Philosophical Perspectives on Music Education Essay

medicine is one subject that is very r bely disposed(p) attention in the academe. The some controversial issue that is attached to this is whether or non music should be taught in schools, or why music should be taught, for that matter. Contrary to what most sight believe, music rearing is an imperative role of school-age child growth (Davidson, 1932). This issue has resulted to the perceived need to change public opinion. Several music advocacies which come in m whatever forms were established, seeking to change this mindset that slew have about music education.Most music advocacies be based on legitimate findings and scientific arguments, although many former(a)s rely on unconvincing and earlier controversial data. It should be noted that students should be exposed to music so that they are cap commensurate to communicate and understand their aver feelings (Zbikowski, 2002). Arts, whether it be visual or audio every last(predicate)ows us to have an insight to our emotio nal self and cultivates the growth of intra ad hominem and interpersonal intelligence. In colleges, music education is usually one of the densest subjects.Although some schools and organizations support incorporation of manities in classes, such as music with other subjects such as Math, Science, or English, people still fail to see the enormousness of arts in the academics (Zbikowski, 2002). For many people, academic subjects should go beyond what is best for the students to learn. It should excessively incorporate things that will help students cultivate the need to learn. Music has interpreted the biggest cut on the academeit has not been given importance as it should be.In this paper, the philosophical perspectives of three authors will explain why music is among the most chief(prenominal) subjects that should be taught in schools and why there is a need to do so. Charles Fowler Charles Fowler believes that by means of artistic re launchings such as music, people are able to share, at some point, a common compassionateity. In the same manner, life would be meaningless without shared expressions which identify people understand one another. He in addition very firmly believes that Science is not the only conveyor of what we may consider true.Science may be able to explain how flowers hot flash or how humans are conceived, notwithstanding it fails to convey its emotive meaning and impact, as the Arts does. He emphasizes that both are important, and that both should be given importance (Fowler, 1996). He considers Arts such as music as an act of intelligence and should be treated no less compared to other subjects as it is a form of thought that is every bit as important as science and mathematics when it comes to what these subjects convey.Inasmuch as the pyramids of Egypt, the Statue of Liberty, and the Hanging Garden of Babylon can be mathematically or scientifically explained as to how they were built, a musical piece can also show people many other hithertoly important aspects of its existence. Arts allow us to create our own representation to concepts, conceits and feelings as perceived by people. In the same manner, music was created for us to be able to react to the world in the form of music, to record our impressions and to analyze things and share them with other people. Like science and mathematics, music needs to be studied onwards being fully understood (Fowler, 1996).Because todays schools are understood to be hited as they should be to teaching literacy, it should be noted that literacy also includes understanding of music. This is because music allows us to fully express, represent, and communicate the full scale of human life, which is a pre-requisite to understanding the real essence of language, mathematics, science, economics, philosophy, and the list could go on and on. If one is asked, What constitutes a good education? one is expected to hear an answer which would mention about a full knowledge a bout Sciences and Math. true(a) enough, this is very critical in a persons life if he aims to have a place in the work force. Very fewer would also argue with that. However, this idea should not and never make us overlook how important music is and what it can do for the mind and spirit of people (Fowler, 1996). Fowler believes that school administrators, teachers, professors and educators should be reminded that one obligation that a school has for their students is to inspire them, in whatever way, and ignite their minds for them to be better individuals. Music often ignites that end and serves as the fuel.It is one way to apply ones imaginations, thoughts and feelings. In relation to the reform movement of America which focuses on improving the quality of education by inspiring them, introducing self discipline, discovering the joys of learning, the uniqueness of ones being, the possibilities and wonders of life and the achievement and satisfaction, Fowler believes that arts ca n be used to attain these goals (Henry, 1958). He also emphasizes that the world does not need better and more arts education simply because the world needs more artists.He believes that there are distant better reasons for schools to provide a healthy and in-depth education in Arts. Quite simply, this is one way people communicate with each other, although not generally verbally, but emotionally. Music is the language of the world which helps people express fear, anger, anxiety, curiosity, hunger, hopes, dreams and so on. Music is the universal language by which the world is able to express itself to its constituents the world speaks through music. Music is not just importantFowler believes that it is a center force of human existence.Arts in school should never be isolated from any other subjects in the academe. It should be included in the framework of general education and should be part of the syllabus of all American schools, or all schools in the world for that matter. Arts should at all times be related to general education because it is essential in establishing a strong curriculum. every(prenominal) person should then be given the opportunity to learn as much as they can about arts (Fowler, 1996).Charles LeonhardLeonhard believes that although it is an easy task for educators to make their students love music, they should still consider finding ways to make music education more effective and enjoyable. He discussed that there is a raising concern for higher standards of music education. For instance, students nowadays are more informed about music, which is why educators should also adapt to this by teaching higher standards of musical literary productions and musical performances, and using better musical instruments that will best fit the taste of students and will thus inspire them to learn more about music.By doing so, he stresses out that school administrators all over the world will be inspired to make music education as an equal part of th e general education (Elliot, 1995). He was also concerned about music being part of everyones lives. As the motto of music educators has for years been Music for every child and every child for music, this applies that every child and youth should be taught to love music, regardless the degree of understanding or giving in music they have.Just as this is important, he also believes that the music teaching should be on the same footing to that of the regular academic subjects and should be made functional, instead of treating it like a fad. Leonhard feels that now is the time to firmly establish music in the school curriculum, to gain increased acceptance of the idea that music should be an essential part of general education for everyone. Achievement of this ambition requires an expanded range of communication between music educators and all other educators, plus the interested public.It is only by a wider sharing of ideas that changes can occur. To achieve this, a very sensible ap proach has been used. This approach is placing ideas about the determine of music education in a broader context of ideas about education in general and of building relationships between the intellectual resources of music educators. This is surely advisable, even necessary. Nevertheless there are difficulties in this variety show of operation. Estelle Jorgensen Estelle Jorgensen contested many philosophers who treated music as a difficulty, and who considered music not to be part of the general education.Jorgensen sees the importance of having people be aware of the need to understand, appreciate and use music for one to apply it in his or her normal life. The arts then have a potential contribution to the general education, as it has in general life. While school subjects often included music, arts were not always present. She believes that most people fail to see the importance of arts in the reality of life, and what difference it does to the world.For instance, love in itsel f is art the human body is an art everything around us is an art, yet many fails to understand and realize this fact. In American schools where there is willingness on the part of the authorities to associate a reasonable amount of time to music, she believes that work in appreciation is sometimes undertaken. But to accomplish anything systematic and lasting, teachers would have to be content to dishonour the problem in a less spectacular manner than commonly maintains in our schools.In view of the experience which precedes this work, the study of music appreciation in the high school should begin at the beginning and be satisfied to cover comparatively little ground. There are, moreover, three requisites without which any course of this kind would be practically worthless. First, the teacher must be a reasonably well-educated musician, possessing knowledge of the subject far more extensive than that required by his immediate work, and an acquaintance with other branches of educat ion such as would enable him to draw parallels between music and other fields of learning.He should have, too, a highly cultivated taste, and a faith in the capacity of youth to perceive and enjoy beauty without the aid of sugar-coated musical palliatives or sensational devices which are calculated to enhance interest, but which, in reality, distract attention from the music itself. And last, the illustrations should offer as nearly as possible a true presentation of the work under discussion. She believes that music should be thought in an ideal way for it to be appreciated (Rogers, 1998). ConclusionLike other subjects in the curriculum of American schools, the arts provide an opportunity for children to realize certain talents and potentials. Particularly in their creative modes, the arts ask students to reach inside themselves to explore their own fascinations and perceptions and to give them suitable and precise representation. In the process of translating their inner discernme nts and revelations into a symbolic form, children discover and develop their capabilities and uncover some of their human possibilities.Because they are so personal in what they require of each would-be artist, the arts can disclose important insights and impart crucialand practical-habits of thought that are generally not taught as well through other subjects (Swanwick, 1996). Among the three philosophers, Charles Fowler had much to say about Arts being an essential part of a schools curriculum. It is precisely because the creative act flows from the inside out rather than the outside in that it helps youngsters discover their own resources, develop their own attributes, and realize their own personal potential.Education generally does not do this. That is, usually students are told, Here is the way the world is, rather than asked, What do you think the world is or index be? Through the process of refining their own personal visions, students discover and develop their own intel lectual resources. Because the arts ask students to determine their own abilities, they are self motivating. They propel and stimulate, fascinate and captivate because they engage students personally with their true inner selves, not some concept of self imposed from outside.All human beings want to know what they can do. By having to draw on their own ideas, students discover and explore their own cognitive capacities (Swanwick, 1988). All three authors, Fowler, Leonhard and Jorgensen had similar views on music education. The three agreed that music should be treated as a vital part of student education. Just who is responsible for educating the next multiplication in the arts the schools, other agencies, or a combination of both?Each community is responsible for providing opportunities to its youth to ensure that they will be adequately educated in the arts. How those responsibilities are carried out differs from one community to the next. In those communities with few cultural r esources, the schools must assume the primary responsibility. In urban and suburban communities that have access to museums, arts centers, and living artists of all kinds, the responsibility can and should be shared between the schools and the community.