What is music? What is it's purposes, value, and importance?

Music, in its most simplest form, is an art form whose medium is sound. Rhythm, tempo, pitch,
dynamics, articulation, meter, melody, harmony and timbre are the tools we can use to manipulate this
sound. When looking at music from this simple perspective one would need to ask, why is music so
important to preserve within our society and to pass on to the next generation of learners? Simply put,
because when a hammer, saw, drill, level, and wrenches are used by a carpenter, a structure can be
built that can defy beauty and provide warmth and protection for the people who are lucky enough to
appreciate and use it. Music, and the tools in which we create music, are very similar to the tools and
the process we would use to construct a building. The biggest difference is that music is far more
complex and intricate when you break past this surface definition and delve deep into how music can
define and portray the understanding of our species on both an emotional and cultural level. Music has
helped to define us as a species for centuries, and has been a large part of who we are socially and
culturally. On a more intimate level music has helped us connect emotionally and spiritually, and has
provided insight directly into the human condition.
Music is undoubtedly part of who we are as a species, not only from a spiritual and cultural
level, but a biological one as well which has contributed greatly to our development. For thousands of
years both mankind and animals have used music, to a certain extent, for our own survival and growth.
According to Eric Jensen, In addition, animals and early humans often used music for intra- group
communication, which increased group safety and identification. Likely, robust vocalization improved
notification of pending threat or environmental changes. Music may be used to increase harmony and
social bonding among those playing it or listening to it. (P. 15.) With this in mind we have to take into
consideration that music has been built into our own biological makeup, and to deny our students the
opportunity to develop the skills to understand and perform music is essentially denying them of a
basic biological necessity. Music is simply a big part of who we are and how we are built.

Should music be taught in schools? If so why? Who should receive a musical education?
Where should music be taught? At what age should a child's musical education begin/end?
Continuing with this trend, music should absolutely be a big part of our education due to its
direct impact on our biological makeup, as well as music's contribution on our neurological
development as well. This biological makeup is so prevalent within our species it is even seen within
the way we communicate with our children from a very early age. According to Weinberger (2004),
Even before babies have acquired language, they exhibit a marked capacity for reacting to music.
Perhaps that is why parents and others instinctively communicate with infants in a musical manner,
using wide ranges of pitch and melodic like phrases, often called motherese. All cultures use
motherese. (Pg. 94.) This goes to show how deep music reaches not only within our culture but in
every culture. It is important that everyone receive some form of musical education, and that this type
of education must be as accessible to everyone. Now in order for music education to become
accessible for everyone requires that it be part of our public schools to help introduce basic concepts
and help develop appreciation. From here, any extension of this instruction is absolutely encouraged
but the fact of the matter is that many students are unable to afford private lessons from conservatories
and to deny anyone of a music education is denying them a biological and cultural need that exists
within all of us. As Kodaly puts it, Music education should be a subject that provides a key to music
for everybody. If the eternal treasury of music is to be opened with this key, it can be done easily;
however, if this opportunity is not desired then it is lost. No one should be deprived of music because
their parents are too poor and thus unable to provide music lessons(P. 15.)
In regards to its evolutionary contribution to our biological makeup, music has helped to shape
our cognitive functioning as well as help to develop certain neurological tasks. The way the majority
of people interpret music first is through our auditory cortex. It is from here that our brain goes
through a number of different processes to determine and differentiate between melody, harmony,
timbre, and rhythm. Perhaps the most interesting part about this differentiation, is that multiple areas

of our brain are responsible for these different processes. According to Weinberger, Imaging studies
of the cerebral cortex find greater activation in the auditory regions of the right temporal lobe when
subjects are focusing on aspects of harmony. Timbre also has been assigned a right temporal lobe
preference. (P. 93.) This goes to show that as we are listening and playing music, we are using
multiple systems simultaneously as we are coordinating between fine motor skills and the ability to
interpret and react to a form of notation. Musicians who become proficient within their field of study,
or on a specific instrument, show hyper-development of certain areas of their brains that are responsible
for these multitasking capabilities (Weinberger 2004.). This leads me into my next point regarding who
the age at which children should start their musical training. There have been a number of studies done
on the benefit of teaching children are a young age the importance of music as well as the development
of fine motor skills, but sticking with the biological perspective, Weinberger states, Youngsters who
had received greater exposure to music in their homes showed enhanced brain auditory activity,
comparable to that of unexposed kids about three years older(P. 94.) This goes to show that we should
be teaching and exposing children to music as young as possible to help develop these neurological
connections in the brain. Whether the music we are playing is contemporary or classical, recorded or
live, it is important that children are exposed in one way or another so they can develop these
neurological pathways early on which will inherently make learning in general more innate.
Who should teach music? What should be taught in the music curriculum? How should
music be taught?
Music, in many circumstances, is learned in a variety of different ways through both formal and
informal instruction. Formal instruction according to Sheri Jaffurs is, ...historically been associated
with teaching western art music. In the last 40 years, a swing toward incorporating a wider variety of
music styles has brought about the use of many styles and idioms within the classroom(P. 190.)
Informal music instruction on the other hand as defined by Jaffeurs is, ...no evaluation, formal or
otherwise, and no teacher direction or guidance. The musical enculturation, influences of parents, and

first instruments are all a part of the beginning experiences and opportunities that tend to be in place at
the start of the learning process.(P.193). It is this dichotomy of these two approaches to music that I
find to be extremely interesting and very important to take into consideration when looking at how
music should be taught, as well as what should be taught within the musical curriculum. I have been
fortunate enough within my own life to have experienced both of these backgrounds in great depths. I
have dedicated a good portion of my life to the formal study of music and the development of my craft,
but I have also been heavily influenced by the aural traditions and styles of my own family and friends.
It has been through these influences that I began to develop an appreciation for music and has also
helped me to develop strong roots within certain styles. Informal musical training has been a key tool
in my life to help me get my foot in the door and begin my journey towards becoming a music
educator, and as a music educator I must remember that I cannot devalue the informal musical training
of anyone who walks though my door. I strongly believe that the relationship between these two
backgrounds is what we as music educators should value and incorporate into the music curriculum.
By embracing these two backgrounds, we are able to expose our students to a wide variety of different
backgrounds and styles, therefore providing students with a differentiated approach to music education.
Keeping this dichotomy in mind, once those students are through my door the philosophy and
methodologies that I can relate to the most were written by Zoltan Kodaly. As he puts it, Teach music
and singing at school in such a way that it is not torture, but joy for the pupil; instil a thirst for finer
music in him(her), a thirst which will last a lifetime. Music must not be approached from its
intellectual, rational side, nor should it be conveyed to the child as a system of algebraic symbols, or as
the secret writing of a language with which he(she) has no connection. The way should be paved for
intuition.(P. 13) What I take from this is that music should be approached for the sheer enjoyment of
playing and performing music which I believe to be true at any age. It is from this initial starting point
where we can start to shape this initial joy for music into a deeper understanding and appreciation. It is
through this dichotomy of both informal and formal training that I strongly believe in the absolute

expressionist approach to music education. Within my experiences in music nothing can quite compare
to when you are listening or performing music that things just seem to 'click' with one another in a way
that makes you stop and recognize what you had just experienced is something truly amazing. It is
within this idea that we must recognize the characteristics and formal elements within music that create
these moments so we are able to reproduce these events at will. If music was taught with these ideals
in mind, I believe that we would not only have a deeper appreciation for music, but our intuitive ability
within performance would be much stronger as well.
Although informal musical training is extremely important in developing an initial appreciation
and joy for music, it is through formal music training where we develop a deep understanding and
knowledge base to truly appreciate music and performance on a much deeper and more intimate level.
It is extremely important to receive this type of education from someone who is fluent in the
foundations of music, such as history and theory, but also competent in a variety of different
specialities and backgrounds especially within a public school setting. Other qualities that a music
educator should posses is extensive training in educational pedagogies and assessment practices so they
can communicate lesson outcomes and provide effective feedback and differentiation when necessary
to help nurture and develop a deeper understanding of music. With this background, they will not only
be able to provide insight to a multitude of disciplines, but will be a powerful catalyst for musical
education. Finally, and perhaps most importantly, the teacher should have a passion for what they are
doing and should be actively involved within musical performance themselves outside of a school
setting. Modelling the type of behaviour we wish to see within our students, and to keep pushing
ourselves as professionals are perhaps two of the most powerful tools we have as educators and
musicians. I strongly believe that a music educator with these fundamental qualities will not only be
successful within the classroom, but will continue to push for what they believe is important for the
profession, and their students.

Education 3601: Advocacy Statement

By: Eric Harty
Music, in its most simplest form, is an art form whose medium is sound. Rhythm, tempo, pitch,
dynamics, articulation, meter, melody, harmony and timbre are the tools we can use to manipulate this
sound. When looking at music from this simple perspective, one would need to ask ourselves why is music
so important to preserve within our society and to pass on to the next generation of learners? Simply put,
because when a hammer, saw, drill, level, and wrench is used by a carpenter, a structure can be built that
can defy beauty and provide warmth and protection for the people who are lucky enough to appreciate and
use it. Music, and the tools in which we create music, are very similar to the tools and the process we
would use to build a structure. The biggest difference is that music is far more complex and intricate when
you break past this surface definition and delve deep into how music can define and portray the
understanding of our species on both an emotional and cultural level. Music has helped to define us as a
species for centuries, and has been a large part of who we are both socially and culturally and on a more
intimate level music has helped us connect emotionally and provide insight directly into the human
condition.
Music is so engrained into our biology that some of the first ways we communicate with our young
is through song. According to Norman Weinberger, Even before babies have acquired language, they
exhibit a marked capacity for reacting to music. Perhaps that is why parents and others instinctively
communicate with infants in a musical manner, using wide ranges of pitch and melodic like phrases, often
called motherese. All cultures use motherese. (pg. 94) This goes to show how deep music reaches not
only within our culture but in every culture, which is why music is often referred to as a universal language.
Music is a big part of who we are and how we are built. It provides us with ways to communicate in which
words will not do justice, and can provide a soft place to land for many students within our education
system. Simply put, music has been built into our own biological makeup, and to deny our students the
opportunity to develop the skills to understand and appreciate music is essentially denying them a basic
biological necessity.

References:
Jensen, E. (2004). Musical Arts. In Arts with the Brain in Mind (pp. 13-48). Alexandria: Association for
Supervision and Curriculum Development
Weinberger, N. M. (1999). Music and the brain. Guitar Review, 89-95.
Jaffurs, S. (2004). The Impact of informal music practices within the classroom, or how I learned how
to teach from a Garage Band. Internationl Journal of Music Education, 22(3), 189-200
Kodly, Z. Selected Quotes. Music Should Belong to Everyone (pp. 13-55)- (Handout from class)