MUSIC

PEDAGOGY

KOSMAS LAPATAS
EEME, HEjMEC, IACOMP, ISME, ISPME, MPG, NAfME, WPTA

Contents

1. Introduction
2. Music Education Models
3. Music Education Overview
4. Music Education Methods
4.1 Dalcroze
4.2 Kodly
4.3 Orff
4.4 Suzuki
4.5 Gordon
4.6 Manhattanville
5. Standards and Assessment
6. Significance
7. Experiments
8. Advocacy

Dedication
This study is dedicated to the HELLO STAGE team, board and founders. Special thanks
to Bernhard Kerres, Nina K Lucas and Bettina Mehne for their faith on me within such as
very short time.
Acknowledgement
I would like to thank my old-time soulmate, friend for life and everlasting supporter
musician/psychologist Gianna Tzanoukaki, actress Maria Tzanoukaki and school master
Antonis Skellas for the faith and trust in me and my music education work. Special thanks
to my lifetime supporter, my Godmother Chris Tsettos.

About the author

Kosmas Lapatas studied Piano, Harmony, Counterpoint, Fugue, Composition,
Musicology, Music Technology and Music Therapy under the world-renowned
celebrities Dmitri Toufexis, Danae Kara, Marcos Alexiou, Bruce Miller, Bobby Owsinski
and Nordorff-Robbins. He is a Teaching Artist in prestigious schools, colleges,
conservatories and institutions, and has performed at prestigious concert halls and
cultural centers His awards include the 1st Prize in Piano Performance, the 1st Prize in
Music Composition, and the Classical Music Education Initiative. His is a member of
EEME, HEjMEC, IACOMP, ISME, ISPME, MPG, NAfME and WPTA.

1.

Introduction

Music education is a field of study associated with the teaching and learning of music. It
touches on all learning domains, including

The psychomotor domain (the development of skills)

The cognitive domain (the acquisition of knowledge) and

The affective domain (the learner's willingness to receive, internalize, and share
what is learned), including music appreciation and sensitivity.

Music training from preschool through post-secondary education is common in most

nations because involvement with music is considered a fundamental component of
human culture and behavior. Music, like language, is an accomplishment that
distinguishes humans as a species.

2.

Music Education Models

During the past century, many distinctive approaches were developed for the teaching
of music, some of which have had widespread impact.

The Dalcroze method (eurhythmics) was developed in the early 20th century by
Swiss musician and educator mile Jaques-Dalcroze.

The Kodly Method emphasizes the benefits of physical instruction and response to
music.

The Orff Schulwerk "approach" to music education leads students to develop their
music abilities in a way that parallels the development of western music.

The Suzuki method creates the same environment for learning music that a person
has for learning their native language.

The Gordon Music Learning Theory provides the music teacher with a
comprehensive method for teaching musicianship through audiation, Gordon's
term for hearing music in the mind with understanding.

The Manhattanville Music Curriculum Project is presenting music as changing

and evolving rather than static and increases the interest in new creation.
Students act as musicians and not spectators, discovering comprehensive meaning
on many levels of understanding.

3.

Overview

In primary schools in European countries, children often learn to play instruments such
as keyboards or recorders, sing in small choirs, and learn about the elements of music
and history of music.

In countries such as India, the harmonium is used in schools, but instruments like
keyboards and violin are also common. Students are normally taught basics of Indian
Raga music.

In primary and secondary schools, students may often have the opportunity to perform
in some type of musical ensemble, such as a choir, orchestra, or school band: concert
band, marching band, or jazz band.
In some secondary schools, additional music classes may also be available. In junior high
school or its equivalent, music usually continues to be a required part of the curriculum.

At the university level, students in most arts and humanities programs receive academic
credit for music courses such as music history, typically of Western art music, or music
appreciation, which focuses on listening and learning about different musical styles.

In addition, most North American and European universities offer music ensembles such as choir, concert band, marching band, or orchestra - that are open to students from
various fields of study.

Most universities also offer degree programs in music education, certifying students as
primary and secondary music educators. Advanced degrees such as the D.M.A. or the
PhD can lead to university employment. These degrees are awarded upon completion of
music theory, music history, technique classes, and private instruction with a specific
instrument, ensemble participation, and in depth observations of experienced educators.

Music education departments in North American and European universities also support
interdisciplinary research in such areas as music psychology, music education
historiography, educational ethnomusicology, sociomusicology, and philosophy of
education.

The study of western art music is increasingly common in music education outside of
North America and Europe, including Asian nations such as South Korea, Japan, and
China. At the same time, Western universities and colleges are widening their curriculum
to include music of outside the Western art music canon, including music of West Africa,
of Indonesia (e.g. Gamelan music), Mexico (e.g., mariachi music, Zimbabwe (marimba
music), as well as popular music.

Music education also takes place in individualized, lifelong learning, and in community
contexts. Both amateur and professional musicians typically take music lessons, short
private sessions with an individual teacher.

4.

Music education methods

4.1 Dalcroze method

The Dalcroze method was developed in the early 20th century by Swiss musician and
educator mile Jaques-Dalcroze. The method is divided into three fundamental concepts

The use of solfge

Improvisation, and

Eurhythmics.

Sometimes referred to as "rhythmic gymnastics," eurhythmics teaches concepts of

rhythm, structure, and musical expression using movement, and is the concept for which
Dalcroze is best known. It focuses on allowing the student to gain physical awareness
and experience of music through training that engages all of the senses, particularly
kinesthetic.

According to the Dalcroze method, music is the fundamental language of the human
brain and therefore deeply connected to who we are. Eurhythmics classes are often
offered as an addition to general education programs, whether in preschools, grade
schools, or secondary schools. In this setting, the objectives of eurhythmics classes are to
introduce students with a variety of musical backgrounds to musical concepts through
movement without a specific performance-related goal.

For younger students, eurhythmics activities often imitate play. Games include musical
storytelling, which associates different types of music with corresponding movements of
the characters in a story. The youngest of students, who are typically experiencing their
first exposure to musical knowledge in a eurhythmics class, learn to correlate types of
notes with familiar movement; for example the quarter note is represented as a walking
note. As they progress, their musical vocabulary is expanded and reinforced through
movement.

While eurhythmics classes can be taught to general populations of students, they are also
effective when geared toward music schools, either preparing students to begin
instrumental studies or serving as a supplement to students who have already begun
musical performance.
Vocabulary
Eurhythmics classes for students in elementary school through college and beyond can
benefit from a rhythmic curriculum that explores rhythmic vocabulary. This vocabulary
can be introduced and utilized in a number of different ways, but the primary objective
of this component is to familiarize students with rhythmic possibilities and expand their
horizons. Activities such as rhythmic dictation, composition, and the performance of
rhythmic canons and polyrhythms can accommodate a wide range of meters and
vocabulary. In particular, vocabulary can be organized according to number of
subdivisions of the pulse.

Movement
A key component of a rhythmic education, movement provides another way of
reinforcing rhythmic concepts - kinesthetic learning serves as a supplement to visual and
aural learning. While the study of traditional classroom music theory reinforces concepts
visually and encourages students to develop aural skills, the study of eurhythmics
solidifies these concepts through movement. In younger students, the movement aspect
of a rhythmic curriculum also develops musculature and gross motor skills. Ideally, most
activities that are explored in eurhythmics classes should include some sort of kinesthetic
reinforcement.
Meter and Syncopation
Another element of a rhythmic curriculum is the exploration of meter and syncopation.
In particular, the study of meter should incorporate an organization of pulses and

subdivisions. This organization can be expressed in a meter chart, which can include
both equal-beat and unequal-beat meters.

Experiment
A group of 72 pre-school children were tested on their rhythmic ability; half of the
children had free-play (3540 min.) twice a week for a 10-week period while the other
half had rhythmic movement classes for the same amount of time. The group that had
classes (experimental group) did significantly better than the group that just had freeplay (control group). The experiment group scored four or more points better in every
area tested than the control group in the final test. This shows that eurhythmic classes
can benefit a childs sense of rhythm.

List of Institutions implementing the Dalcroze method:

Carnegie Mellon University, Cleveland Institute of Music, Colorado State University,
Hope College, Longy School of Music of Bard College, Oberlin Conservatory of Music,
Stony Brook University

4.2 Kodly method

Zoltn Kodly was a prominent Hungarian music educator and composer who stressed
the benefits of physical instruction and response to music. Although not really an
educational method, his teachings reside within a fun, educational framework built on a
solid grasp of basic music theory and music notation in various verbal and written forms.

Kodly's primary goal was to instill a lifelong love of music in his students and felt that
it was the duty of the child's school to provide this vital element of education.

Some of Kodly's trademark teaching methods include

The use of solfge hand signs

Musical shorthand notation (stick notation), and

Rhythm solmization (verbalization).

Most countries have used their own folk music traditions to construct their own
instruction sequence, but the United States primarily uses the Hungarian sequence.

Child-developmental approach
The Kodly Method uses a child-developmental approach to sequence, introducing skills
according to the capabilities of the child. New concepts are introduced beginning with
what is easiest for the child and progressing to the more difficult. Children are first
introduced to musical concepts through experiences such as listening, singing, or
movement. It is only after the child becomes familiar with a concept that he or she learns
how to notate it, similar to methods like Suzuki and Simply Music. Concepts are
constantly reviewed and reinforced through games, movement, songs, and exercises.

Rhythm syllables
The Kodly Method incorporates rhythm syllables similar to those created by nineteenthcentury French theoretician Emile-Joseph Chv. In this system, note values are assigned
specific syllables that express their durations.

Rhythm and movement

The Kodly Method also includes the use of rhythmic movement, a technique inspired
by the work of Swiss music educator Emile Jaques-Dalcroze. Kodly was familiar with
Dalcrozes techniques and agreed that movement is an important tool for the
internalization of rhythm. To reinforce new rhythmic concepts, the Kodly Method uses
a variety of rhythmic movements, such as walking, running, marching, and clapping.

These may be performed while listening to music or singing. Some singing exercises call
for the teacher to invent appropriate rhythmic movements to accompany the songs.

Rhythm sequence and notation

Rhythmic concepts are introduced in a child-developmentally appropriate manner based
upon the rhythmic patterns of their folk music. Rhythms are first experienced by
listening, speaking in rhythm syllables, singing, and performing various kinds of
rhythmic movement. Only after students internalize these rhythms is notation
introduced. The Kodly Method uses a simplified method of rhythmic notation, writing
note heads only when necessary, such as for half notes and whole notes.

Movable-do solfege
The Kodly Method uses a system of movable-do solfege syllables, in which, during
sight-singing, scale degrees are sung using corresponding syllable names (do, re, mi, fa,
so, la, and ti). The syllables show function within the key and the relationships between
pitches, not absolute pitch. Kodly found movable-do solfege to be helpful in developing
a sense of tonal function, thus improving students sight-singing abilities. Kodly felt that
movable-do solfege should precede acquaintance with the staff, and developed a type of
shorthand using solfege initials with simplified rhythmic notation.

Melodic sequence and pentatony

Scale degrees are introduced in accordance with child-developmental patterns. The first
Kodly exercise books were based on the diatonic scale, but educators soon found that
children struggled to sing half steps in tune and to navigate within such a wide range. It
is thus that the pentatonic scale came to be used as a sort of stepping stone. Kodly stated
that each nation should create its own melodic sequence based upon its own folk music.

Hand signs
Hand signs, are performed during singing exercises to provide a visual aid. This
technique assigns to each scale degree a hand sign that shows its particular tonal function.
The signs are made in front of the body, with do falling about at waist level and la at eye
level. Their distance in space corresponds with the size of the interval they represent. The
hand signs were featured in the 1977 film, Close Encounters of the Third Kind.

Studies have shown that the Kodly Method improves intonation, rhythm skills, music
literacy, and the ability to sing in increasingly complex parts. Outside of music, it has
been shown to improve perceptual functioning, concept formation, motor skills, and
performance in other academic areas such as reading and math.

4.3 Orff Schulwerk

Carl Orff was a prominent German composer. Orff Schulwerk is considered an
"approach" to music education. It begins with a student's innate abilities to engage in
rudimentary forms of music, using basic rhythms and melodies.

Orff considers the whole body a percussive instrument and students are led to develop
their music abilities in a way that parallels the development of western music. The
approach fosters student self-discovery, encourages improvisation, and discourages
adult pressures and mechanical drill.

Carl Orff developed a special group of instruments, including modifications of the

glockenspiel, xylophone, metallophone, drum, and other percussion instruments to
accommodate the requirements of the Schulwerk courses. The music generated in the
Orff Approach is largely improvisational and uses original tonal constructions that build
a sense of confidence and interest in the process of creative thinking.

Students of the Orff Approach sing, play instruments, and dance alone as well as in
groups. Songs are usually short, contain ostinatos, are within singing range, can be
manipulated to be played in a round or ABA form. Music can also be anything from
nursery rhymes to songs that are invented by the children themselves.

Orff-Schulwerk music is largely based on simple but forceful variations on rhythmic

patterns. This makes for very simple and beautiful musical forms, which are easily
learned by young children, and is also useful for adults and thus it has a universal appeal.

Main Characteristics

The music is largely modal, beginning with pentatonic scales. The drone is quickly
established as the ground bass that supports most melodies and melodic ostinati
add energy and colour.

Ionian mode. Note, this is not major scale, as the drone bass enforces a nonfunctional harmony. Parallel thirds and sixths (paraphony) are used as well as
triads.

Major Dominant and Subdominant triads (That is to say: functional harmony).

Dorian, Aeolian and Phrygian modes with similar shifting drones and triads

Aeolian, Dorian and Phrygian mode, shifting drones and triads.

Tonic and Leading Note triads, and decoration of the third.

Major Dominant and Subdominant Triads. This harmonic world is more

challenging for children and improvising than the modes, hence the importance
of leaving until skills have developed appropriately.

Minor Dominant and Subdominant Chords.

Paralipomena which explores the worlds of Lydian and Mixolydian.

When interesting original music has been generated by the groups or individual child a
desire to record it may arise. Thus, the desire to develop musical skills emerges by itself
and the child may be intrinsically propelled to learn formal music.

4.4 Suzuki method

The Suzuki method was developed by Shinichi Suzuki in Japan shortly after World War
II, and uses music education to enrich the lives and moral character of its students. The
movement rests on the double premise that "all children can be well educated" in music,
and that learning to play music at a high level also involves learning certain character
traits or virtues which make a person's soul more beautiful.

The primary method for achieving this is centered around creating the same environment
for learning music that a person has for learning their native language. This 'ideal'
environment includes love, high-quality examples, praise, rote training and repetition,
and a time-table set by the student's developmental readiness for learning a particular
technique.

The central belief of Suzuki, based on his language acquisition theories, is that all people
can (and will) learn from their environment. The essential components of his method
spring from the desire to create the "right environment" for learning music (he believed
that this positive environment would also help to foster excellent character in every
student).

These components include:

Saturation in the musical community. This includes attending local concerts of

classical music, developing friendships with other music students, and listening
to music performed by "artists" (professional classical musicians of high caliber) in
the home every day (starting before birth if possible).

Deliberate avoidance of musical aptitude tests or "auditions" to begin music study.

Suzuki firmly believed that teachers who test for musical aptitude before taking
students, or teachers who look only for "talented" students, are limiting themselves
to people who have already started their music education. Just as every child is
expected to learn their native language, Suzuki expected every child to be able to
learn to play music well when they were surrounded with a musical environment
from infancy.

Emphasis on playing from a very young age, typically starting formal instruction
between the ages of three and five years old and sometimes beginning as early as
age two.

Using well trained teachers, preferably also trained in using the Suzuki materials
and philosophy.

In the beginning, learning music by ear is emphasized over reading musical

notation. This follows Suzuki's observation that in language acquisition, a child
learns to speak before learning to read. To support learning by ear, students are
usually expected to listen to the repertoire on CD daily.

Memorization of all solo repertoire is expected, even after a student begins to use
sheet music as a tool to learn new pieces. This is related to this focus on music as
separate from notation.

Music theory and note reading are left to the teacher. The Suzuki method doesn't
include a formal plan or prescribe specific materials for introducing music theory
& reading into the curriculum.

Regular playing in groups (including playing in unison) is strongly encouraged.

Retaining and reviewing every piece of music ever learned is required. This is
intended to raise technical and musical ability.

Frequent public performance makes performing feel like a natural and enjoyable
part of being a musician.

Suzuki Institutes were established to encourage a musical community, train teachers, and
provide a place where master teachers' ideas can easily be spread to the whole
community of Suzuki students, teachers, & parents. These music festivals include teacher
training courses; concerts; discussion sessions; seminars; and various 'enrichment' classes
in different musical styles, instruments.

4.5 Gordon Music Learning Theory

Music Learning Theory is based on an extensive body of research and field testing by
Edwin E. Gordon and others. It provides music teachers with a comprehensive
framework for teaching musicianship through audiation, Gordon's term for hearing
music in the mind with understanding.

The skills and content sequences within the Audiation theory help music teachers
establish sequential curricular objectives in accord with their own teaching styles and
beliefs. There also is a Learning Theory for Newborns and Young Children. The term
audiation is relatively new, having been coined recently by Edwin E. Gordon. The general
idea, however, is not new at all. To audiate means to think music in the mind. Good
musicians of all cultures have audiated since the dawn of music.

The power of Gordons word is that it provides a well-defined way to think about
essential cognitive musical processes, thereby clarifying the steps teachers should take to
help students fully comprehend music.

MLT is specifically concerned with developing the ability to audiate the tonal and rhythm
content of music.

First, the rhythmic and tonal realms constitute a very large portion of what makes
music.

Further, the great depth and complexity of tonal and rhythm content necessitates
a careful focus on sequence.

Music learning theory provides a comprehensive and elegant approach to the

many hierarchical levels of both content and skill.
Tonal and rhythm content in music are challenging enough to teach in isolation.
Their interaction with each other and other musical elements significantly
compounds the complexity of the music teaching task. By spending some
instructional time focusing on each separately, clarity is enhanced and confusion
minimized.

MLTs emphasis on tonal and rhythm is not meant to suggest that musical elements such
as timbre, phrasing, expression and style are unimportant. The traditional model serves
well for teaching these nonsyntactical musical elements, for which sequence is less
important than it is for tonal and rhythm elements. A teacher who implements MLT for
teaching tonal and rhythm skills is likely to approach the other musical elements in much
the same way as any other capable music teacher.

MLT classroom
An MLT classroom looks like any other music class. The crucial difference is that the time
spent in tonal and rhythm pattern instruction develops essential audiation skills that are
otherwise likely to be left to chance. Students who have engaged in learning sequence
activities are able to bring greater aural comprehension and more skills to the music
literature they study during classroom activities.

4.6 Manhattanville Music Curriculum Project

The Manhattanville Music Curriculum Project was developed in 1965 as a response to
declining student interest in school music. This creative approach aims to shape attitudes,
helping students see music not as static content to be mastered, but as personal,
current, and evolving.

Rather than imparting factual knowledge, this method centers around the student, who
learns through investigation, experimentation, and discovery. The teacher gives a group
of students a specific problem to solve together and allows freedom to create, perform,
improvise, conduct, research, and investigate different facets of music in a spiral
curriculum.

MMCP is viewed as the forerunner to projects in creative music composition and

improvisation activities in schools. The MMCP learning objectives are to develop positive

musical behaviors in students. MMCP does not focus on imparting factual music
knowledge. Rather, learning and acquisition of musical information are the byproduct of
the doing in performing and creating the music.

The four behavioral objectives closely aligned with the MMCP process of learning are:

Cognitive Students using knowledge to solve problems.

Attitudinal Students excited about their own creative musical potential and their
aesthetic sensitivity to music.

Skill Dexterous movement behaviors in performing vocally, or on instruments.

Translative notational skill to perform music and Aural music listening behaviors.

Aesthetic Students understanding intrinsic meaning in music.

Students evaluate themselves on their own personal achievement of these objectives.

Teacher serves to not evaluate the student but to evaluate how well the curriculum is
working and modify accordingly to each student.

The four main areas of MMCP focus are:

Discovery - Learning by creating is the most exciting way to retain, understand,

and learn music.

Concepts & Skills - Going through the task-oriented process of deciding how to
create music using concepts from all styles and periods.

Music of Today - Students should understand and create the music of their
contemporary environment.

Totality - Students gain a complete understanding of music by; composing,

performing, conducting, listening, enjoying, sharing, and reacting.

The MMCP uses a spiral curriculum that sequentially introduces new concepts in actionoriented cycles that are developmentally appropriate.

A typical MMCP sequence of events is as follows:

Strategy - Teacher presents a framework for introducing a musical problem that

inspires creative thought. The problem must be well-defined and able to be solved
creatively by all students.

Composing & Rehearsing - Students solve the musical problem in group

composition projects by developing a musical hypothesis and testing it using aural
logic. Critical thought should be used in solving the problem, and all students are
encouraged to experiment.

Performance - After groups rehearse their compositions, a performance typically

takes place to share ideas. From the experimenting process students have
developed necessary musical skills needed to perform.

Critical Evaluation - Students may have an oral discussion after the performance
to discuss and evaluate themselves. They may also record the performance for
critical analysis at a later time.

Listening - Students listen to music for pleasure or as a resource to discover new

ideas.

The teacher's role in this sequence is the creator of the musical problem yet an
unobtrusive observer. Students should view the teacher as a resource rather than an
evaluator.

5.

Music Education Standards

& Assessment

Achievement standards are curricular statements used to guide educators in determining

objectives for their teaching. Use of standards became a common practice in many nations
during the 20th century. For much of its existence, the curriculum for music education
was determined locally or by individual teachers. In recent decades there has been a
significant move toward adoption of regional and/or national standards, such as NAME.

NAME
The National Association for Music Education, created nine voluntary content standards,
called the National Standards for Music Education. These standards call for:

Singing, alone and with others, a varied repertoire of music

Performing on instruments, alone and with others, a varied repertoire of music.

Improvising melodies, variations, and accompaniments.

Composing and arranging music within specified guidelines.

Reading and notating music.

Listening to, analyzing, and describing music.

Evaluating music and music performances.

Understanding relationships between music, the other arts

Understanding music in relation to history and culture.

6.

Music Education Significance

It has been argued that studying music enhances academic achievement. The research
was brought to the attention with the assertion that listening to Mozart improved spatial
reasoning skills. This led to countless attempts to recreate the study, debunk the results,
and expand upon them. While listening to Mozart may temporarily enhance a student's
spatial-temporal abilities, learning to play an instrument holds much more promise as an
avenue to improve student performance and achievement.

According to the Florida Music Educators Association, Music and the Fine Arts have
been a significant portion of every cultures educational system for more than 3,000
years. The human brain has been shown to be hard-wired for music; there is a
biological basis for music being an important part of human experience.

Music and the Arts surround daily life in our present day culture. Most present day
artists, architects, and musicians acquired their interests during public school Fine Arts
classes. Education without the Fine Arts is fundamentally impoverished and
subsequently leads to an impoverished society.

William Earhart, former president of the Music Educators National Conference, said that
Music enhances knowledge in the areas of mathematics, science, geography, history,
foreign language, physical education, and vocational training."

Music not only inspires creativity and performance, but academic performance over all
is seriously impacted. A research study produced by the Harris Poll has shown that 9 out
of 10 individuals with post graduate degrees participated in music education.

The National Report of SAT test takers study indicated students with music performance
experience scored higher on SAT: 57 points higher on verbal and 41 points higher on
math.

Schools that have high academic performance are spending 20 to 30% of their budget
in the arts with emphasis on music education. Comprehensive music education
programs average $187 per pupil, according to a 2011 study funded by the national
Association of Music Merchants (NAMM) Foundation.

Music education also increases one's success in society. The Texas Commission on
Drugs and Alcohol Abuse Report noted that students who participated in band or
orchestra reported the lowest lifetime and current use of all substances including alcohol,
tobacco, and illicit drugs.

Playing music increases overall brain activity. In experiments done at the University of
Wisconsin students with piano or keyboard experience performed 34% higher on tests
that measure spatial-temporal lobe activity, which is the part of the brain that is used
when doing mathematics, science, and engineering.

7.

Experiments

Music aids in text recall. Wallace conducted a series of experiments by setting text to a
melody.

One experiment created a three verse song with a non-repetitive melody; each verse
had different music.

A second experiment created a three verse song with a repetitive melody; each verse
had exactly the same music.

Another experiment studied text recall without music. The repetitive music
produced the highest amount of text recall; therefore, music serves as a mnemonic
device.

One experiment involved memorizing a word list with background music;

participants recalled the words 48 hours later.

Another experiment involved memorizing a word list with no background music;

participants also recalled the words 48 hours later. Participants who memorized
word lists with background music recalled more words demonstrating music
provides contextual cues.

It is important to note that "While studies show positive influences in other academic
areas, music and the Fine Arts are an academic discipline that are, as the other
academics, an independent way of learning and knowing."

Citing many of the statistics above passed a resolution declaring that: Music education
enhances intellectual development and enriches the academic environment for
children of all ages; and Music educators greatly contribute to the artistic, intellectual
and social development of children and play a key role in helping children to succeed in
school.

Unfortunately, music in our schools are being cut at a drastic rate due to budget cuts
being forced upon the schools. Dr. Patricia Powers states, It is not unusual to see
program cuts in the area of music and arts when economic issues surface. It is indeed
unfortunate to lose support in this area especially since music and the art programs
contribute to society in many positive ways.

Music makes students more successful in school. Skills learned through the discipline
of music, transfer to study skills, communication skills, and cognitive skills useful in
every part of the school curriculum. It also makes students become successful when
participating to ensembles. This helps students learn to work effectively in the school
environment and cuts down on resorting to violent or inappropriate behavior.

Music also has found to help students with developing intelligence. Studies have
found that some measure of a childs intelligence is indeed increased with music
instruction.

Behavioral studies and groundbreaking neurological research that show how music
study can actively contribute to brain development. Researchers at the University of
Montreal used various brain imaging techniques to investigate brain activity during
musical tasks and found that sight-reading musical scores and playing music both
activate regions in all four of the cortexs lobes; and that parts of the cerebellum are also
activated during those tasks.

Other studies show that music also helps with reasoning. Music makes students better
learners and better thinkers.

8.

Music advocacy

In some communities music is provided little support as an academic subject area, and
music teachers feel that they must actively seek greater public endorsement for music
education as a legitimate subject of study. This perceived need to change public opinion
has resulted in the development of a variety of approaches commonly called "music
advocacy". Music advocacy comes in many forms, some of which are based upon
legitimate scholarly arguments and scientific findings, while other examples rely on
unconvincing data and remain rather controversial.

Most recent high-profile music advocacy projects include the "Mozart Effect", the
National Anthem Project, and the movement in World Music Pedagogy which seeks out
means of equitable pedagogy across students regardless of their race, ethnicity, or
socioeconomic circumstance.

Even though the Mozart Effect is controversial, the proof shows reliability. The study
includes two tested groups: a group of students with and another without music
education. When this test was given to three-year-olds their temporal test improved by
35% over those with no music; this lasted for several days.

Many contemporary music scholars assert that music advocacy will only be truly
effective when based on empirically sound arguments that transcend political
motivations and personal agendas. Yet a gap remains between the discourse of music
education philosophy and the actual practices of music teachers and music organization
executives.

The culmination of all aforementioned pedagogy models

into one single holistic approach will be discussed in my
next treatise MY HOLISTIC MUSIC PEDAGOGY

Author links
Official Site: klapatas.weebly.com
Hello Stage: hellostage.com/klapatas

About.me: about.me/klapatas
Academia: independent.academia.edu/klapatas
Bandcamp: klapatas.bandcamp.com
Classical Artists: classical-artists.com/users/profile.php?a=00002551
Classical Music Education: classicalmusiceducation.blogspot.gr
Classical Music for Children: classicalmusicforchildren.blogspot.gr
Classical Place: classicalplace.com/klapatas.html
Facebook: facebook.com/klapatas
GoGetFunding: gogetfunding.com/support-music-education
Google+: plus.google.com/+KosmasLapatas
Instagram: instagram.com/klapatas
KLmastering: klmastering.weebly.com
LinkedIn: linkedin.com/in/klapatas
Music Pedagogy: klapatas.wordpress.com
Musical Chairs: musicalchairs.info/musician-cv?id=4646
ONErpm: onerpm.com/klapatas
Patreon: patreon.com/klapatas
PFTI: pianistsfromtheinside.wordpress.com
Pinterest: pinterest.com/klapatas
Reddit: reddit.com/user/klapatas
Tumblr: klapatas.tumblr.com
Twitter: twitter.com/klapatas
Vkontakte: vk.com/klapatas
YouTube: youtube.com/ApolloPlayers/videos

GLYFADA, JULY-AUGUST 2015