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Keith Swanwick explores the psychological and sociological dimensions of musical experience and the implications of these for children's development and music education in schools and colleges. Music is seen, with the other arts, as contributing to the growth of mind, with deep psychological root...

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What is the praxial philosophy of music education? Very briefly, the praxial philosophy offers an explanation of the nature and values of music. Based on this foundation, I go on to explain the nature and values of music education.

I suggest that "multidimensional" captures the essence of this philosophy. In Music Matters I argue for a multidimensional concept of music and musical works, a multidimensional concept of musical understanding, a multidimensional concept of music's values in human life and a multiple approach to achieving these values. How? In short, by developing the musicianship of all music students ('general' music students and others) through the critically reflective and codependent actions of: performing-and-listening, improvising-and-listening, composing-and-listening, arranging-and-listening and conducting-and-listening. For the reasons I explain in Music Matters I suggest that music making (of all kinds) - and, of course, the rich kind of music listening required to make music well - should be at the center of the music curriculum.

Recorded music and "talk" about music have an important place in music teaching and learning (but not the central place). Recordings and information about music should be included in music teaching situations in such a way that they weave continuously in and out of a teacher's ongoing efforts to teach students how to listen intelligently and make music well (to perform and improvise music and, whenever possible, to compose, arrange and conduct music).

I propose, also, that developing our students' musical creativity (in all forms of music making) overlaps and extends the process of developing our students' musicianship.

In summary, the praxial philosophy urges a comprehensive and reflective approach to music teaching and learning. It is based on detailed arguments for the view that: (a) musical works involve many kinds of meanings; (b) "musical understanding" involves many closely related kinds of thinking and knowing; and (c) that the significance of music in human life can be explained in terms of many important "life values."

Accordingly, the aims of music education include the development of critically reflective listeners and musical amateurs who possess the understanding and motivation to give music an important place in their lives and the lives of others in their communities.

This philosophy recommends, further, that to achieve the values of music, music teachers ought to emphasize the interpretive nature of music as a performing and improvising art and that composing, arranging and conducting (all of which demand keen listening) should be taught frequently (and in direct relation) to a reasonable diversity of Musics (genres, or musical practices) during the course of our students' musical education.

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What is the praxial philosophy of music education? Very briefly, the praxial philosophy offers an explanation of the nature and values of music. Based on this foundation, I go on to explain the nature and values of music education. I suggest that "multidimensional" captures the essence of this philosophy.

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This paper represents a class assignment that I thought would be good to share and hopefully encourage discussion. The assigned task was to develop a brief personal philosophy that included answers to the following questions. What makes music valuable? Why should music be taught in schools? What kind of music should be taught in schools? Who should teach? Who should learn? I tried to give each question some careful thought and approach the subject from the point of view of a music therapist who has been working for many years in the public schools.

Philosophy of Music Education

The current economic times have encouraged a thorough examination of every aspect of public education. It is now more important than ever that music educators have a firm understanding and rationale of music's place in the school system as well as the method and scope of implementation in the curriculum. As a music therapist who has worked in the school system for the last decade, it is also in my best interest to put forth a philosophy of music education. My background may offer a unique perspective to add to the comprehensive statement of philosophy from the traditional body of music educators.

The foundation of any philosophy of music education must answer the question about why music has value. I believe that a large part of the answer to this question relates to the way music is part of our physiological makeup. Rhythm, for example, is naturally expressed in our breathing, walking and most importantly, our heartbeat. Human vocal cords are unique in their ability to produce a wide range of sound and naturally provide us with a way to express melody . Children at very young ages demonstrate instinctual impulses to sing, no matter their cultural environment. This bodily connection humanity has to music has resulted in music being created in every culture.

Music therapy exists in part because society has recognized the connection between music and the body and mind . Teachers and clients alike recognize that in certain situations, music has a power to affect change and behavior even if they cannot fully explain the reactions. Fortunately, there is a growing base of scientific research quantifying and explaining some of the ways music affects the brain, body and behavior.

The value of music may be easy to understand and accept as a society, but the next question that must be answered is why should music be taught in schools? I believe that music in the schools provides students with an opportunity to develop unique cognitive thought processes. Listening to music, analyzing and creating music all involve cognitive skills and thinking strategies that are transferable to other tasks and school subjects. Dr. Paul Lehman (1995) also argues that music instruction and experience can help to develop, "out-of-box," thinking. I think that this type of thinking can be useful in a world where many issues are not black and white.

A second reason to teach music in the schools is because of its importance as a pervasive force in society. A good grasp of the attributes, history and functions of music is essential and integral to learning about our culture. Not only is music historically important, but it also has contemporary ramifications in political and business interests. Popular culture is sometimes ignored in school curriculum, but the close relationship of music and sports will not easily be rejected even during the leanest economic times. The marching band experience, for example, would largely cease its existence without the symbiotic relationship with football and high school.

In my experience, music should at the very least be offered to qualifying students in special education. Some children make significant and unique progress on non-musical objectives through the use of specially designed music strategies. Participation in music activities is also one of the easiest and most socially accepting mainstreaming activities for some of the children with disabilities.

If music is so valuable and necessary in the schools, then music educators must decide what will be taught. Although the core music classes have served the system well, there is room for improvement. Band, orchestra and choir teachers should continue to encourage related ensembles such as jazz band, show choir, string quartets and musical theatre. Some evidence points to a decline in participation in these traditional forms of music groups, but they are still part of the culture.

Some schools have begun offering other music programs in order to increase interest and participation. Guitar, world music drumming, composition and sound engineering and recording are good examples of programs to supplement traditional music classes. If parents and children in j unior h igh and h igh school have the choice of which school to attend, then different schools could focus on individual programs and make them stronger and more successful . I think that school choice is the key to successfully expanding these types of programs to more schools.

Each school could offer the core music programs and a selection of specialized music courses. Every course should include opportunities to practice composition and learn about history as part of the instruction. The music repertoire should center on western civilization with occasional study of world music. Our country was established by w estern civilization and has made much contribution to that tradition at the same time it has established its own unique form of music al culture. Understanding other cultural music is still important, however, so s chools might choose yearly world music themes to encourage collaboration and help manage the rotation of curriculum.

As our culture continues to grow and change, a djustments in our view of the philosophy of music education will necessitate changes in the field of education. Paul Lehman ( Madsen, 2000 ) hinted at this when he wrote that teachers will have to receive more training in psychology, special education, non-traditional instruments and assessment protocols. I think that t his training will help teachers be successful as alternative music courses are added to the programs and outreach to non-traditional students and students in special education is increased.

Teachers should also strive for more collaboration with music professionals outside of academia. Music educators may facilitate this collaboration by using electronic media to bring the world to the students when field trips are not possible. Co-teaching between departments in schools can also be a creative way to bring in new perspectives. In addition, stronger ties should be established with universities to foster research. Perhaps universities could take the example of the business world and develop more "corporate" MME programs so that teachers do not have to stop working in order to obtain an advanced degree and become trained in research methods.

In summary, music is valuable because of its intrinsic nature within humanity and human cultures. Music has become a part of the makeup of our society. Music should be continued as part of the fundamental curriculum in schools with highly trained teachers who are open to change and collaboration. Outreach should be increased to non-traditional and special education students and more opportunities for music programs beyond band, orchestra and choir should be offered to all secondary level students. Regardless of its form, music as part of the fabric of our humanity and culture is an essential part of the experien ce, knowledge and practice and should have its place among the core subjects taught in school.

References

Lehman, P. R. (1995, September). Why teach music in school? Remarks prepared for the public relations video presentations of the Gemeinheardt Company, Inc., Elkhart, Indiana.

Madsen, C. K. (Ed.). (2000). Vision 2020: The housewright symposium on music education. Reston, VA: MENC: The National Association For Music Education.

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This paper represents a class assignment that I thought would be good to share and hopefully encourage discussion. The assigned task was to develop a brief personal philosophy that included answers to the following questions. What makes music valuable? Why should music be taught in schools?

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D is for John Dewey: His Approach To Education - The Positive Encourager

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This article looks at the educational philosophy of John Dewey.

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-British
-music should be a tested subject
-music should be a part of school curriculum

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-Canadian
-musiking
-enfaces on perfomance

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-Canadian
-five processes
-music is social

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-American
-Aesthetes of music
-advocated for special needs students in music classrooms

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-American
-music is social
-people are unique
created University of Chicago Lab school