Photo by Michael Rogers on Unsplash.

In Week 7, the final week of our Foundations of Music Education I: Philosophy and History course, we were asked to analyze our current teaching practices in light of all our learning over the past seven weeks. Here is the full prompt:

Photo by Anna Utochkina on Unsplash

For our final week of this course, our articles focused on the changes music education scholars believe we need to see moving forward. Our discussion board also focused around the idea of changes we believe need to happen in music education. Finally, we also had to complete a paper, which I will post separately, analyzing our current teaching practices in light of what we have learned in this course.

Photo by Nathan Dumlao on Unsplash.

When I first read the title for this week, I thought we would be continuing down the path of Week 4 and Week 5 with social justice issues. Instead, we looked more at the “why” of music education. Why do we teach the things we do? Why do we teach in the ways that we do? How might the what and how we teach be excluding other students? There were points raised in some of our early readings this week (Jorgensen and Mantie & Tucker) that really resonated with me, but left me with some unresolved internal conflicts about my own philosophies of music education. Both of Regelski’s articles helped to clarify some of my thinking around those points, which you can read about below.

Photo by kevin laminto on Unsplash.

This week focused on reading about the two overarching philosophies for music education: aesthetic and praxial. We had a few introductory articles and then read the main chapters from the seminal works on the two philosophies. McCarthy and Goble’s article, Music Education Philosophy: Changing Times from the Music Educators Journal (2002, Volume 89, Issue 1), provided a great overview, definition, and history of the two philosophies. The two seminal works were Experiencing Art (Chapter 6 of Bennet Reimer’s A Philosophy of Music Education) and Toward a New Philosophy (Chapter 2 of David Elliott’s Music Matters: A New Philosophy of Music Education). Reimer’s philosophy of music education represents the aesthetic and Elliott’s philosophy represents the praxial.

Photo by Jordan Mixson on Unsplash

This past week our topic was: What is Philosophy? What is History? What is Research?. I learned quite a bit from the online modules about the “tools” of being a philosopher, using different techniques to think and analyze. These modules drew from the works of George Knight (viewing philosophy as the intersection of content, attitudes, and activities), R.J. Hollingdale (philosophy is inquiry into logic, ontology, epistemology, ethics, and aesthetics), and Fosl & Baggini (different tools to use in philosophy). Another piece that I learned is the following paragraph from one of our modules:

Photo by Jilbert Ebrahimi on Unsplash

Last week was considered Week 1 of my first doctoral class through BU, Foundations of Music Education I: Philosophy and History. My first thoughts were, “Wow! I have not had to read like this in a long time!” Let me tell you a little bit about how it is all setup.