Joshua Acampado

Dr. Donna Gallo

Critical Pedagogy I
May 11, 2015 (Updated November 10, 2015)
Who I Am and Who I Will Be
Final Synthesis Paper/Philosophy of Music Education
Every year, at least sixty hopeful teachers come into this school with dreams of running
their own classroom to teach music. Within these dreams contain hopes of recreating that same
classroom and experience that was shown to them over the course of their own educational
experience. A hopeful wants to make the same haven his/her old music teacher created for them.
He/she wants to make that dynamic experience in school that makes the school day just a little
better, even in the chaos that is the educational system. There is such innocence in this idea.
There is such purity and naivets within this concept. From this pure concept blossoms a great
passion and a noble pursuit to teach. I was a young, nave, hopeful musician who wanted exactly
this. I want to recreate the same haven that allowed me to express myself and survive high
school. This semester has not only strengthened my dream to teach and lead and help, but also
refined that flame. It has turned that burning red hot fire into an entrancing blue flame that can
pave the way to the future of music education. Yes, there is more than just completely recreating
the same experience, but that innocent dream remains the core of my philosophy. However,
critical pedagogy has opened doors to me. It has made me realize who I am as an educator and
musician, how I need to interact with my students, and what I must truly do one day in my future
classroom.
The age old adage states that a person cannot help another until he/she learns to love
himself/herself. This can also be applied to teaching another person. Without being in tune with

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ones own personality and quirks, a person cannot be in tune with his/her student to help them.
For me, I was and still am a goofball who found music through a course of unlikely events. By
finding music, and enjoying music on my own terms, I developed a different bond than some of
my colleagues. I was the textbook example of a student in high school that felt the disconnect
between music in the classroom and music outside of the classroom. My musical origins come
from my own interest and my own discoveries. Without the pressure of the classroom and
formalized, structured lessons, I was free to explore, create, and enjoy my music. I feel that this
story can resonate with some students who are late to get into the music world, and those who
are new to the choral world, but not the music scene. With my main musical interests being in the
a capella, contemporary musical theatre, and the singer-songwriter genres, my mind will always
be open and respectful in the classroom setting. I have full intention on allowing my students on
finding a passion for music, if it calls to them. Throughout my choral experience throughout high
school, I felt that my choir director never forced the music upon us. We always learned new
repertoire, but we only performed pieces that he felt that the group loved. By showcasing the
pieces that students enjoyed, he managed to ignite a passion in each of his students. One of my
friends who never sang before in his life ended up finding a lifetime love of music due to this
mans work. His work inspires me to do the same.
This open-minded, open-heart approach to music education is my inspiration for my
work. I am a big advocate for community within the classroom, and a constant conversation
between students and the teacher. With high school as my ideal teaching environment, I will
want to constantly close the gap between music outside the classroom and music in the
classroom. I do not simply want to make music in the classroom the same as the music outside of
the classroom or vice versa, but I want to establish a manageable balance. The concept of

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appreciating classical repertoire outside of the classroom is foreign and the idea of taking music
from popular media is sometimes even more radical. Since my origins all lay in my discovery of
what music truly is in high school, which is a medley of classical, contemporary, theatre, and
theory, I want to keep a sandbox approach open. The idea of taking the students energy and
running with what they give me is my drive and how I will survive day to day. This musical
background, as diverse as I like to think it is, also pigeon-holes me. I have simply dabbled in
multiple fields, never really going so in-depth into one topic. I have to be ready to accept when I
am wrong and be willing to learn from my students. I will be a teacher, I will have received one
of the greatest educations possible, but I will be far from an expert. This mentality also makes me
critical of those who think they are the final say in the classroom. I find that when a teacher tries
to cover his/her tracks and refuses to accept when he/she is wrong, that person is unable to truly
teach. Though I am a leader, a musician, and a person who enjoys life, I must be willing to
accept my faults, understand my weakness, and be ready to always learn when I finally enter the
classroom.
One of the biggest faults that a teacher can easily slip into is the false assumption of
knowing his/her students. Teachers can sometimes haphazardly create an image of who a student
is in their mind. When a problem child comes to a classroom, it can be immediately assumed that
he/she is no good. Due to a lack of focus, work ethic, and lack of participation or social
interaction, the child may be labeled as a handful. However, a teacher never can really
understand the root of the problems without truly knowing the student. If a teacher takes the time
to learn the story of this student, and see the root of his/her distress, then progress can truly be
made. One should not simply dismiss a student simply because the student may be troublesome.
By seeing that the student is constantly distracted since his brother was arrested for no reason

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and is anxious to see his return, a teacher will be able to adapt and be sensitive to the situation
(Ayers 40-41). A teacher must constantly be malleable with regards to the student and be able to
see eye to eye with them. Even though a teachers only opportunity to interact with his/her
students is the instructional period, we as teachers must be able to recognize that life goes on
beyond the classroom. My personal pet peeve has been when teachers believe that their subject is
the most important subject in the world and refuses to recognize a world beyond that. Being able
to establish a solid rapport on a personal level is core to any teachers job. By respectfully
understanding their life, personal learning style, interests, and own concerns, a teacher can not
only promote a more positive learning environment but he/she can also develop a better sense of
community. A teacher cannot simply assume all the roles in the classroom. Without a constant
open source of communication between student and teacher, the classroom will become stagnant.
A teacher must take the time to fully understand their students and never jump to conclusions.
The idea of the future is completely daunting. There have been days where I have thought
to myself that in only four years I will possibly be out on my own putting all of my education to
use and hopefully inspiring the future generation of musicians and lovers of music. I can attribute
some of my new thinking to what has been shown to us in class. At the core of my philosophy
that I will be taking into the classroom is the principle of educere. The idea of preparing for
change and leading the next generation to become critical thinkers rather than preserving
tradition is what I consider as the prime role as a music educator (Silverman 116). Music is ever
changing and is just as dynamic as the world around us. Although it can be the center of a
persons life who finds a strong appeal to it, music can also be a catalyst for different fields of
study. I want my students to find how music can be applicable to their everyday lives and use it
as so. Education is not simply passing along knowledge and only knowledge. In a world where

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money is starting to become more highly appreciated than an opinion, I want my students to
recognize that music is an art that allows them to represent themselves and their story. Music
should be something that encourages who they are, not simply something they do. From that
stems my idea of building classroom centered around the work of my students. I want them to
walk in and feel the impact that they have had on their own lives and the lives of their peers. By
taking pictures, designing our own posters, and other student driven activities, the students will
create a legacy that they will not only be proud of, but feel that they need to uphold. Bill Ayers
puts it in a more elegant way stating, I am attempting to reduce the distinction between school
knowledge and personal knowledge; and I am bringing their initiatives, and their personhood,
into sharper focus (Ayers 66). A teachers job is not to simply throw information at a student
and expect him/her to regurgitate it later. We are to encourage them and draw out the best in what
they can do. To inspire and to lead is the core of my educational philosophy.
As for the execution of what will happen in and around my classroom, I first turn towards
my own strengths and past experiences. My high school choir director, like many others, inspired
me to follow this passion not only to embrace music as my profession but to help others with
their aches and pains. Without really intending for the result, he made each student who walked
into the choir room walk out feeling better about who they were. His combination of energy,
respect, professionalism and friendliness is part of my basis. I cannot be him, for I am me,
however he really assured me that being me is alright. In being myself, I recognize that I want to
help and ultimately serve a greater purpose in peoples lives. I want to have an impact on at least
one individual, if not the community. Regelski sums up this idea nicely by stating, With
professional standing comes the ethical responsibility to serves those for whom a profession
exists; in teaching, the students and the community (Regelski 1). He brings up a weighted

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statement in saying that we, as teachers, have an ethical responsibility. His statement really
made me think about what my role truly is. Every action I do as a teacher ultimately affects my
students, either positively or negatively. By stepping into this role, I have become an influence
on someones life, in ways I may not understand. Regelskis statement , The practical wisdom
on which teaching as praxis depends requires, instead, the virtue of a caring that is focused on
the needs of the persons for whom care is shown and, thus, of being prudent in decisions and
actions that affect their wellbeing, showed me that I must act for my students with the intention
of always improving their lives (Regelski 11). That being so, I must always be alert, always be
energetic, and always be ready to be there for my students. When I went to Witherspoon to teach
the 6th graders, the energy I carried to capture their attention set the entire lesson up to keep their
minds active to allow my peers to succeed. When I did warm-ups back at my old high school, the
interim choral director made me realize that one day, these warm-ups could possibly be the only
vocal training my future students will have. Every action has its own weight and I am slowly
starting to realize it.
When the time comes to actually forming what I do, I will recognize that I am a wild,
awkward, energetic, over eager teacher who will be crazy but engaging. I want to integrate the
proposed musicianship and listenership roles, allowing for the strengths of individuals to come
out when they can, thus allowing music to be more universal (Reimer 3). In turn, I want these
individualized strengths be the core for my students in other areas of study, thus overall
promoting a better sense of community. With regards to community, the case study where the
teacher unknowingly created discord in the school really struck out to me (Head 75-78). Being
able to create harmony not only within the music department, but the arts department and

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essentially the entire school is crucial. My future classroom will be the central hub where
students, and faculty, can feel like they can enjoy who they are as a person.
Due to my recent exploration in the realm of music education, new pathways have
opened themselves up to me. While retaining the focus of community within the classroom, I
have also integrated the concept of identity formation and the importance of empathy in the
classroom. Music education goes beyond simply training students to be able to sing songs and
recite music terminology (Silverman). Through attendance of lectures and workshops, I am now
beginning to realize that my role as a music educator is not simply to just rehearse a choir or
teach a general music class. Music education ultimately has a goal to have lasting effects on an
individual so that he/she may leave the classroom a more intelligible human being. My first goal
as a music educator, and how I believe music education should really be centered, is to make
sure my students are sure of their character and are will to accept their peers character. Through
my emphasis on community, I want my students to not only engage each other, but myself as
well. My education does not stop the moment I get my degree. I am a learner for life, and will
always learn from every situation, every year. I will my challenge my students to break down
their wall and make the learning environment a living, breathing organism that responds to every
action that occurs. I will also challenge my students to really connect to one another. Aspiring to
be a secondary teacher, I remember the peril of forming who I am as an individual. Through my
exploration in social identity theory, I recognize the importance to socialize and learn from one
another. An individual begins to form his/her identity through associations of groups (Lange).
Unfortunately, identifying within these groups develops animosity between which group is
better. During a vulnerable time such as middle school or high school, students should remain
aware to why it is crucial to have an open mind and an open heart. By challenging students to

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empathize with one another, these walls and conflicts are torn down, ultimately creating a safer,
more positive environment within the classroom. Music education should be centered around this
idea of making a better person, rather than just a musician. Otherwise, we are treating music like
another subject in school.
Every year, approximately sixty new hopeful teachers walk into this school. Some will
succeed, some will find another path, and others will simply fall to the wayside. I understand that
this journey is long, and essentially never ending. I am ready, however, to accept the duty to lead
and to inspire. With each day comes a new lesson to learn, not only as a teacher who will serve
and help my students and the community, but also a student of music itself. My passion for this
beautiful art is one that is pure and innocent. It has allowed me to thrive and thoroughly who I
am and the people I have met along the way. In fact, without music, who would know where I
would go. All I do know is that I am a hopeful teacher. A teacher who aspires to create and foster
a generation of change. Music shall be my guide, and a drive to help will be my energy. I look
forward to the future, and now welcome the inevitability of change. And I will prosper.

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Bibliography
Ayers, William. To teach; The journey of a teacher. New York; Teachers College Press, 2010.
Print.
Elliot, David and Marissa Silverman. Music Matters; A Philosophy of Music Education. Oxford;
Oxford University Press, June 23,2014. Print
Head, Paul. Case Studies in Music Education. Chicago; GIA Publications, Inc., 2005. Print
Lange, Paul A. M. Van., Arie W. Kruglanski, and E. Tory Higgins. "45: Social Identity Theory."
Handbook of Theories of Social Psychology. Vol. 2. Los Angeles: SAGE, 2012. 379-93.
Print.
Reimer, Bennett. Reconceiving the Standards and the School Music Program. Music
Educators Journal 1 Sep. 2004; 33-37. Print.
Regelski, T. A. (2010). Toward an Applied, Professional Ethics for School Music. Paper
presented at the May Day Colloquium, Montclair, NJ.
Silverman, Melissa. Social Justice in the Music Classroom. Lecture Series hosted by the
NAfME chapter of Westminster Choir College. Marion Buckelew Cullen Center,
Princeton, NJ. 10 Nov. 2015.