Philosophy
of Music Education
University
of Wisconsin Oshkosh
April
1, 2002
In 1838 Lowell
Mason persuaded the Boston School Committee to add music to their curriculum,
arguing that music met the same moral, physical, and intellectual requirements
as the school's other subjects (Mark 56). And so was the birth of music
education in American schools. Over one hundred sixty years later, music
programs of some sort can be found in practically every school. Although music
has established itself as an important component of a complete education, many
parents and administrators continue to consider it an expendable program. For
the sake of our nation's children, music should be considered a basic subject
in both the private and public schools of America.
Music's worth to
us as human beings is invaluable. Music puts meaning into our lives. Through
music, we can share how we feel, what we experience, and what we value. Without
music's sensitivity and beauty, we would have a world full of facts and figures
without meaning (Grossman 10). The arts describe, define, and deepen the human
experience (Consortium of i). However, in the midst of budget cuts and
standardized testing, music educators are forced to defend music not in terms
of its intrinsic worth, but in terns of its extra-musical benefits.
The extra musical
benefits of music education are vast. Many scientists have attempted to
quantify the benefits of musical study. Some have been successful, and some
have not. A study done by German neurologist Gottfired Schlaug reveals that the
study of music results in a positive biological effects on the human brain. The
auditory area in the left hemisphere of the brain becomes larger and the fiber
track (which connects the two sides of the brain) becomes thicker in the
musician than the non-musician. The difference is even more significant in
those musicians who began their training before the age of seven. As a result
of the thicker fiber tract, communication between the left and right hemisphere
of the brain is accelerated (Larson 29).
Dr. Steven J.
Morrison of Louisiana State University conducted a study comparing SAT and ACT
scores of musicians and non-musicians. He found that musicians scored five to
fifteen percent better than non-musicians (Larson 29). The National Endowment
of the Arts funded a study by OMG, Inc. that also concluded that studying music
contributes to improving students' test scores (Thomas 43).
Although a
positive link connecting musical training to improved test scores is most
likely present, there are countless, more significant reasons to include music
in a school's curriculum. According to the Consortium of National Arts
Education Associations, the study of the arts develops intuition, reasoning,
imagination, and dexterity. It requires both an active and a trained mind (6).
In the music classroom, students learn a variety of ways to perceive and think,
and learn to recognize that there can be more than one solution to a problem. Music
teachers can help students to find a new joy in learning, giving the otherwise
disinterested student something to look forward to at school. Music specialists
can work with regular classroom teachers to devise countless methods of
integrating music into common classroom lessons. As a result, students may
become more motivated to learn (Thomas 43). According to Richard W. Riley,
former US secretary of education, students who participate in the arts often
spend more time doing homework and get better grades than those who do not
(Larson 29).
Cultural
sensitivity, or lack there of, is a pressing issue in today's society. Because
music is one of the fundamental components of culture, the music classroom is
an opportune place for students to explore and experience the culture of
others. Learning respect for the music of other cultures can translate into
respect for the people who created the music (McCullough-Brabson 76). Through
the study of world music, students can acquire new musical experiences and an appreciation
for diversity, actively participate in different ways of making music, and
develop understanding of indigenous music groups and tolerance and respect for
people of other cultures (Moore 73).
Mainstreaming is
an issue that affects all teachers in every classroom setting. In many cases,
however, the music classroom has the potential to be one of the most successful
mainstreaming environments for many special needs students. We must understand
that the reasons for including music in the curriculum of non-handicapped
students are the very same reasons for offering music to children with
disabilities. For the special needs students, mainstreaming in the music
classroom provides irreplaceable opportunities for interaction with
non-handicapped students in a positive and "normal" environment
(Cassidy 40).
Robert Rammer, a
High School Principal, praises music education, indicating that "music
teaches things that traditional classrooms do not and can not teach: poise,
self confidence, cooperation, dedication, beauty, appreciation of cultures,
patience, subtleties and majesty of life (42)." He says, "music is
like the broth of a soup." It holds everything else. It allows the other
things to mix around inside of it (42). Music education is incredibly beneficial
for students. Not only does it help students to better understand human
experiences and learn to respect others' ways of thinking, working, and
expressing, but the study of music also bears countless extra-musical benefits.
Arts education benefits society in a way that no other education can. Students
grow into competent adults who are prepared to live in our society. They learn
artistic modes of problem solving and become better individuals, citizens,
partners, and parents. Weinberger expresses it well when he says that music and
the arts are "essential, not optional, components of education. Instead of
asking 'why music?' perhaps we might ask, 'why not music?' (36)."
Works
Cited
Cassidy, J.W. "Managing the mainstreamed classroom." Music
Educators Journal 76 (1990):
40-3.
Consortium of National Arts Education Associations. National
Standards for Arts Education: What every young American should know and be able
to do in the arts. Reston: MENC,
1994.
Grossman, David. "Why Music is Basic to Education." Wisconsin
School Musician Feb. 1984:10.
Larson, Bill. "Arts Vital Part of School Program." National
Federation News Nov.-Dec. 1996:
29.
McCullough-Brabson, Ellen. "Music and Cultural Diversity:
Thoughts from a World Music Cheerleader." In Toward Tomorrow: New
Visions for General Music, Sandra
Stauffer, Ed. 75-80.
Mark, Michael L. Contemporary Music Education. 3rd ed. New York: Schirmer, 1996.
Moore, Marvelene C. "Cultural Diversity and Music: Authenticity
in Performance." In Toward Tomorrow: New Visions for General Music, Sandra Stauffer, Ed. Stauffer 71-3.
Rammer, Robert. "The Importance of Music." Wisconsin
School Musician April 1995: 42.
Thomas, John B. "Education, the Lost Arts; Why arts education is
crucial for kids." Better Homes and Gardens Oct. 1992: 43-4.
Weinberger, Norman M. "The Music in Our Minds." Educational
Leadership Nov. 1998: 36-40.