing performance and theory, listening and analyzing music, and learning about music history. I think that the activities used in the classroom should incorporate a number of topics rather than just one. For example, when teaching my students a new piece in a choral setting, I will be simultaneously teaching them

PHILOSOPHY OF MUSIC EDUCATION: REACHING EVERY STUDENT

about history when discussing the composer and meaning of the piece, theory and reading music as they learn their part, and technique as I help them adjust their sound. Though some lessons may focus on a single aspect of music, I do not want my teaching to be about continually isolating topics. By teaching theory and together with practice, students are more likely to make connections, retain information, and learn faster. Relevance is another important aspect of a good curriculum. Teachers should adapt to their students so that what they are learning is relevant. This primarily involves using music that the students can relate back to their own lives. If the material is not relevant or meaningful to the students, they will be less likely to take anything from it, and as a teacher I want everyone to take something away from my class. This can be achieved through Critical Pedagogy in the classroom. For music education, a Critical Pedagogy approach seeks to break down the barriers that exist between the music students hear and love outside the classroom, with the music their teachers want them to learn (Abrahams). By connecting music that students listen to with music and skills inside the classroom, teachers can help students connect to the material and promote learning. Each student may find a different strength in music and a way to connect to it. One student may learn a lot about theory, while another may struggle with it yet drastically improve their vocal technique. Some students may simply end a semester with a newfound respect for the art and understanding of the importance of music in society. All of these are valuable lessons to be taking from the classroom. Conclusion Music education serves not only to provide students with creative and emotional fulfillment, it helps establish skills that can be used in all areas of life. Some students will be

PHILOSOPHY OF MUSIC EDUCATION: REACHING EVERY STUDENT

quicker to engage in music, while others will be less interested. It is important for a teacher to be able to reach these less interested students while meeting the needs of those who are eager to learn, and ensure that every student takes something valuable from their musical experience in the classroom. This goal is achieved by encouraging a love of music as well as teaching skill, utilizing a diverse curriculum, and teaching what lies under the surface. A teacher can also meet his or her students on their level by teaching in a manner that connects to each type of learner and presents the music taught in the classroom in a way that is relevant and meaningful to the students. Incorporating these elements into the music classroom would create the ideal educational experience, one in which every student grows and benefits from music education.

PHILOSOPHY OF MUSIC EDUCATION: REACHING EVERY STUDENT References Abrahams, F. (n.d.). Critical Pedagogy for Music Education: A Best Practice to Prepare Future Music Educators. Retrieved from http://www.rider.edu/~vrme/v7n1/visions/Abrahams %20CPME%20Best%20Practices.pdf

Abrahams, F., & Head, P.D. (2005). Case Studies in Music Education, Second Edition. Chicago, IL: GIA Publications. Coyle, D. (2009). The Talent Code. New York, NY: Bantam Dell. McCarthy, B. (2010, January 27). Introduction to 4MAT by Bernice McCarthy [video file]. Retrieved from http://www.youtube.com/watch?v=cpqQ5wUXph4 Starr, W. & Starr, C. (1983). To Learn with Love: A Companion for Suzuki Parents. Alfred Publishing. Retrieved from http://books.google.com/books?id=_LN74rjdPv0C&printsec= frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false