In some communities - and even entire national education systems - music is provided little support as an academic subject area, and music teachers feel that they must actively seek greater public endorsement for music education as a legitimate subject of study. This perceived need to change public opinion has resulted in the development of a variety of approaches commonly called "music advocacy". Music advocacy comes in many forms, some of which are based upon legitimate scholarly arguments and scientific findings, while other examples rely on unconvincing data and remain rather controversial.
Among the more recent high-profile music advocacy projects that have become the subject of widespread controversy are the "Mozart Effect" (which is now widely believed to be based on misinterpretation and exaggeration), the National Anthem Project, and the movement referred to as Cultural Diversity in Music Education which seeks out means of equitable pedagogy across students regardless of their race, ethnicity, or socioeconomic circumstance. Even though the “Mozart Effect” is a controversy it has some significance in proving that it is reliable. The test has two, a group that has music taught and a group with no music taught. When this test was given to three-year-olds their temporal test improved by 35% over those with no music; this lasted for several days. The only flaw to this test is the different age groups, the older you are the less of the effect it will have on you.
Many contemporary music scholars assert that music advocacy will only be truly effective when based on empirically sound arguments that transcend political motivations and personal agendas. This position regarding music advocacy has especially been advanced by music education philosophers (such as Bennett Reimer, Estelle Jorgensen, David J. Elliott, John Paynter and Keith Swanwick,), yet a gap remains between the discourse of music education philosophy and the actual practices of music teachers and music organization executives.
Saturday, November 19, 2011
Significance of music education
According to the Florida Music Educators Association, “Music and the Fine Arts have been a significant portion of every culture’s educational system for more than 3,000 years. The human brain has been shown to be “hard-wired” for music; there is a biological basis for music being an important part of human experience. Music and the Arts surround daily life in our present day culture. Most present day artists, architects, and musicians acquired their interests during public school Fine Arts classes... Education without the Fine Arts is fundamentally impoverished and subsequently leads to an impoverished society.”
William Earhart, former president of the Music Educators National Conference, “Music enhances knowledge in the areas of mathematics, science, geography, history, foreign language, physical education, and vocational training." Music not only inspires creativity and performance, but academic performance over all is seriously impacted. A research study produced by the Harris Poll has shown that 9 out of 10 individuals with post graduate degrees participated in music education. The National Report of SAT test takers study indicated students with music performance experience scored higher on the SAT: 57 points higher on verbal and 41 points higher on math. Schools that have high academic performance in the US are spending 20 to 30% of their budget in the arts with emphasis on music education.
Music education also increases one's success in society. The Texas Commission on Drugs and Alcohol Abuse Report noted that students who participated in band or orchestra reported the lowest lifetime and current use of all substances.
An education in music also increases overall brain activity. Research done at the University of Wisconsin has indicated that students with piano or keyboard experience performed 34% higher on tests that measure spatial-temporal lobe activity, which is the part of the brain that is used when doing mathematics, science, and engineering.
Music also improves learning. Specifically, music aids in text recall. Wallace (1994) studied setting text to a melody. One experiment created a three verse song with a non-repetitive melody; each verse had different music. A second experiment created a three verse song with a repetitive melody; each verse had exactly the same music. Another experiment studied text recall without music. The repetitive music produced the highest amount of text recall; therefore, music serves as a mnemonic device. Smith (1985) studied background music with word lists. One experiment involved memorizing a word list with background music; participants recalled the words 48 hours later. Another experiment involved memorizing a word list with no background music; participants also recalled the words 48 hours later. Participants who memorized word lists with background music recalled more words demonstrating music provides contextual cues.
It is important to note that "While studies show positive influences in other academic areas, music and the Fine Arts are an academic discipline that are, as the other academics, an independent way of learning and knowing." Unfortunately, music in our schools are being cut at a drastic rate due to budget cuts being forced upon the schools. The Assistant Superintendent for Curriculum and Instruction with Chesapeake Public Schools in Chesapeake, Virginia, Dr. Patricia Powers states, “It is not unusual to see program cuts in the area of music and arts when economic issues surface. It is indeed unfortunate to lose support in this area especially since music and the art programs contribute to society in many positive ways.” What some school boards do not know is that cutting music might cause test scores to fall due to the positive effect on everything from academics to citizenship and even personal hygiene.
William Earhart, former president of the Music Educators National Conference, “Music enhances knowledge in the areas of mathematics, science, geography, history, foreign language, physical education, and vocational training." Music not only inspires creativity and performance, but academic performance over all is seriously impacted. A research study produced by the Harris Poll has shown that 9 out of 10 individuals with post graduate degrees participated in music education. The National Report of SAT test takers study indicated students with music performance experience scored higher on the SAT: 57 points higher on verbal and 41 points higher on math. Schools that have high academic performance in the US are spending 20 to 30% of their budget in the arts with emphasis on music education.
Music education also increases one's success in society. The Texas Commission on Drugs and Alcohol Abuse Report noted that students who participated in band or orchestra reported the lowest lifetime and current use of all substances.
An education in music also increases overall brain activity. Research done at the University of Wisconsin has indicated that students with piano or keyboard experience performed 34% higher on tests that measure spatial-temporal lobe activity, which is the part of the brain that is used when doing mathematics, science, and engineering.
Music also improves learning. Specifically, music aids in text recall. Wallace (1994) studied setting text to a melody. One experiment created a three verse song with a non-repetitive melody; each verse had different music. A second experiment created a three verse song with a repetitive melody; each verse had exactly the same music. Another experiment studied text recall without music. The repetitive music produced the highest amount of text recall; therefore, music serves as a mnemonic device. Smith (1985) studied background music with word lists. One experiment involved memorizing a word list with background music; participants recalled the words 48 hours later. Another experiment involved memorizing a word list with no background music; participants also recalled the words 48 hours later. Participants who memorized word lists with background music recalled more words demonstrating music provides contextual cues.
It is important to note that "While studies show positive influences in other academic areas, music and the Fine Arts are an academic discipline that are, as the other academics, an independent way of learning and knowing." Unfortunately, music in our schools are being cut at a drastic rate due to budget cuts being forced upon the schools. The Assistant Superintendent for Curriculum and Instruction with Chesapeake Public Schools in Chesapeake, Virginia, Dr. Patricia Powers states, “It is not unusual to see program cuts in the area of music and arts when economic issues surface. It is indeed unfortunate to lose support in this area especially since music and the art programs contribute to society in many positive ways.” What some school boards do not know is that cutting music might cause test scores to fall due to the positive effect on everything from academics to citizenship and even personal hygiene.
Integration with other subjects
Some schools and organizations promote integration of arts classes, such as music, with other subjects, such as math, science, or English. It is thought that by integrating the different curricula will help each subject to build off of one another, enhancing the overall quality of education. Music education can play a vital role in the development of the whole child and their scholastic journey.
One example is the Kennedy Center's "Changing Education Through the Arts" program. CETA defines arts integration as finding a natural connection(s) between one or more art forms (dance, drama/theater, music, visual arts, storytelling, puppetry, and/or creative writing) and one or more other curricular areas (science, social studies, English language arts, mathematics, and others) in order to teach and assess objectives in both the art form and the other subject area. This allows a simultaneous focus on creating, performing, and/or responding to the arts while still addressing content in other subject areas.
One example is the Kennedy Center's "Changing Education Through the Arts" program. CETA defines arts integration as finding a natural connection(s) between one or more art forms (dance, drama/theater, music, visual arts, storytelling, puppetry, and/or creative writing) and one or more other curricular areas (science, social studies, English language arts, mathematics, and others) in order to teach and assess objectives in both the art form and the other subject area. This allows a simultaneous focus on creating, performing, and/or responding to the arts while still addressing content in other subject areas.
Standards and assessment
Standards are curricular statements used to guide educators in determining objectives for their teaching. Use of standards became a common practice in many nations during the 20th century. For much of its existence, the curriculum for music education in the United States was determined locally or by individual teachers. In recent decades there has been a significant move toward adoption of regional and/or national standards. MENC: The National Association for Music Education, created nine voluntary content standards, called the National Standards for Music Education. These standards call for:
1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music.
3. Improvising melodies, variations, and accompaniments.
4. Composing and arranging music within specified guidelines.
5. Reading and notating music.
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
8. Understanding relationships between music, the other arts, and disciplines outside the arts.
9. Understanding music in relation to history and culture.
Many states and school districts have adopted their own standards for music education.
Washington State has piloted a classroom based performance assessment which requires 5th and higher grade students to compose music on a staff and sight sing from sheet music without the aid of instruments. It is designed to assess standards expected to be attained by all students. Sight singing is a learning requirement in the state at the 8th grade level. Other states are evaluating possible performance assessments as well.
1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music.
3. Improvising melodies, variations, and accompaniments.
4. Composing and arranging music within specified guidelines.
5. Reading and notating music.
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
8. Understanding relationships between music, the other arts, and disciplines outside the arts.
9. Understanding music in relation to history and culture.
Many states and school districts have adopted their own standards for music education.
Washington State has piloted a classroom based performance assessment which requires 5th and higher grade students to compose music on a staff and sight sing from sheet music without the aid of instruments. It is designed to assess standards expected to be attained by all students. Sight singing is a learning requirement in the state at the 8th grade level. Other states are evaluating possible performance assessments as well.
Middle 20th century to 21st century
The following table illustrates some notable developments from this period:
- 1950 - The Child's Bill of Rights in Music - A student-centered philosophy was formally espoused by MENC.
- 1953 - The American School Band Directors Association formed - The band movement becomes organized.
- 1957 - Launch of Sputnik - Increased curricular focus on science, math, technology with less emphasis on music education.
- 1959 - Contemporary Music Project - The purpose of the project was to make contemporary music relevant in children by placing quality composers and performers in the learning environment. Leads to the Comprehensive Musicianship movement.
- 1961 - American Choral Directors Association formed - The choral movement becomes organized.
- 1963 - Yale Seminar - Federally supported development of arts education focusing on quality music classroom literature. Juilliard Project leads to the compilation and publication of musical works from major historical eras for elementary and secondary schools.
- 1965 - National Endowment for the Arts - Federal financial support and recognition of the value music has in society.
- 1967 - Tanglewood symposium - Establishment of a unified and ecletic philosophy of music education. Specific emphasis on youth music, special education music, urban music, and electronic music.
- 1969 - GO Project - 35 Objectives listed by MENC for quality music education programs in public schools. Published and recommended for music educators to follow.
- 1978 - The Ann Arbor Symposium - Emphasized the impact of learning theory in music education in the areas of: auditory perception, motor learning, child development, cognitive skills, memory processing, affect, and motivatio.
- 1984 - Becoming Human Through Music symposium - "The Wesleyan Symposium on the Perspectives of Social Anthropology in the Teaching and Learning of Music" (Middletown, Connecticut, August 6–10, 1984). Emphasized the importance of cultural context in music education and the cultural implications of rapidly changing demographics in the United States.
- 1990 - Multicultural Symposium in Music Education - Growing out of the awareness of the increasing diversity of the American School population, the three-day Symposium for music teachers was co-sponsored by MENC, the Society for Ethnomusicology, and the Smithsonian Institution, in order to provide models, materials, and methods for teaching music of the world's cultures to school children and youth.
- 1994 - National Standards for Music Education - For much of the 1980s, there was a call for educational reform and accountability in all curricular subjects. This led to the National Standards for Music Education introduced by MENC. The MENC standards were adopted by some states, while other states have produced their own standards or largely eschewed the standards movement.
- 1999 - The Housewright Symposium / Vision 2020 - Examined changing philosophies and practices and predicted how American music education will (or should) look in the year 2020.
- 2007 - Tanglewood II: Charting the Future - Reflected on the 40 years of change in music education since the first Tanglewood Symposium of 1967, developing a declaration regarding priorities for the next forty years.
History of music education in the United States (Early 20th century)
In the United States, teaching colleges with four year degree programs developed from the Normal Schools and included music. Oberlin Conservatory first offered the Bachelor of Music Education degree. Osbourne G. McCarthy, and American music educator introduced details for studying music for credit in Chelsea High School. Notable events in the history of music education in the early 20th century also include:
- Founding of the Music Supervisor's National Conference (changed to Music Educators National Conference in 1934, later MENC: The National Association for Music Education in 1998, and currently The National Association for Music Education - NAfME) in Keokuk, Iowa in 1907.
- Rise of the school band and orchestra movement leading to performance oriented school music programs.
- Growth in music methods publications.
- Frances Elliot Clark develops and promotes phonograph record libraries for school use.
- Carl Seashore and his Measures of Musical Talent music aptitude test starts testing people in music.
History of music education in the United States (19th century )
In 1832, Lowell Mason and George Webb formed the Boston Academy of Music with the purposes of teaching singing and theory as well as methods of teaching music. Mason published his Manuel of Instruction in 1834 which were based upon the music education works of Pestalozzian System of Education founded by Swiss educator Johann Heinrich Pestalozzi. This handbook gradually became used by many singing school teachers. From 1837-1838, the Boston School Committee allowed Lowell Mason to teach music in the Hawes School as a demonstration. This is regarded as the first time music education was introduced to public schools in the United States. In 1838 the Boston School Committee approved the inclusion of music in the curriculum and Lowell Mason became the first recognized supervisor of elementary music. In later years Luther Whiting Mason became the Supervisor of Music in Boston and spread music education into all levels of public education (grammar, primary, and high school). During the middle of the 19th century, Boston became the model to which many other cities across the United States included and shaped their public school music education programs. Music methodology for teachers as a course was first introduced in the Normal School. The concept of classroom teachers in a school that taught music under the direction of a music supervisor was the standard model for public school music education during this century. (See also: Music education in the United States)
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