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Music Education Philosophies and Rationales

Music Education Philosophies and Rationales. Singing School, Buckhorn, MO, 1910. Class 1a. Baptist Singing School, 1825. Assignment. TODAY

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Music Education Philosophies and Rationales

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  1. Music Education Philosophies and Rationales Singing School, Buckhorn, MO, 1910 Class 1a Baptist Singing School, 1825

  2. Assignment TODAY • Mason, L. (1834). Manual of the Boston Academy of Music (1834) pp. 9-23. Accessed from https://books.google.com/books?id=VT4uAAAAYAAJ&printsec=frontcover&dq=editions:gTv32pzapSYC&hl=en&sa=X&ved=0ahUKEwiv_rGdqqrNAhUHkx4KHVr0CY0Q6AEIMTAE#v=onepage&q&f=false • Cardinal Principles of Secondary Education (Dept. of the Interior, Bureau of Education, Bulletin 1918, no. 35). Accessed from https://archive.org/details/cardinalprincipl00natiuoft • Kleihauer, A. (1958, February). Automation: The problem of being a person. NASSPBulletin, 42 (235), 48-52. (SAGE) FRIDAY • Crawford, R. & McKay, D. P. (1973). The performance of William Billings' music. Journal of Research in Music Education, 21(4), 318-330. OR • Lowens, I., & Britton, A. P. (1953). ‘The easy instructor’ (1798-1831): A history and bibliography of the first shape note tune book. Journal of Research in Music Education, 1(1), 30-55. AND • Volk, T. M. (1993). Factors influencing music educators in the "rote-note" controversy, 1865-1900. Bulletin of Historical Research in Music Education, 15(1), 31-43 • Mason, L. (1863). The Song Garden, book one, pp. iii (preface) - p. 20. https://archive.org/details/songgardenseries01maso • Tufts, J. W., & Holt, H. E. (1883). Normal Music Course, first reader, pp. iii-xvi. https://archive.org/details/normalmusiccours00tuft

  3. Syllabus • Objectives • Describe the major historical events involved in the development of music education in the United States, and consider possible implications for the present and future. • Discuss important people in the history of music education in the United States. • Interact with and interpret primary source materials related to the history of music education. • Grading – Review rubric Course Overview • Class 1 – Philosophies • Class 2 – Teaching & Learning I • Class 3 – Teaching & Learning II • Class 4 – School Ensembles • Class 5 – Presentations • Attendance • Day 5 test • Day 5 presentation

  4. Final Presentation • Prepare a 15 minute presentation on an historical topic of your choice • Should include primary & secondary sources • Primary = MEJ, newspapers, materials found on google books, Internet Archive, Hathi Trust, classmates.com, etc. (see list) • Create PPT • Include photos, brief audio/video, demonstration or activity if appropriate • Bibliography in a standard format on last slide • Sample Topics: • Music Ed during WWII • History of the choir at X school • Biography of Agnes C. Heath (CPS supervisor) • History of the 1933 National Band Contest at NU – Evanston • Music in the Chicago Normal School • Role of NEA & MSNC in standardizing the Star Spangled Banner • Computer Assisted Instruction (CAI) in music education • Music for special learners as portrayed in MEJ, 1930s-1940s • Music teacher education at DePaul • Music educators’ & administrators reaction to Sputnik • School jazz bands b/f WWII

  5. Why History? • Basis for understanding the past • Context for understanding present • (Michel Foucault [1926-1984]: conditions of possibility in genealogy – history of the present) • Identifying past trends to predict current and future trends • (e.g., future status of educational repertoire) • Information to avoid previous mistakes • (correspondence school and online learning) • Perspective for decision/policy • Understand and judge current events and trends • (e.g., standardized testing, schools as businesses = social efficiency) • Predicting the future • (what would happen if we moved to block scheduling?) • Storehouse of great ideas • (T.P. Giddings & Maddy readings)

  6. Philosophy = Why Music Education? • Your principal calls you into the office and informs you that the school board is considering cutting the music program. He wants to advocate for the program and wants you to come up with reasons why music education is important in the school curriculum. • List reasons you might give. What is the value of music education? What does it or should it do? • Do your reasons have historical roots? [next slide!]

  7. Overview of Historical Philosophies, Rationales, & Justifications • Old Testament • Ancient Greeks • Boston, 1838 • Progressive Era (late 1800s-1940s) • Sputnik & MEAE (1958) • Praxial Philosophy (1990s)

  8. Old Testament Perspectives (1500 BC) • Jews enslaved in Egypt c. 210 years • Developed musical life in Egypt • Witnessed singing, dancing, instruments (except shofar) • Music in worship • Moses probably received music as part of Egyptian education • Exodus from Egypt (1446 BC) • Led by Moses • Nomadic until Can’nan (Israel) • Songs of Moses & Miriam • Exodus 15 at Crossing of Red Sea • https://www.biblegateway.com/passage/?search=Exodus+15&version=AKJV

  9. Levites as Music Educators • Levites: Tribe of Levi (1/12 tribes of Israel) • Levites who were not priests played music in the Temple or served as guards • Education began at 25 (or b/f?) • Worship probably included call & response reflected in some of the Psalms (e.g., Ps 147) • 1[call] Praise ye the Lord:[response] for it is good to sing praises unto our God; • Music Teacher Education • Anshei Ma’amad (“bystanders”) • Representatives of the people • Travelled to Jerusalem to witness temple ritual • Part of the gathering was devoted to teaching & learning new songs • Bystanders returned to their own synagogues and taught the new songs to their congregations

  10. Jewish Perspectives on Music • Human vs. divine creation • Without supernatural powers to affect morality & behavior • Music as service to God, but also work & recreation • Everyone participated • Music & Poetry (vs. graven images) expression of God Illuminated manuscript, Tomić Psalter, 1360/63, Moscow State Historical Museum

  11. Major Themes from the Hebrews Relevant Today? • In the Jewish culture, everyone had a right and a duty to sing to God • Music is for everyone • Music is an important part of all aspects of life, culture, & preservation of history • Musical abilities need to be fostered & developed • Music educators play an important role in the life of society

  12. Ancient Greeks (900 BCE – 146 BCE) • 3 levels of education • Primary (ages 7-14), secondary, tertiary (military training) • Boys only • Music, Poetry, Gymnastics developed body & soul • Culture included singing festivals, contests, & societies • Athens & Sparta differed • Athens = 3 levels • Sparta = military training only • Music for patriotism & war

  13. Pythagoras (582-507 BCE) • Math & Music intimately connected • Intervallic relationships of harmonic series based on mathematical proportions • Fundamental • 2/1 = octave • 3/2 = P5 • 4/3 = P4 Music constituted a system of sound and rhythm ruled by the same mathematical laws that operate in the whole of the visible and invisible creation. To understand music was to understand the universe. Music was a STEM subject (at least for awhile).

  14. Doctrine of Ethos (Modern equivalent?) (R. Martin, n.d.) • Music affected thought, action, character, & morals • Artist must exercise power responsibly • Aristotle felt that music directly imitates the passions or states of the soul (e.g., gentleness, anger, courage, temperance, and their opposites). • Music that imitates a certain emotion stirs that emotion in the listener. • Habitual listening shapes character – good or bad • Music as a powerful force should be regulated • If a rhythm was too complex or fast, then the soul would be compelled to act out in an uninhibited fashion. This was related to the worship of Dionysus-which for the most part was sexual in content and ritual. • If a person listened to sad, mournful melodies, then they would become depressed and not be productive. • If an enemy was exposed to music with weakening attributes, then their defenses could be weakened and they could be conquered.

  15. “HOW THE ‘ROCK BEAT’ CAUSED A SON TO DISHONOR HIS PARENTS”http://truediscipleship.com/ten-scriptural-reasons-why-the-rock-beat-is-evil-in-any-form/ “About four years ago, our church got a new youth pastor. He began playing Christian rock before meetings and during activities. He encouraged me to get a copy of a certain [recording], which I did, even though my parents forbade me from doing so. “Because I was being home educated, the church youth group was the only significant outside influence in my life, but that influence was enough to cause me to rebel and wreck my life for the next four years. “I then started listening to secular soft rock music, thinking, What’s wrong with this? It has less beat than Christian music. If only I had known what a deceiver Satan is, I would have saved myself a lot of heartache. “About seven months ago at a Christian radio station’s New Year’s Eve party, I was introduced to Christian rap music. Before that time, I did not listen to rap, but after hearing it there, I began justifying to myself that the beat couldn’t be all bad because Christians listened to it and it didn’t seem to harm them. “What it did to me was cause a complete breakdown in morals, which led directly to my becoming involved in immoral habits and illegal activities. I was also constantly plagued with violent and unclean thoughts. “Since then, I have taken steps to regain the ground given to Satan, and for the first time in years, I have a feeling of complete freedom from the influence of this music.” Tim Love, age 18, Washington

  16. Plato (427-347 BCE) [music & morals] • Calling for a Balanced Education • “[T]here are two art, which I would say some god gave to mankind, music and gymnastics for the service of the high-spirited principle and the love of knowledge in them…And he who mingles music with gymnastic in the fairest proportions, and best attempers them to the soul, may be rightly called the true musician and harmonist in a far higher sense than the tuner of the strings.” • [M]usical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten, imparting grace, and making the soul of him who is rightly educated graceful, or of him who is ill-educated ungraceful; and also because he who has received this true education of the inner being will most shrewdly perceive omissions or faults in art and nature, and with a true taste, while he praises and rejoices over and receives into his soul the good, and becomes noble and good, he will justly blame and hate the bad, now in the days of his youth, even before he is able to know the reason why; and when reason comes he will recognize and salute the friend with whom his education has made him long familiar. (Plato, Republic III)

  17. Decline of Music Education in Ancient Greece • By 5th century BCE - Music became more complex • Music instruction declined b/c not everyone could play it • In Athens, music specialists paid more than other teachers but only taught during last 2 years of school and during military service • Aristotle (384-322 BCE) & others questioned its value in education

  18. Aristotle (Politics, VIII) • The customary branches of education are in number four; they are- (1) reading and writing, (2) gymnastic exercises, (3) music, to which is sometimes added (4) drawing. Of these, reading and writing and drawing are regarded as useful for the purposes of life in a variety of ways, and gymnastic exercises are thought to infuse courage. Concerning music, a doubt may be raised- in our own day most men cultivate it for the sake of pleasure, but originally it was included in education, because nature herself…requires that we should be able, not only to work well. • …And therefore our fathers admitted music into education, not on the ground either of its necessity or utility, for it is not necessary, nor indeed useful in the same manner as reading and writing, which are useful in money-making, in the management of a household, in the acquisition of knowledge and in political life, nor like drawing, useful for a more correct judgment of the works of artists, nor again like gymnastic, which gives health and strength; for neither of these is to be gained from music. There remains, then, the use of music for intellectual enjoyment in leisure; which is in fact evidently the reason of its introduction, this being one of the ways in which it is thought that a freeman should pass his leisure. [Healthy use of leisure time.]

  19. Connections to Modern Attitudes? • Influence of music on behavior • Balanced education • Music ed for all vs. the talented • Music less useful vs. other subjects

  20. Education By 19th Century America (30 min)https://www.youtube.com/watch?v=fPc7RnGOho0&list=PLkFzyKKHmsFeNFAxU_g_Lc1yzAdhjeJz_&index=1 (1-3; start 1’26”) • Lack of Educational Progress • Concern for sustenance vs. intellectual pursuits • Often faith-based schools or public schools favoring Protestantism • Latin schools replaced w/ English Grammar schools in New England • Education became more practical • Served both boys and girls • Preparation for life emphasized • Prepared elementary teachers

  21. Age of Enlightenment (1685-1815) • Truth derived from reason • Physical universe explained by mechanical laws (e.g., science, music theory) • Empirical = verifiable by observation or experience (hearing & seeing); evidence driven • Education = • Moral (character) • Physical (health & sharpening senses) • Mental (intellect developed through the senses)

  22. Lowell Mason (1792-1872) • Born Medfield, MA, 1792 • Church Choir Director – age 17 • Relocated to Savannah, Georgia, age 20 • Clerk in a dry-goods store & bank • Singing school leader • Sunday school superintendent, choir director, and organist at the Independent Presbyterian Church • Moved to Boston 1827 • Directed choirs in three local churches • 1832, helped organized the Boston Academy of Music • 1838, Introduced first permanent, district-wide school music program in the US in the Boston public schools • Served as supt. of music in Boston until 1851 • National Musical Figure • Led conventions and teachers’ institutes throughout the country • Published numerous hymns (1600), tune books, and collections of sacred and secular music for both children and adults. • Honorary doctorate of music from New York University in 1855 • Died August 11, 1872, in Orange, New Jersey

  23. Music in the Boston Public Schools • 1828, William Channing Woodbridge observed music at Pestalozzi’s school in Switzerland. • Meets music teachers Michael Traugott Pfeiffer & George Naegeli • Sends materials to Mason & helped him develop lessons • Translated materials into his Manual of the Boston Academy of Music (1834) • Began to apply techniques in his own instruction w/ teaching groups of children music • Boston Academy of Music 1832 • Community music center • Classes for children & adults • Choirs, orchestra, bands • Began preparing music teachers 1834 • 1836 – Boston School Committee approve experiment in public schools • 1837-38 – Mason teaches at Hawes School w/o pay • Public concert in spring 1838 proved concept • District-wide instruction began fall 1838 in many Boston grammar schools

  24. Wildwood Flowers • Boston Public School demonstration Aug 14, 1838 • First song sung in unison by school children[??] • Not mentioned in newspapers

  25. Philosophy of Music Education: 1837Boston School Committee, Aug. 24, 1837 Music is an intellectual art. Among the seven liberal arts, which scholastic ages regarded as pertaining to humanity, Music had its place. Arithmetic, Geometry, Astronomy and Music, these formed the quadrivium. . . Memory, comparison, attention, intellectual faculties all of them, are quickened by the study of its principles. It is not ornamental merely. It is not an accomplishment alone; It has high intellectual affinities. It may be made, to some extent, an intellectuel discipline. (p. 3)

  26. Morals (character) There is,—who has not ,felt it,—a mysterious connection, ordained undoubtedly for wise purposes, between certain sounds and the moral sentiments of man. This is not to be gainsaid [denied], neither is it to be explained. It is an ultimate law of man’s nature. “In Music, says Hooker, the very image of virtue and vice is perceived.” Now it is a curious fact, that the natural scale of musical sound can only produce good, virtuous, and kindly feelings. You ‘must reverse this scale, if you would call forth the sentiments of a corrupt, degraded, and degenerate character. Has not the finger of the Almighty written here an indication too plain to be mistaken? And if such be the case, if there be this necessary concordance between certain sounds and certain trains of moral feeling, is it unphilosophical to say that exercises in vocal Music may be so directed and arranged as to produce those habits of feeling of which these sounds are the types? Besides, happiness, contentment, cheerfulness, tranquility,—these are the natural effects of Music. These qualities are connected intimately with the moral government of the individual. Why should they not, under proper management, be rendered equally efficient in the moral government of the school? (pp. 3-4)

  27. Physically “A fact, says an American physician, has been suggested to me by my profession, which is, that the exercise of the organs of the breast by singing contributes very much to defend them from those diseases to which the climate and other causes expose them.” A musical writer in England after quoting this remark, says,“ the Music Master of our Academy has furnished me with an observation still more in favor of this opinion. He informs me that he had known several persons strongly disposed to consumption restored to health, by the exercise of the lungs in singing.” But why cite medical or other authorities to a point so plain? It appears self-evident that exercises in vocal Music, when not carried to an unreasonable excess, must expand the chest, and thereby strengthen the lungs and vital organs. (p. 4)

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