WHY MUSIC?
A Rationale for Music Education in the 21st Century
By Jonathan A. Ruth
September 22, 2006
“Music makes you smarter.” “Learning music increases your IQ.” “We need music at our football games, and we need music education to provide that.” “Core teachers need a break, and that’s why we need music classes in school.” “Music makes you better at math.” “Music makes you better at reading.” “Music provides a context for learning about history.” “Music expresses patriotism.” “Learning music provides a creative outlet for students.” I am often asked why music is necessary in a public school education program. This question often comes from people who support music already, and are curious as to what my opinion on it is. I have heard so many reasons for music since I started studying music education 10 years ago – some valid, some invalid, and some downright funny. This paper will attempt to sort out the truth from the fiction. I do not believe that the reason for teaching music can be narrowed down to one specific benefit that may or may not be derived from music (or may be derived from music, but also from other sources.) Rather, in the words of modern band composer Samuel Hazo, the reason we need music education as part of our school curriculum is that “the world needs music, and it starts in the schools” (S. Hazo, personal communication, June 20, 2006).
Robert Glidden surmised that “we are drawn to music because it is the most powerful combination of intellect and emotion that we know.” (Madsen, 2000) The Housewright Symposium on the future of music education as called to develop and articulate the collective dream for our nation’s music education system for the future. The conclusion is that while our education system will undoubtedly change drastically in the way it looks over the next several decades, music must remain an important part of our education system. Our music education system simply must adapt to the ever-changing face of our country’s education system.
Imagine a world without music! Music has permeated every facet of our lives, to the point where it is hard to spend twenty waking minutes without hearing some kind of music. Even the person who claims to be “unmusical” would find something missing from their life if all of the music was removed. If you took all of the music from all of the different aspects of our lives, and polled its producers, asking them if they would be producing the music that they are if not for their school music program, most would say no. It is absolutely true that family traditions can create amazing musical skill without actually knowing how to “read” or “write” music (at least according to western standards.) However, the music industry, from the composers to the performers to the sound technicians, is full of people who credit their school music programs for leading them to their career.
From the beginnings of organized education, music was given high status in importance. Plato and Aristotle both felt that music was a key to civilization, and was essential to creating a whole child. Pythagorus, known for his advances in mathematics, actually did quite a bit of work with mathematics in music, developing the scale using fractions similar to the half and whole step system used today. Through the middle ages, education was valued for the purpose of bringing grace to the soul with truth, balance, and virtue in life, and music was always a part of this.
At the beginning of our country’s existence, Thomas Jefferson said that study of history, philosophy, and the arts creates a whole person. Lowell Mason, instrumental in the development of music education during the colonial era, was committed to the idea that music had value for intellectual, moral, and physical development. Even as our country was still in its infancy and very much in survival mode, music was valued in the home and in the very new education system. Religious leaders valued music for it’s utilitarian purpose in their services. Educational leaders valued music for aesthetic reasons.
As the 20th century arrived, debate began to arise between those who favored a praxial music experience and those who valued music for aesthetic reasons. Theorists such as Dewey and Leonard favored the aesthetic side of the feelings and responses involved with music. Others such as Dykem and Gordon have favored music participation (praxial education) over the aesthetic. Both sides are supportive of music education, and I have come to the conclusion that both are valid. My goal as an educator is to provide students with an aesthetic experience with music through praxial means. A student cannot truly appreciate and understand music until he or she has experienced it. Our school’s job is to give our students the opportunity to have that experience.
Howard Gardner’s theory of multiple intelligences is further evidence of the value of music. In this, Gardner (2003) contends that humans have eight separate and independent “frames of mind”, one of which is music. In order to make a complete person, each of these intelligences should be addressed through our education system, and students with a specific gift in one frame should be encouraged in that. Also, the vast majority of student have potential to succeed to some degree in any intelligence area (including music). Along this line of thinking, music has as much value for study as linguistics, mathematics, and kinesthetics (physical education), as each is a separate intelligence.
If education, government, and religious leaders throughout history have largely valued music, how is it that music in our schools has often become an extra-curricular activity, barely able to sustain itself? When math and reading are being tested more and more, and greater stakes are being placed on these tests in relation to funding, schools are tending to make their cuts in the music department. While math and reading are unquestioningly compulsory in all schools, instrumental music teachers must recruit and entertain in order to keep their jobs.
Unfortunately, many “music advocacy” campaigns have reduced the need for music education to serving the purpose of increasing test scores in math or reading. First of all, this has never been proven to be true. Rather, it could be argued that studies showing that music students score higher in math and reading only show that “smart” kids sign up for music, and not that music “makes them smarter”. Secondly, even if it is true that music study improves math and reading skills, there are certainly better ways to improve math and reading skills than by making music (such as practicing math or reading!) Thirdly, if the only reason for studying music is to improve math and reading, what happens if math and reading do not improve? Does the student then give up music? The problems with the “music makes you smarter” argument are endless. Certainly the study of music does involve math and reading skills, but there must be a better reason for musical study.
Throughout history, music has been an important part of the education system (in whatever form that took.) At times of historical crisis such as wars, education itself has become less important as survival mode took over. However, whenever a society has advanced, the arts have been at the forefront. Regardless of one’s political view, most Americans would agree that we want a society that is advancing, evolving in knowledge and creativity. Musical activity must be fostered at home and in schools!
Studies overwhelmingly show that music aptitude can be developed at home at an early age. Pestalozzi (Mark, 2002) believed that the first five years of life are vitally important to a child’s musical development. Gardner’s theories on multiple intelligences support this idea. Gordon (2006) has expanded on these ideas in his study of music aptitude, suggesting that playing instrumental music for children as young as fetuses can increase their music aptitude. Singing and doing rhythmic movement activities can affect a toddler’s musical future much more than any musical study he or she does later in life. Obviously, it should be noted that this critical phase of life happens before the child is at school, so parents must be educated on how they can help their child achieve their musical potential through some simple activities with their young children.
In addition to exposing young children to music for the sake of their music aptitude, families should do this for the sake of their family traditions. Family musical culture should be encouraged. One of the greatest things about the United States is the diversity of cultures we have here. Here in Blossburg, PA, we may not have as much cultural diversity as a major city, but there are family musical traditions. Families should make music together, and pass on the oral musical traditions of the family. This will not only help students at a young age to maximize their music aptitude, but it will provide a quality leisure activity for the family to enjoy together throughout life.
School music programs should bring together an early childhood musical experience, a family tradition, and the system of western music as they educate our students in grades K-12. School music programs should be diverse in teaching a variety of musical instruments and styles, and drawing parallels with the culture of the family music tradition.
In our school, parents have a choice as to whether or not to involve their student in music beyond K-8 general music, and it is the same with visual arts. I would encourage every parent to consider that arts can be the application for all that is learned in other subjects. The greatest thing about the arts, though, is that you do not need to have mastered the other subjects to do it. There is room for all ability levels in the music classroom, and all students can experience success to their own level. It truly is an activity that can be mentally stimulating, physically demanding, and emotionally satisfying to students of all levels. As happy as I would be if schools required kids to be involved with instrumental music, I believe that by providing many opportunities for praxial experiences with music in a variety of ways that students can identify with, students and parents will want to be involved with our program here at Blossburg, and the community will develop an aesthetic appreciation for music.
Shakespeare, in “The Merchant of Venice” was quoted as saying “the man that has no music in himself… Let no such man be trusted”. We want our community to continue to have music in its heart, and the school music program will take an integral role in this goal. Our music program must be more than just a means to doing better in standardized tests in math and reading. It should be the centerpiece of our local culture. It should be a means for students to express themselves in a way that no other activity can provide. We should value the musical intelligence as much as we value all of the others, and this should be evident in our school curriculum. We should value our music program as if the future of music in our culture depends on it, because it does! Parents should do whatever it takes to get their children involved in singing and in playing an instrument, as experiencing music is an essential part of their growth. Hopefully, it will become a lifelong love.
Deutsch (1982). The psychology of music. Orlando, FL: Academy Press Inc.
Gardner (2003). Multiple Intelligences after Twenty Years. Invited Address, American Educational Research Association. Retrieved online September 21, 2006 from http://pzweb.harvard.edu
Gordon (2006). A music learning theory for newborn and young children. (2nd Ed.) Chicago: GIA Publications.
Madsen, C.K. (Ed.). (2000). Vision 2020: The Housewright symposium on the future of music education. Reston, Virginia: Music Educator’s National Conference.
Mark, M.L. (1996). Contemporary music education. (3rd Ed.) New York: Schirmer Books.
Mark, M.L. (Ed.). (2002). Music education: Source readings from ancient Greece to today (2nd Ed.). New York: Routledge.
Music Educator’s National Conference. (1994). The vision for arts education in the 21st century: The ideas and ideals behind the development of the national standards for arts education. Reston, Virginia: Author.
Southern, Eileen. (1997). The music of black Americans: A history (3rd Ed.) New York: W.W. Norton and Company.