Session 2: Philosophical and Contextual Perspectives
 

Consider the following questions as you review the material in this session:

• What do you know about music education?
• How do you know what you know?
• What are your beliefs about music education?
• What is unique about music education?
• Why is it necessary?

A Brief Overview of Public Education in America

1642-1776

• Roots are in the experience of Colonial Massachusetts.
• First schools closely related to Puritan Church.
• Purpose was to teach children to read the Scriptures and notices of civil affairs.
• Key subjects were reading, writing, and spelling.
• Eventually some arithmetic, rudiments of religion, and lessons to develop manners and morals were added to the curriculum.

1776-1850

• Concept of public education was linked with that of political freedom.
• Federal government recognized its commitment to the education of its citizens.
• Autonomy of the state and local schools was guaranteed.
• Democracy became a stronger influence over education than was religion

1850-1920

• Increased faith in the abilities of the common person, social mobility, and the American dream of life, liberty, and the pursuit of happiness.
• Need for education as a means of promoting intelligent participation in political democracy.
• The concept of universal education - free schooling - emerged.
• Curriculum emphasized classical studies to challenge the minds of college-bound students (15% of the population).

1920 - Present

• The idea of curriculum as a field of study emerged.
• The scope of the curriculum expanded to what exists today.
• Purpose of schools is to produce functional, productive members of a democratic society.
• Public education continues to be the responsibility of each state government.

A Brief Overview of Instrumental Music in American Public Education

• Supporting Factors:
• Professional band movement of the 19th century
• Rise in popularity of orchestras
• Changing definition and scope of public education

• Late 1800’s - 1970’s
• In Boston, Lowell Ma­son be­came the first mu­sic teach­er in an Amer­i­can pub­lic school. In 1833, he co-founded the Bos­ton Acad­e­my of Mu­sic; in 1838, he be­came mu­sic sup­er­in­ten­dent for the Bos­ton schools.
• School programs were forged out the public’s interest to hear excellent sounding. groups and out of the popularity of orchestras and bands.
• Scope of curriculum broadened to include vocational, athletic, artistic, and recreational activities.
• Music groups served competitive athletics, public relations, and civic advertisement.

• 1905 - First time credit was given for participation.

• 1927 - Joseph Maddy presented a concert with a select orchestra at a conference of the Department of Superintendents which resulted in a recommendation that music, art, and other similar subjects be given equal support and consideration with other subjects.

• 1952 - Eastman Wind Ensemble formed, followed by similar groups at the University of Illinois, Northwestern University, and other universities and public schools.

• The development of the wind ensemble led to the development of a body of literature which provided a one-on-a-part wind instrument experience which, in turn, served to enhance arguments for inclusion of  school bands in the curriculum.

The availability of wind literature provided a balance with the dominant influence of marching bands (keep in mind that this was not the same concept of the marching band is prevalent today).

• 1960’s-1970’s - Sputnik and other influences, including Vietnam, created challenges for the U.S. as a society.  Unstable tax bases, inflation, and a general questioning of values led to the destabilization of many educational programs with music and other arts programs being among the most vulnerable.

• 1980's to Present - The reform movement in education continues to challenge American public education.  Emphasis is placed on accountability and achievement.   Music educators are challenged to rethink their model of what music education is light of globalization, new research about learning, and public pressure to compete in a global marketplace.

Key Philosophical Perspectives in Music Education (McCarthy and Goble, 2002).

• Functional - Music education exists for the purpose of supporting "social, physical, moral, and intellectual development of students in a community or society" (p. 21).

• Sociological - Music education exists for the purpose of advancing human and social relationships.

• Aesthetic Perspective - Music education exists for the purpose of "educating students to perceive and respond appropriately to musical works as forms of art (especially great works or 'masterpieces') in order to 'educate their feelings' and to evoke in them 'aesthetic experience' (p. 21).

• Cognitive Psychological - Music education exists for the purpose of expanding the human thought process (consider Howard Gardner's Theory of Multiple Intelligences).

• Praxial - Music education exists for the purpose of expanding students' understanding of our world, its people, and their music.  The praxis perspective endeavors to take students beyond knowledge to understanding, through doing, of the context and music's meaning.
  
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McCarthy M. and Goble, J. (2002).  Music education philosophy: Changing times. Music Educators Journal, 89(1), 19-26.

The Manifestation of these Philosophical Perspective

• Through the 1950’s music education was said to:
• Challenge the mind
• Be physically beneficial
• Be healthful
• Improve cooperation
• Build confidence
• Build character
• Serve a social need

• With the advent of Sputnik music education was further said to:
• Give dignity to the person
• Exalt the spirit of man

• Through the 1970’s music education was again exalted for its ability to:
• Build character
• Bolster self-esteem
• Increase confidence
• Improve teamwork
• Serve as the universal language

• During 1980’s and early 1990’s the philosophical basis of music education expanded to include the concepts of:
• Enhanced academic learning
• Multi-cultural awareness
• Cognitive development
• Sensory development
• Behavioral modification
• Aesthetic awareness

What is a philosophical perspective?

• A philosophy is a critical examination or systematic probing of your beliefs
• Such a critical examination involves challenging existing beliefs and assumptions:
• Ultimately, developing a philosophical perspective involves creating a balance between knowledge and belief; it involves systematic doubting, logical analysis, and critical thinking.
• The development of a philosophy should also demonstrate a sincere effort to balance systematic criticism with systematic understanding.

Why is having an informed perspective important?
Having and informed perspective helps us meet our need to:

• better understand the teaching and learning of music.
• understand the nature and value of our individual and collective endeavors.
• attain a degree of self-acceptance and security of purpose.
• strengthen the understanding each of us has about our profession.
• understand the value of our personal lives.

What are the implications for such a perspective?
A philosophical perspective provides the basis for:

• The decision-making process
• The improvement of learning and instruction
• The advancement of the field
• Accountability
• Credibility
• Advocacy
• Peace of mind
• Clarity of purpose

How to begin developing your philosophical perspective.
You already have a perspective, but it is important to critically examine, inform, challenge, and reinforce that perspective.

• Make your perspective explicit (write it down)
• Read and learn about other points of view
• Examine your perspective in relation to other points of view
• Use important questions to give your examination structure such as 
• Why is music education unique?
• Why is music education needed?
• Why is music education needed in the public school curriculum?
• What should students take away from a music education?

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