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why a music education philosophy is important
why is music education important essay
music and socialization
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For a secondary music teacher, it is only natural to strive to produce highly intelligent, creative, and innovative musicians at the completion of a student’s high school music education. In order to reach these desired student outcomes, the teacher should place great awareness on both process and knowledge based approaches to teaching, and be judicious in selecting which of these two teaching styles will be most beneficial to student learning in particular situations and under certain circumstances. It would be simple to suggest that it is solely up to the teacher to appropriately implement and complement these teaching styles, however there are many variables and pressures that can dictate how, when, and even if both teaching styles are used. These variables and pressures include the increasing pace of social development, parent and community expectations of the music department, societies views and values regarding music, student desires and expectations, and the impact of inadequate musical resources on process and knowledge education styles.
In his 1970 book titled ‘Future Shock’, Alvin Toffler states that “the rate of change has implications quite apart from, and sometimes more important than, the directions of change”. This statement is extremely important when considering the rate at which music has, and always will be changing, in style, genre, technology, and audience to name a few areas. Toffler’s statement also stresses that it is important to teach how to cope with the change as opposed to only teaching the expected direction of change. Besides, it is almost impossible to predict the ‘direction of change’ especially in music, where the thought of a computer being the only ‘instrument’ necessary in creating a hit p...
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...McLatchey, M. (2011). The Kodály method. Available: http://www.kodalydownloads.com.au/Kodaly_Method.aspx.
Schmidt, L. (1975). The process of music education. Music Educators Journal. 61 (6), p.50.
Stevens, R. (N.D.) Why teach music in schools? Changing values since the 1850s. Retrieved 29/3/2012 from http://www.mca.org.au/publications/music-forum/magazine-articles/music-education/51-why-teach-music-in-schools-changing-values-since-the-1850s
Toffler, A (1970). Future shock. United States: Random House. 3.
Tunley, D. (1974). The widening perspective of music education. In: Callaway, F Challenges in music education. Perth: Department of Music, the University of Western Australia. 48-52.
Zimmerman, F. (2005). The Curwen hand signs for pre-school and primary school students. Retrieved 3/4/2012 from http://learngen.org/music/791/KCKPS/zimmerman/curwen.html.
Zorn, J (1989, Nov.). The changing role of instrumental music. Music Educators Journal. 76(3), 21-24.
Throughout history music has played an important role in society, whether it was Mozart moving people with his newest opera or the latest album from the Beatles. Where would society be today without music? With schools cutting their music programs, the next Mozart may not get his chance to discover his amazing talent. Music programs are essential to education. To fully understand this one must understand how music helps the human body, why schools have cut music programs, and why people should learn music.
“Music was written to be more accessible, less complicated, more popular and pleasing” (Larry Ferrara, City College of San Francisco).
The Use of Electronic Technology in 20th and 21st Century Music In this essay, I have examined the use of electronic technology within 20th and 21st Century music. This has involved analysis of the development and continuing refinement of the computer in today’s music industry, as well as the theory of the synthesiser and the various pioneers of electronic technology, including Dr. Robert Moog and Les Paul. Also within the essay, I have discussed the increasing use of computers in the recording studio. The computer has become an indispensable tool in ensuring that both recording and playback sound quality is kept at the maximum possible level. Many positive ideas have come from the continued onslaught of computerisation.
MENC- The National Association for Music Education (1991). Growing up complete: the imperative for music education: The report of the national commission on music education. Retrieved November 20, 2004 from http://www.menc.org/publication/
Finally, this assignment has shown how music can be updated to suit different generations. Through the process of evaluating both songs, and comparing the two, one could say that the differences in the second song help refresh the first version. Although others may remark ‘old is gold’.
Sheftel, B. (2002). Music Education Curriculum in Public Schools. PageWise, Inc, Retrieved August 6, 2003
If you ask the average young adult what comes to mind when they hear the term “music” they are likely to respond with a fresh singer, band, or genre of “pop” music. Often times society places their opinion of classical music and popular music on completely different wavelengths of importance in the world. The modern perception of classical vs. popular music has led to a heavily decreasing audience for classical groups and performances, a desire for repetitive and simple melodies, and a negative stigma against classical music’s importance.
Steven, Kelly, N. (2002). A Sociological Basis For Music Education. International Journal of Music Education. 43. Pp. 40-49
College students can also benefit from classical music. To test this, college students were exposed to three different types of music and were given standard reasoning tests, each for ten minutes. The research showed that the scores ...
middle of paper ... ... Music was not taught in the high school I was in. To satisfy my interest in learning about music and how to play musical instruments, I had to find a source of education other than school; a great depiction in agreement with Graff’s claim that students are being limited by not considering their interests when creating curricula (Graff 197). In conclusion, education is broader than just falling into what the contemporary school system has to offer. Both Gatto and Graff proved this by explaining how conforming students to certain perspectives of education limits their potential in other educational branches that interest the students.
The field of music education is one with which I have become rapidly familiar. This statement is not to be confused with me claiming that I have an intimate knowledge of the subject matter. In my student teaching semester, I found myself immersed in a great number of ideologies toward the profession, many of which were in conflict. In regard to music education, my greatest quandary at this juncture of my career is choosing from the myriad of philosophies which relate to the field. In relation to the information I have gathered from those in the profession at the public school level, I have a disproportionately large amount of information from professionals who teach at the collegiate level and theorists who benefit music education by performing studies. If I were to perform research about the field of music education, my goal would be to gather information from these three sets of professionals which would bring my knowledge base about each to an equitable level.
Music and the relationships of music have changed drastically in our society. The course of studies and the evaluations of the applications of the technology of music, the making and the listening of music have changed in the way we listen to music, the styles of music in our society and in the media. The importance of the technology in music today, has, over the past century been charted through the study of musical examples and through viewing how human values are reflected in this century's timely music. There are very many different types of music that are listened to. There are readings, writings, lectures and discussions on all the different types of music.
The following chapter will define music practise and its importance. A student is constantly instructed to practise in order to develop overall musical ability and to advance and maintain the proficiency in their instrument. However, how many students really understand what practise is? Are they ever taught about the overall benefits of practise and most importantly, the general approaches they ought to be implementing into their practise session?
Brown, L. L. (2012, May 25). The Benefits of Music Education. Retrieved September 29, 2017.