Graduate Seminar
Music exalts the human condition, and thus every person deserves the opportunity to
Furthermore, the history of music as an art form and the perpetual importance of music to the
human race solidify the need for music in our society (Madsen & MENC, 2000). “Music is one
of the most powerful, most compelling, and most glorious manifestations of every cultural
heritage” (Lehman, 2002). To be most effective, school music programs must take into careful
and skill development. These attributes are vital to ensure all students receive a comprehensive,
Music has existed forever and has incredible meaning to the human race. Historians have
tangible evidence of music existing in societies from over 40,000 years ago – longer than there is
evidence of concepts used in any other academic discipline (Grout, Burkholder, & Palisca,
2001). Over these years, music has been used in the best and worst of times to communicate
unspeakable feelings symbolically. For instance, a string quartet performing Nearer My God to
Thee as the “Titanic” slowly sank or the piece Aurora, composed by Hans Zimmer, after the
terrible mass shooting in Colorado in 2012. These are two examples of how music can be used to
express what cannot be grasped by words alone. As music has always existed and is an important
vehicle for non-verbal, symbolic expression, it has maintained a place of reverence in society and
emotional awareness, through an environment filled with compassion and empathy (Rogers,
1961). Musicians are able to experience emotions they may not have personally felt before in a
safe environment which fosters empathy and the ability to understand the perspectives of others
(Meriam, 1964). Gardner advanced that each person has a unique blend of seven different
intelligences, with music being one of them (Gardner, 1993). As music is a unique intelligence, it
must be developed intentionally alongside the other intelligences. In addition to teaching the
aesthetic expressive awareness of humanity, musicians develop creativity and unique ideas, an
attribute that can benefit society in the form of innovative problem solving (Meriam, 1964).
Finally, Meriam states that, through music, humans validate social, cultural, and religious norms
Due to the unique way music education positively affects individuals, music must be
taught to all students, an idea pioneered by Lowell Mason (Mark, 2008). This means ensuring
music programs are available and readily accessible for all students in schools from grade K-12.
In K-5 education, opportunities must include general music for all students and may include
instrumental music for students when deemed developmentally appropriate. In grade 6-12,
general music courses must continue to be offered along with instrumental, vocal, and other
musical offerings that authentically reflect the interests and cultures of the community being
served (Madsen & MENC, 2000). Regarding access, multiple entry points to music education
must be made available at all levels from K-12, including courses with no prerequisites and re-
entry courses for interested students (Fonder & MENC, 2003). All students, including students
with special needs, gifted and talented learners, and multi-lingual learners, must have
developmentally appropriate music curriculum available in schools and instructors who are
prepared adequately to teach them (Madsen, 2000). Finally, students wishing to pursue a career
in music must have pathways to reasonably achieve their goals, including course offerings,
The primary goals of the music program are to encourage lifelong music-making (Ernst,
2001) and to promote betterment of self and of society (Meriam, 1963). This is accomplished
through providing a variety of musical experiences in which students see themselves represented,
both culturally and personally, and in which students can connect with one another in a social
context. Additionally, these goals are realized when teachers meet the needs and interests of the
students they are serving (Hodges & Sebald, 2011) and help them realize the vital role music
In order to establish quality music programs that enrich the lives of all students, music
teachers must take into consideration many components, including fostering a positive learning
authentic assessment, a balance between process and product, and a diverse offering of musical
experiences. Maslow states teachers must intentionally create an environment in which all of the
basic needs, culminating in self-actualization, are met, including developing a sense of esteem
and belonging in a socially situated context (Hodges, 2011). Additionally, Rogers insists an
environment that is genuine, accepting, and empathetic must be cultivated in each learning
2009). Facilitation must be present in the music classroom, with students having the autonomy to
create, perform, connect, and respond with the teacher’s guidance (Cremata, 2017). When
peer/mentor models that assist younger students in learning about music (Phillips, 2001).
Pedagogically appropriate curriculum must be a staple for music education programs.
Gordon’s Music Learning Theory states that sound before sight should be used to introduce new
concepts in the same way students learn to speak before writing (Bluestine, 2000). In preparation
for learning, developmental considerations and prior knowledge of students must be gauged and
curriculum adjusted to meet these needs. The four national standards for music education –
Create, Perform, Connect, and Respond – must all be addressed by the savvy music teacher in
judgement to ensure the aesthetic-expressive reasons music is taught are always at the core of
To ensure effectiveness of curricula and pedagogy, assessment must be valid and reliable,
and must measure a students’ progress toward meeting benchmarks outlined in the National Core
Arts Standards in Music. These assessments must be leveled appropriately to reflect past music
education experiences and developmental stages of all students. Finally, process and product
courses, in order to ensure that all students are able to reflect on their own growth while
For all children to progress in music, a wide array of musical experiences must be
cultivated to meet the unique needs and interests of learners (Hodges, 2001). Among these
opportunities, contemporary repertoire as well as small ensemble experiences must be built into
the music curriculum (Scruggs, 2009; Green, 2002). Ostling (1978) provides a thorough
description for determining quality music in traditional music ensembles, defining form and
melody, craftsmanship, ingenuity, and consistency as factors for consideration. There is currently
no resource paralleled to Ostling for contemporary music repertoire selection. However, as music
education aims to teach the aesthetic-expressive, Reimer insists repertoire selected for study
should be ‘soulful’ as a prime consideration (Madsen, 2000). Furthermore, the National Core
Arts Standards state repertoire must expose students to a variety of cultures, historical periods,
The National Association for Music Education states music courses for all students from
grade K-8 are strongly recommended, and continued study in music after grade eight must be
encouraged. The most recent over-arching federal statute for education in the United States, the
Every Student Succeeds Act (2015), also includes music as an essential part of every child’s K-
12 study. With the development of highly-effective music courses that reflect the interests of the
community and students being served, the majority of students will likely choose to continue
their musical studies into grade 9-12. Teachers may have prerequisites for courses that require
sufficient collection of reentry level courses are offered as well. As advanced by Maslow and
supported by the humanist lens, teachers should guide students in their choice of courses through
conversation and a focus on what is best for the student regarding their previous experience,
Knowledge and skill development resulting from arts education experiences must include
musical, technological, and 21st century skills that lead to opportunities for continued
development beyond schooling. The primary musical skills developed through music education
are tonal, rhythmic, creative, executive, and notation skills (West, 2015). All five skills are
necessary for all students to be able to authentically experience music as performers, creators,
responders, and connectors. Cell phones as recording devices, YouTube and other applications
for access to music, as well as communication technology can be leveraged to exemplify media,
information, and technology literacy. Among the 21st century skills, the 4 C’s – creativity,
critical thinking, collaboration, and communication – must also be infused into the music
curriculum to support the primary goals of the discipline (The College Board, 2011).
Speaking to the importance of music education, Reimer (2003) said, “As a primary way
in which mind, body, and feeling are unified in acts of meaning-making, musical endeavors
represent a pinnacle of what the human condition exemplifies.” As such, music is vital to the
human race and, therefore, music education is vital for every child. Teachers must ensure music
education programs are carefully constructed to provide opportunities for all children to
experience and develop a life-long love for music. This music education, which is enriched by
being rooted in the aesthetic-expressive, will lead to the betterment of each person and all of
society.
Citations
Bluestine, E. (2000). The ways children learn music: An introduction and practical guide to
The College Board. (2011). Arts Education Standards and 21st Century Skills: An analysis of the
National Standards for Arts Education as compared to the 21st Century Skills Map for
Ernst, R. (2001). Music for life. Music Educators Journal, 88(1), 47-51. doi: 10.2307/3399777
Fonder, M., & MENC. (2003). The grandmaster series: Collected thoughts of leaders in
twentieth century music education. Reston, VA: MENC: The National Association for
Music Education.
Gardner, H. (1993). Multiple intelligences: The theory in practice. New York, NY: BasicBooks.
Green, L. (2002). How popular musicians learn: A way ahead for music education. Burlington,
VT: Ashgate.
Grout, D. J., Burkholder, J. P., & Palisca, C. V. (2001). Musical life and thought in ancient
Greece and Rome. In, A history of western music (6th ed.) (pp1-7). New York, NY:
W.W. Norton.
Hodges, D., & Sebald, D. (2011). Music in the human experience: An introduction to music
Lehman, P. (2002). A personal perspective. Music Educators Journal, 88(5), 47-51. doi:
10.2307/3399826
Madsen, C., & Music Educators National Conference. (2000). Vision 2020: The Housewright
Mark, M. (2008). Music education: Source readings from ancient Greece to today (3rd ed.). New
Merriam, A.P. (1964). The anthropology of music. Evanston, IL: Northwestern University.
Ostling, A. (1978). An evaluation of compositions for wind band according to specific criteria of
Phillips, D. C., & Soltis, J.F. (2009). Perspectives on learning (5th ed.). New York, NY:
Teachers College.
Reimer, B. (2003). A philosophy of music education: Advancing the vision (3rd ed.). Upper
Houghton Mifflin.
West, C. (2015). Developing internal musicianship in beginning band by teaching “the big 5”.