What is music education?
Music education is a practical field in which teachers are trained to pursue careers as primary or secondary music teachers, or as ensemble directors in schools or music institutions. Music education is also a research discipline in which scholars conduct original research on the methods of teaching and learning music. Scholars of music education publish their findings in peer-reviewed journals and teach undergraduate and graduate students—who are training to become music teachers—enrolled in university schools of education or music.
Music education touches upon all domains of learning, including the psychomotor domain (skill development), the cognitive domain (knowledge acquisition), and, notably, the affective domain (the learner's willingness to receive, internalize, and share what has been learned), which encompasses musical appreciation and sensitivity. Many music education curricula incorporate the use of mathematical skills, as well as the intuitive use and understanding of a second language or culture. Consistent practice of these skills benefits students in numerous other academic subjects and also improves their performance on standardized tests such as the ACT and SAT. Music instruction is a common feature ranging from preschool through upper-secondary education, as engagement with music is considered a fundamental component of human culture and behavior. Cultures worldwide hold diverse perspectives on music education, largely due to their distinct histories and political contexts. Studies suggest that teaching music from other cultures can help students understand unfamiliar sounds more intuitively; these studies also indicate that musical preferences are linked to the language spoken by the listener and the other sounds they encounter within their own culture.
During the 20th century, several distinct approaches to music instruction were developed or further refined, some of which have had a profound and widespread impact. The DeCroce Method (Eurhythmics) was developed in the early 20th century by the Swiss composer and educator Émile Jaques-Dalcroze. The Kodaly Method emphasizes the benefits of physical instruction and responsiveness to music. The Orff Schulwerk approach to music education encourages students to develop their musical abilities in a manner that parallels the historical development of Western music.
The Suzuki Method creates a musical learning environment that mirrors the environment in which an individual acquires their native language. Gordon's Music Learning Theory provides music educators with a method for teaching musical skills through "audiation"—a concept Gordon defined as hearing music with understanding in one's mind. "Conversational Solfège" fully immerses students in the musical literature of their own culture—in this instance, American culture. The "Karabo-Cone Method" utilizes props, costumes, and toys to teach children fundamental musical concepts, such as the musical staff, note duration, and the piano keyboard. The tangible environment of specially designed classrooms facilitates a child's acquisition of musical fundamentals through tactile exploration. The objective of the MMCP (Manhattanville Music Curriculum Project) is to shape perspectives, thereby helping students perceive music as something personal, contemporary, and constantly evolving. "Popular Music Pedagogy" entails the systematic teaching and learning of rock music and other forms of popular music, whether within or outside the formal classroom setting. Some believe that specific types of musical activities can assist a child in gaining greater control over their breath, body, and voice.
Overview of Music Education
In primary schools across European countries, children often learn to play musical instruments such as keyboards or recorders, sing in small groups, and learn about the elements and history of music. In countries like India, schools typically utilize the harmonium, although instruments such as keyboards and violins are also quite popular. Students are generally taught the fundamentals of Indian Raga music. In primary and secondary schools, students often have the opportunity to perform in various musical ensembles—such as choirs, orchestras, or school bands (including concert bands, marching bands, or jazz bands). In some secondary schools, additional music classes may also be available. At the junior high school level, or its equivalent, music generally remains an integral part of the curriculum.
At the university level, students enrolled in most Arts and Humanities programs earn academic credits for music courses—such as Music History (which typically focuses on Western art music) or Music Appreciation (which centers on active listening and learning about various musical genres). Furthermore, most North American and European universities offer musical ensembles—such as choirs, concert bands, marching bands, or orchestras—that are open to students majoring in various disciplines. Most universities also offer degree programs in music education, which certify students to work as music teachers at the primary and secondary levels. Advanced degrees, such as a D.M.A. or Ph.D., can lead to employment opportunities within universities. These degrees are awarded upon the completion of coursework related to music theory, music history, pedagogical techniques, private instruction on a specific instrument, participation in musical ensembles, and in-depth observation of experienced educators. Music education departments at North American and European universities also support interdisciplinary research in fields such as music psychology, the historiography of music education, educational ethnomusicology, communicology, and the philosophy of education.
Outside of North America and Europe, the study of Western art music is becoming increasingly common within the field of music education, including in Asian countries such as South Korea, Japan, and China. Concurrently, Western universities and colleges are expanding their curricula to incorporate music from beyond the scope of Western art music; this includes music from West Africa, Indonesia (such as Gamelan), Mexico (such as Mariachi), and Zimbabwe (Marimba), as well as popular music.
Music education is provided on an individual basis, as a lifelong learning process, and within community contexts. Both amateur and professional musicians typically take music lessons—that is, they learn music through small, private sessions with an instructor.
Teaching Strategies for Music Education
Although teaching strategies are determined by the music teacher and the music curriculum specific to their field, many teachers rely heavily on one of the various teaching methods that emerged in recent generations and developed rapidly during the latter half of the 20th century. These methods emphasize active learning by blending approaches derived from both traditional and contemporary educational theories, as they advocate for student-centered instruction facilitated through creative activities.
Major International Methods of Music Education
DeCroce method
The DeCroce Method was developed in the early 20th century by the Swiss composer and educator Émile Jaques-Dalcroze. This method is divided into three fundamental concepts: the use of solfège, improvisation, and eurhythmics. Sometimes referred to as "rhythmic gymnastics," eurhythmics teaches concepts of rhythm, structure, and musical expression through the use of movement; this is the concept for which DeCroce is best known. It emphasizes that students should acquire a physical awareness and experience of music through training that activates all their senses—particularly their kinesthetic (movement-sensing) senses. According to the DeCroce Method, music is the fundamental language of the human brain and, therefore, is deeply intertwined with our very existence. American proponents of the DeCroce Method include Ruth Apperson, Anne Farber, Herb Henke, Virginia Mead, Lisa Parker, Martha Sanchez, and Julia Schonely-Black. Many active teachers of the DeCroce Method were trained by Dr. Hilda Schuster, who was herself a student of DeCroce.
Kodaly method
Zoltán Kodaly (1882–1967) was a renowned Hungarian music educator, philosopher, and composer who emphasized the benefits of sensory perception, physical instruction, and active engagement with music. Fundamentally, this is not merely a teaching method; rather, it constitutes an entirely new system of musical literacy and training. This system posits that music education should commence in early childhood—much in the same way we acquire our native language. Within this framework, music is regarded as an educational medium capable of fostering social change. Furthermore, the system asserts that every individual possesses the innate capacity to connect with music through their senses, their voice, and their physical movements. His pedagogical principles are grounded in a creative and joyful educational framework, the foundation of which rests upon a profound understanding of the senses of hearing and sight, intuition, and physical movement. Thus, this framework establishes a foundation for listening, expressing emotions through music, reading, writing, and comprehending music theory. This process unfolds in several stages. It involves teaching patterns of rhythm, melody, and pitch through songs, alongside practicing the skills of listening to, echoing (vocally), articulating, identifying, reading, writing, creatively utilizing, and theoretically understanding all the constituent elements of music. Kodaly's primary objective was to instill in his students a lifelong love for music. He firmly believed that it was the duty of the school system to make this vital aspect of education accessible to children. The principal tools employed in Kodaly's teaching methodology include the use of hand signs (or 'sol-fa'), rhythmic syllables (known as 'stick notation'), and 'Movable Do' (i.e., vocal practice). Most importantly, this pedagogical approach is universally accessible, thereby ensuring that music remains within the reach of every individual. Most countries have developed their teaching methodologies based on their own folk or community music traditions; however, in the United States, the Hungarian method is predominantly utilized. It is a result of the efforts of Denise Bacon, Katina S. Daniel, John Feyerabendian, Jean Spinor, Jill Trinka, and others that Kodaly's ideas have emerged at the forefront of music education in the United States.
Orff Schulwerk
Carl Orff was a renowned German composer. The "Orff-Schulwerk" is regarded as an "approach" to music education. It begins with the student's innate abilities, through which they are able to engage with elementary forms of music by utilizing basic rhythms and melodies. Orff views the entire body as a percussive instrument, and students are encouraged to develop their musical capabilities in a manner that parallels the historical evolution of Western music. This approach fosters a sense of self-discovery among students, encourages improvisation, and discourages pressure imposed by adults as well as rote, mechanical exercises. Carl Orff devised a specialized set of instruments—comprising modified versions of glockenspiels, xylophones, metallophones, drums, and other percussion instruments—specifically designed to meet the requirements of the "Schulwerk" curriculum. Each bar of these instruments is removable, making it possible to construct various musical scales. Orff's instruments aid in the development of visual and kinesthetic motor skills in young children—skills that, in these children, may not yet be sufficiently developed to play other musical instruments. Experts who have shaped the American adaptation of the Orff approach include Jane Frazee, Armida Steen, and Judith Thomas.
Suzuki method
The Suzuki Method was developed in Japan shortly after World War II by Shinichi Suzuki, and it utilizes music education to enrich the lives and moral character of its students. This movement is grounded in two core beliefs: first, that "all children can be given a good music education"; and second, that learning to play music at a high level involves cultivating certain character traits or virtues that further beautify an individual's soul. The primary method for achieving this centers on creating a learning environment for music that precisely mirrors the experience one undergoes while acquiring one's native language. This "ideal" environment encompasses love, high-quality examples, praise, rote learning and repetition, as well as a curriculum tailored to align with the student's developmental readiness to master specific techniques. Although the Suzuki Method enjoys considerable international popularity, its influence within Japan remains less significant compared to that of the Yamaha Method—a system established by Genichi Kawakami in collaboration with the Yamaha Music Foundation.
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