Philosophy of Music Education Brandon Sieck Music provides students with tools that serve as advantages in todays ever-changing

world. Through learning music, students begin to think critically, develop keen kinesthetic and sensory skills, communicate their expressions and creativity, understand and appreciate a multitude of varying cultures, and establish connections between the skills they learn through music and the skills that they will use in other aspects of their educational careers. As the music theorist Edwin E. Gordon said, Music is unique to humans. Like the other arts, music is as basic as language to human development and existence. Through music a child gains insights into herself, into others, and into life itself. Perhaps most important, she is better able to develop and sustain her imagination (Gordon, 1997). Music education allows students to cultivate these skills, and through that cultivation, subconsciously and/or intentionally employ them during their daily lives. I have a great deal of respect and admiration for music due to the benefits and opportunities it gives students. Music is a global language; no matter what country or background someone comes from, music provides a commonality among people from all walks of life. By performing the music of different cultures, students are introduced to, and gain an understanding of the many cultures that surround their own. Along with the global learning aspects of music, students also gain a better understanding of themselves and who they are through musical performance. While performing, students can learn more about who they are and what makes them individual and unique. Whether it is in small or large group ensembles or a solo performance, students gain the confidence to express themselves in a safe atmosphere. To understand music education as a whole, one must first discover how music is learned. Edwin E. Gordon, a noted research professor in music aptitude, brought forth a theory of how children learn music called Music Learning Theory. In this theory, Gordon presented several processes of the ways the brain comprehends and understands the complex art of music. One of these processes, called whole/part/whole, effectively demonstrates how, when learning a new concept, children learn more efficiently when the concept is: A. Introduced as a singular whole subject, then B. Dissected into smaller sections or parts which expand upon the subject in a more detailed fashion, and finally C. Restated as a singular whole subject. With this process, children are encouraged to examine the concept through both macro and micro perspectives. Along with the whole/part/whole concept, Gordon also coined the term audiation. Through audiation, children internalize and mentally hear and comprehend music. By first hearing the music before they actually sing it or play it, children learn to create an internal sound when no physical sound is present. By learning to create sound internally, students are expounding upon their skills of creation. By tapping into that creativity, students are always perfecting their

Brandon Sieck Philosophy of Music Education 2 imaginations, and by constantly accessing that creativity, students find it easier to solve realworld problems in other classes by using unique and imaginative solutions. By first understanding the ways that children learn music effectively, I can then employ several different teaching methods in my lessons that have been proven to work cohesively alongside MLT. One of the techniques that I will encourage in my classroom is the technique of learning through self-discovery. Throughout my career as a musician, I have found that one of the best ways to learn music is through self-discovery. The actual physicality of holding an instrument and learning what it can do, or learning music through dances and movements enhances the students abilities to discover their own skills and the skills needed to become musicians and artists. Through the use of methodologies such as Dalcroze and Orff, my students will gain an understanding of music and performing through dance, eurhythmics (kinesthetics), and selfdiscovery through improvisation. When one becomes a teacher, one assumes a moral and ethical obligation to each and every student that is placed in their care. I have learned in my studies that education serves as a doorway for assessment and critical thinking. As students learn more about the world around them, they begin to develop the tools necessary to draw their own conclusions about life and the different aspects and challenges that they are faced with each day. As a future educator, I feel that is my ethical obligation to teach each and every student to be the best musician that their ability and determination allows them to be. I believe that students everywhere, no matter their situation, have the right to learn and it is necessary that teachers be ready to meet the needs of a wide and diverse class. We must be able to learn from each of our students backgrounds and take something away from each experience. The more that we can learn from our students and use in our teachings, the more culturally aware our teachings will become. My ambition for wanting to be a music educator lies within the desire that all students have an opportunity to be exposed to the significant self-growth that music provides. In order to achieve this, my students will perform in small-group ensembles which provides for musical growth and evaluation within the individual as well as ensemble-facilitated learning. Performances provide the perfect environment for students to learn personal growth through responsibility, and how to teach themselves and others around them. Through performance, students assume leadership of their individual learning through actively listening to both themselves as a performer and the group as a whole and by making educated assessments and critiques based on their selfevaluation.

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References Gordon, Edwin. (1997). A music learning theory for newborn and young children (1997 ed.). Chicago: GIA Publications.