This paper will illustrate the need for a defined philosophy toward education and leadership for undergraduate music students. It is commonly agreed that a clear vision is needed for effective education, but the diversity of students and music programs make one clear approach difficult for faculty. This paper will discuss that our world is in continuous change and that higher education must assume the role of leadership in preparing students for change. Concerns regarding realism, idealism, and naturalism will be presented and will defend my mostly pragmatic approach toward education. The student of 2011 is remarkably different from students of previous generations. ome students may still fit the image of a traditional student, living in a dorm and e!periencing life firsts such as freedom from adult supervision. "ther students may be older, returning to college after a career, time spent with family, or military service. # third group of students may fall in the middle, including those that have transferred colleges or changed their ma$ors. %ach of these groups will posses different levels of maturity and approach to academic work. The undergraduate music e!perience includes a variety of learning styles and curricular content. omething as simple as olfege hand signs utili&es 'ardner(s concepts of spatial, kinesthetic, linguistic, musical, and interpersonal intelligences. # applied music lesson can progress through all levels of )loom(s learning ta!onomy, allowing students to evaluate and analy&e their performance, while also adhering to knowledge based learning such as rhythms and musical competence. The result is a curriculum that is Courtney undergraduate philosophy always in change, with no two courses, lessons, or musical selections being the same. The college e!perience can become a confusing and overpowering endeavor for students, and the faculty must assume the burden of leadership and guidance. It is our $ob to mentor, develop, and prepare our students. *e must employ a philosophy that can address these diverse needs. # clear and articulated philosophy will drive our curriculum, syllabi, and daily teaching. The writings of )ennett +eimer and ,avid %lliot have stimulated e!cellent conversations on the importance of philosophy in music education, but have simultaneously shown how diverse scholars may be in their approach to music instruction. ,isagreement may be the prere-uisite of philosophical debate, but throughout history, scholars have agreed on one thought. intelligent thought is the product of a belief, creed, or philosophy. *ithout a clear philosophical premise, we must anticipate that our curriculum, teaching, and student e!perience will resemble a wandering, mish/mash of thoughts. *hen deciding a clear philosophical premise, I mostly identify with the pragmatic school. I believe that the world is in continuous change and that we must prepare students that can adapt to change. This is not the philosophy I shared as a younger teacher. #s a conservatory student, e!perts that defined and dispensed knowledge surrounded me. The teachers prepared students to teach as they had been taught, providing specific musical details on how particular music should be performed. 0nfortunately, these lessons were only applicable to the precise situation. 1olst(s Jupiter sounds -uite different when played by a beginning 2 th grade band versus a conservatory wind ensemble. 3o two 2 2 Courtney undergraduate philosophy performances of music are ever identical and we must prepare our students to find the beauty and $oy in each uni-ue situation. The realist philosophy is dependent on e!perts that possess all the correct information. 4odern technology has empowered individuals to create, absorb, and share their creative output. The division between e!perts and amateurs has become indiscernible at times, as the amateur video becomes a viral web sensation or a local band achieves fame through social networking. oon I will have 5h.,. in front of my name, thus -ualifying me as an e!pert on some level, but does that give me the right to proclaim that another approach to music making is inferior6 *e must accept that the e!perts of today may -uickly become obsolete tomorrow. +apid changes in society also show that perception of the 7ideal8 can change. In 2009, our local ideal ensemble of the 1onolulu ymphony declared bankruptcy and ceased to e!ist. The precise fallout has yet to be determined but the immediate repercussions deserve mention. 5arents began to consider the role of string education in schools, with some parents replacing orchestra in their child(s schedule with a non/ musical academic option. They felt it pointless to study an instrument without a future in performance on our island. The 1onolulu ymphony cited a decline in tickets sales as a contributor of bankruptcy. :or various reasons, they failed to attract and maintain both patrons and donors. The musician(s union accused the symphony of failure to adapt to a changing world. #fter 100 years of service, the 1onolulu ymphony assumed they were a prominent and ideal ensemble in our community. Idealism does possess many merits, but assumption is not one of them. Idealism is a noble thought, with a goal of producing organi&ed, professional models for younger ; ; Courtney undergraduate philosophy students to imitate. This includes older students leading by e!ample in the practice room or through coursework. Idealistic students are often focused, driven, and organi&ed. The same can be said for faculty, such as my conservatory teacher <oichi 0dagawa. <oichi was a small =apanese man from Te!as who always wore a bolo tie, thus allowing all to know he was a Te!an. <oichi was a definite idealist and would regularly yell, 75low hit rock, plow keep going.8 I en$oyed his tutelage and my work ethic still reflects his 7plow8 approach. The problem is that sometimes the plow does stop, where progress seems impossible. Idealism does not prepare students for adversity and change outside the narrow confines of our mentorship. The 1onolulu ymphony did not reali&e they had become stagnant, they did not prepare for change. #nother philosophical concern is the role of discovery and natural e!pression during the college e!perience. 5opular culture has en$oyed lampooning the 7e!perimentation8 stage of college, such as )ill Clinton(s 7smoke but not inhale8 e!perience as an undergraduate. 0niversities must guide our students in responsible acts of discovery. This view may also be construed as protecting or shielding students from perceived danger. 4y undergraduate e!perience was in a small Christian college with a strict code of conduct regarding alcohol, se!, or drug use. >arger schools still have numerous safeguards in place such as campus security and ongoing school sponsored social activities. It would be na?ve to believe that institutions can fully protect students. instead, we must accent that student development is the key to success. It is paramount to help develop students that can respond appropriately to change, be it social or academic. ,evelopment activities in the classroom may include the chance to conduct an ensemble or sei&e leadership roles. tudents are able to have choice in course selection, @ @ Courtney undergraduate philosophy such as selecting $a&& band over orchestra, or choosing an elective in music history or literature. tudent led chamber ensembles, study groups, or the leading of sectional music rehearsals are all e!amples of self/discovery through natural e!ploration. I believe it is essential to provide students these opportunities to discover and respond, while also providing support and guidance in the process. In summary, no fi!ed approach to higher education is truly possible. *e e!ist in a world of change, for both student and faculty. "ne lesson may not work for all students, nor may that same lesson work when repeated a year later with a different group of students. 1ands/on, multi/media activities might be a consideration over traditional lectures, thus re-uiring an overhaul of course design. "ur philosophy becomes a relevant document for everyone, with both student and faculty committing to remain current with changes. The 1awaiian word imua means to move forward, to never resolve to the status -uo. I adopt a pragmatic approach to education, believing that a river is always changing and therefore we cannot step into the same river twice. This philosophy is -uite consuming and laborious, but it is also time well spent as we move forward and embrace the changes of our world. "ur philosophy cannot become a dusty document on the shelf. it must be active as a driving force in our daily decisions. :aculty must continue the search for truth, but we must also reali&e the shortcomings in appointing e!perts. I have spent considerable time with different #sian band directors and this e!perience has forced me to -uestion my approach to rehearsal, pedagogy, and interpretation of music. #s a pragmatist, I have been able to focus on the merits and process of their approach, rather than dwelling on what I perceive as fi!ed A A Courtney undergraduate philosophy truths. This approach has allowed me to become the role model and instructor that I wished to become. Thank you, B B