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Development of music education.pptx
- 2. INTRODUCTION • Music is the art of organizing sound patterns in time through elements of rhythm, timbre, harmony and melody • Music is universal, it a too of universal cultural communication and expression of thoughts and ideas • Music is the first syllabus and curriculum used to impart knowledge and instill morals in societies • Over time, music education has been anchored on elemental philosophies • Music philosophy defines the content and context of music education
- 3. BACKGROUND • Philosophy of music education is the value of teaching music • It focus on the practical application of musical values in musical teaching space • With music education, learners understand and appreciate the value of instruments • Music has been used to express emotional feelings and ideas. • Through elements of harmony, melody and rhythm • The development of music education is attributed to philosophers like Bennet Reimer, Emile Jacques, David Elliott, Kodaly Zoltan, Carl Orff among others
- 4. DEVELOPMENT OF MUSIC EDUCATION • Music education is based on emphasis of the moral principles • Music education is primarily associated with teaching and learning of musical patterns to create a difference. • Music serves to main purposes, to entertain and educate the target audience • In classroom setup, students are the audience. • Classroom music education aims at cementing social culture as well as moral behavior • It should be offered by professionals, with vast experience on musical concepts.
- 5. PHILOSOPHY OF MUSIC EDUCATION • Musical philosophies are the reasons we’re drawn to music education • Three main philosophies of music education are; • The utilitarian philosophy • The aesthetic philosophy • The praxial philosophy • How these pillars are viewed in classroom shape the curriculum, classroom management and content administration • Musical theory without practical degenerates into intellectual game detached from issues it exist to address • Through philosophies, music education influences practice indirectly • By formative expectations, crafting discerning habits as well as crafting standards society expect practical actions to measure up.
- 6. SOCIOLOGICAL CONCEPTS • Social concept of music is explained through Utilitarian philosophy • In reference to this philosophy, music was first introduced in public school curriculum in 1838 • The main reason was to promote religion by enhancing congregational signings in Christian churches. • Later, philosophers and scholars advocated for adding music in schools as a way of promoting social morals, enhance physical health • After few years of teaching music, intellectual capabilities of students increased tremendously
- 7. PSYCHOLOGICAL ELEMENTS • Psychological concept of music education is expressed through its Aesthetic Philosophy • Aesthetic philosophy is founded on the emotions and ideas expressed through music • It establish that classroom music education should engage in developing and understanding musical skills • Music is a healer for emotional frustrations, thus promoting psychological wellbeing • Here music education is engaged in feeling-based experience. • Though feelings are subjective, emotions can be traced back to expressive elements in a musical work.
- 8. PRAXIAL PHILOSOPHY • Praxial philosophy is founded on the notion that music is social and artistic • Music education is praxis (actualization) of individual’s motivations and beliefs • Music not only to be learned but also to practiced • Music lives in social and cultural context • The philosophy was extensively boosted by Philosopher Philip and Elliot
- 9. TEACHING PLAN • The impact of music education is influenced by the teaching plan • Musical philosophies are driven by organized teaching program • The future of music education depends on the structure and content of lessons offered • Teaching plan is dynamic and depends on the level of study.
- 10. REFERENCE LIST • Kaufman, Brian and Larry Scripp. Music Learning as Youth Development. New York, NY: Routledge, (2019). • Kraus, Nina, and Travis White-Schwoch. "The Argument for Music Education." American Scientist 108, no. 4 (2020): 210+. Gale In Context: Biography (accessed September 23, (2021). Lu, Mengchen, and Leonard Tan. "On the Usefulness of Nothingness: A Daoist-Inspired Philosophy of Music Education." Philosophy of Music Education Review 29, no. 1 (2021): 88-101. muse.jhu.edu/article/786580. • Lum CH., Chua S.L. “Practice and Pedagogy.” In: Teaching Living Legends, Springer Briefs in Education. Springer, Singapore. (2016 • Mark, Michael, L. and Patrice Madura. Contemporary Music Education. Available from: MBS Direct, (4th Edition). Cengage Learning US, (2013). • O'Donnell, Aislinn. "Unpredictability, Transformation, and the Pedagogical Encounter: Reflections on "what is Effective" in Education." Educational Theory 63, no. 3 (2013). 265-282. • Porflitt, Felipe I. and Rosas-Díaz, Ricardo R. "Behind the Scene: Cognitive Benefits of Playing a Musical Instrument. Executive Functions, Processing Speed, Fluid Intelligence and Divided Attention
- 11. REFERENCE CONT. • Elliott, David J and Melissa Silverman. “Rethinking Philosophy, Re-viewing Musical-Emotional Experiences.” The Oxford Handbook of Philosophy in Music Education, edited by Wayne D. Bowman and Ana Lucia Frega, 37–59. New York: Oxford University Press, (2012). • Gilbert, Ashley Danielle. “The Framework for 21st Century Learning: A first- rate foundation for music education assessment and teacher evaluation”, Arts Education Policy Review, 117:1, 13-18, (2016). DOI: 10.1080/10632913.2014.966285 •Ges, Tanuja. "No Strings Attached to all Strings Attached." Business World (India), (Jun 10, 2021),accessed September 23, 2021, •Habibi, Assal. “Neural Correlates of Accelerated Auditory Processing in Children Engaged in Music Training.” Developmental Cognitive Neuroscience 21 (2016): 1–14. •Higgins, Chris. “The Impossible Profession.” The Oxford Handbook of Philosophy in Music Education, edited by Wayne D. Bowman and Ana Lucia Frega, 213–229. New York: Oxford University Press, (2012). •"Instruments of Mass Delight: Difference Engine." The Economist (Online) (2013).
Editor's Notes
- This presentation aims at studying the concepts and philosophies behind the development of music education through time, the sociological as well as psychological elements of music in learning institutions. It starts with the overview on background history of the music philosophy, brief introduction of the study and then in-depth evaluation of the different concepts and philosophies of music in education with reference to Wayne Bowman and Lucia Fraga's publication “The Oxford Handbook of Philosophy in Music Education”
- This presentation evaluates the range of philosophical practice; music, education, and philosophy as practices; greater inclusiveness in philosophical inquiry; and tolerance, complexity, plurality, and change. The “The Oxford Handbook of Philosophy in Music Education” handbook is used to show something of the richness and diversity of philosophical practice in ways that may lead to a more vital, grounded, and inclusive understanding of its importance to the field of music education. Music education's disciplinary specializations stand to benefit significantly from philosophical inquiry and, at the same time, they have a great deal to contribute to it
- A philosophy of music education refers to the value of music, the value of teaching music, and how to practically utilize those values in the music classroom. Bennet Reimer, a renowned music education philosopher, wrote the following, regarding the value of studying the philosophy of music education: “To the degree we can present a convincing explanation of the nature of the art of music and the value of music in the lives of people, to that degree we can present a convincing picture of the nature of music education and its value for human life. This volume does not attempt an exhaustive overview of the field of music education philosophy. In the first place, philosophical inquiry is by its nature highly dynamic; it is not, we submit, the kind of discipline for which an exhaustive overview is a realistic goal. Second, music education philosophy is still very much in its nascent stages
- Music is the art of organizing sound patterns in time through elements of rhythm, timbre, harmony and melody Music is universal, it a too of universal cultural communication and expression of thoughts and ideas Music is the first syllabus and curriculum used to impart knowledge and instill morals in societies Implicit in what we have said thus far is the conviction that music, education, and philosophy—and therefore music education philosophy—are practices. They are modes of human action, deeply embedded in collective human processes of life and living. Their natures and their values—what they “are” and their proper uses—are not given, but are loosely consensual affairs that emerge from and exist amid human action. Their full understanding thus requires attention not just to the artifacts or entities they generate but to the shifting sociocultural processes from which they emerge and in which they are grounded
- There are reasons why people drawn to music, drawn to education. There is a philosophy behind each aspect of our role: Elementary: What is the importance of childhood? Music: What impact does music have on our lives? Educator: What does quality education look like? Knowing how music scholars articulate their value systems can bring clarity to conversations with administration and community members as we work to bring high quality music education to our students Musical philosophies are the reasons we’re drawn to music education Three main philosophies of music education are; The utilitarian philosophy The aesthetic philosophy The praxial philosophy Theory without practical deteriorates into intellectual game disconnected from problem it exist to address Music education philosophy influences practice indirectly by shaping expectations, creating habits that are more discerning as well as creating standards to which society expect practical actions to measure up.
- Utilitarian philosophy explains the social concepts behind introduction of music education in public schools. Music education was first added into curriculum to enhance Christianity by encouraging congregational singings in churches. For trainers and teachers, utilitarian philosophy enable then to highlight how students are working through linguistic, mathematics or scientific concepts as they learn To the question, dose music serve a practical purpose is answered by utilitarian philosophy Music serves a function. It is a tool we can use to achieve a purpose as well as non-musical outcome
- In the Aesthetic philosophy, teaching music education, students are engaging in a feelings-based experience. Though feelings are subjective, but they can be traced back to specific structures or expressive elements in a musical work. When we teach music, we are studying expressive sonic properties that convey an emotional message Music is something that expresses emotion. It is a thing, it is an output. A musical product is the vehicle we use to have these feelings-based experiences. Therefore, only the highest quality music should be included in a music curriculum
- Music is the actualization (praxis) of a person’s belief systems and motivations The practice - improvise, listen, perform, compose, arrange, or conduct - of music is where the value of music education lies. At their core, these are human activities. Human lives, thoughts, and actions are inherently valuable. Therefore, music is inherently valuable because it is the result of humans’ actionable beliefs. Music is multi-dimensional. It uses the cultural background of the piece, the musical traditions of a people, and the student’s own performance or listening interpretation. This meaning is valuable in and of itself without superimposing standards of Western European art music In addition to Elliot, music thinkers like Philip Alperson, Christopher Small, and Thomas Regelski have also impacted this approach to music education
- The most fundamental challenges to music education to music education philosophy is the dynamics of organizational learning Classroom teaching plan is basically how music works in imparting knowledge and moral values to students This is organized through theories that identify patterns and structures found in composers’ techniques The recurrent, systematic, and critical examination of beliefs and assumptions—of the grounds for our musical and instructional actions—is fundamental to professional practice in music education. Without it we have no secure basis for claims that our instructional efforts are congruent with the ends for which our profession exists. More strongly yet, without philosophical inquiry our claims to professional status are rather dubious. The kind of inquiry we have in mind, however, is not the exclusive work of academic specialists