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Music Philosophy Essay

A Personal Philosophy of Music Education Essay

1036 Words5 Pages

A Personal Philosophy of Music Education

Few would argue against the idea that we educate ourselves and our society so that we have adequate means with which to understand and interact with elements of the world around us. Subjects such as mathematics, language, history, and the hard sciences are granted immediate and unquestioned legitimacy in our schools, and with good reason. We encounter each of these elements of our lives on a daily basis. We need to have an understanding of these disciplines in order to interact with them, otherwise they are meaningless to us. I submit that the same can be said for the fundamental concepts of music. Music is something that we encounter in our society every day. It surrounds us. Indeed…show more content…

This connection is both quantitative and qualitative in that quality of life increasingly benefits from both the amount of education we receive and the quality of that education. To a great extent we define our quality of life based on economic status. Education has been very clearly shown to allow us access to employment, and to make us more informed consumers. Thus, an educated society is one that is capable of developing individuals who can both specialize, and who can make informed decisions about goods and services outside their area of specialization. This is a central need to both industries and citizens in a capitalist society.

This is one reason why music is such an important thing for every member of society to learn, even if they are not music specialists such as performers or composers. As I stated earlier, virtually every member of our society encounters music every day. There are many objective elements of music that we need to be familiar with in order to successfully interact with it. These include basic understanding of concepts such as beat, pitch, and texture. Furthermore, as music is a form of expression, if one wants to understand what is being expressed, one needs to speak the language in which it is expressed. Just like there is literacy of words and numbers, there is literacy of music. This is not a position held solely by educators or

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Chase1Emilio ChaseProfessor GalloCritical Pedagogy I11 May 2015My Experience, Growth, pplication of Critical PedagogyIn my experience th!s far, critical Pedagogy has helped me to !nderstand the le"el of  professionalism and !nderstanding needed to teach not only a m!sic classroom, #!t any classroom I may find myself in charge of in the f!t!re$ dditionally, it has forced me to challenge all that I ha"e learned in the past as well as the experiences I ha"e had while in grade school$ %hat aspects of my ed!cation were exceptional and which were not !p to par& 'his classallowed me to thin( a#o!t aspects of my ed!cation that I may not ha"e considered otherwise$Growing !p on nothing #!t pop!lar m!sic had a profo!nd effect on me, whether for  #etter or worse$ In one way, it inhi#ited me from ha"ing an early appreciation for classical m!sic since I simply ne"er heard it growing !p$ )owe"er, it instilled my lo"e for singing as well as my lo"e for dancing and ga"e me a connection to my peers aro!nd me$ *nce I +oined a choir  program in elementary school, there was a sharp disconnect #etween what I was !sed to hearing and what we were introd!ced to$ s I got older, the disconnect #etween genres grew larger$ In different le"els of m!sic ta!ght in schools across the nation, most foc!s simply on fol( t!nes, classical m!sic, or short songs that are meant to teach the children something$ %hile these are "ery important parts of m!sic ed!cation and learning, they are not the only way$ y introd!cing the m!sic they listen to into the classroom, it gi"es st!dents something to connect with and loo( forward to doing$ If choirs and general m!sic classrooms foc!s solely on classical pieces, this alienates the st!dents who may not li(e classical m!sic$ M!sic, especially at early le"els, is a#o!t