Philosophy to Rock

As a pragmatist, I realize that music education is not merely to entertain aesthetic purposes. I am more interested in assuring our community and educational institution that my students will be likely to have music as a driving force which will carry out throughout their lifetime and will transfer to other facets of their life in positive ways. My objectives as a music educator are: 1) to give students an opportunity to be successful in life through the expression of music, 2) to insure that the classroom environment is both safe and conducive to critical thinking amid varied learning styles, 3) to build upon each student’s prior knowledge base in an individual way, and 4) to allow students to discover facts for
themselves rather than simply repeating what I have instructed them to say.

As a behaviorist, I will insure that my classroom is inviting to discussion as well as a healthy display of order. Oftentimes, discussions may seem a bit chaotic in the work of Lucy Green entitled Informal Learning, and the School: a new classroom pedagogy (2008). However, these very times, when a teacher drops his or her inhibitions and allows the students to creatively solve problems, can be some of
the most rewarding times for both teacher as well as the student(s) involved.

I believe that the effective teacher is one who is eager to use new ideas in formatting the lesson plan from day to day. Evaluation and research are part of a lifelong quest for excellence in teaching. I am happy to work with my peers in professional conferences and daily interaction in order to afford my students with the most technologically-cutting edge education that they could possibly have.

In conclusion, I believe that a lifetime of music can be had if one is able to learn a disposition toward music-making, has times in his or her education to be acculturated in music and acquiring listening skills, is treated with value, and is respected for the music which they produce as an individual. The best way to assure that a musician can thrive is to allow that musician the freedom to do so within a certain framework or structure. Most of all, this process requires educators who are willing to learn of their students at a one-on-one approach within the context of a music classroom or studio.

Reflective Bios Rock

For today's post, I would like to ask the following question:  why do we think our musical training allows us to continue making music at age 40.  The following is a little biographic sketch.  See if you can find anything in my life that points to the fact that I am still "musicing"...
  

My kindergarden teacher played four-part children's songs on an old, upright piano.  It wasn't anything incredible, but it was the first time I had heard a piano in an intimate setting.  I instantly fell in love with the sound of this type of music and never have lost my attraction to it.  My mother told me that I went home and drew a piano keyboard on several pieces of cardboard and began to pretend that I was playing piano.  Shortly afterward, my parents purchased a studio piano for me.  As part of the piano purchase, I was able to study the basics of piano for six months at the music store.  I could not continue lessons after about a year because my mother had to pay medical bills.  So, I started playing a song by ear which I had been singing in my music class.  My mother said that she could not believe I was able to chord the song and play melody at the same time.  My parents divorced about three years later.  

I moved from Michigan to my grandmother's home in Ohio.  I enjoyed singing in middle school through my break, but it was not until high school when I started to play again.  In fact, I started improvising because my choir teacher was somewhat of a jazz pianist and he used a lead sheet.  I had to figure out the other riffs on my own since they were not written out.  Of course, riffs can be found in other music, but I was not studying privately at the time.  I started taking piano lessons from a professor at OSU when I was 16.  I then auditioned into college on my instrument and enjoyed practicing eight hours a day until my junior year when I switched to composition.  I ended up graduating with a degree in vocal music.  

I have played with orchestra, entertained heads of state, and performed specials on television and radio programs.  I was also privileged to be the Irish vocalist for the West Chester Symphony back in 2006.  I owe a lot to Anand Saha, the owner of Mozart's European Piano Cafe and Bakery.  Thanks for making me learn all the Mozart sonatas!  They have been a substantial part of my repertoire. 

Q.:  What would Elliot or Green say about my formative years?  If you have read their works, you may say things like, my education was more than aesthetic.  You may say that I did not come around to music a large part of my life in a traditional way.  Does this support Green's arguments regarding popular versus classical musicians?  Why or why not?  Now its time for you to decide.  Post away!