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Bennet Reimer vs. David Elliot

Terms in this set (30)

Bennet Reimer (1932-present,
-"Philosophy of Music Education" book (1970)
-MEAE - Music Education as Aesthetic Education
-Elective music program needs to represent the national standards and offer a multitude of choices for students
-In order to be a comprehensive musician, one should be literate and perform
-Music is "sound organized to be inherently meaningful"
-Educators should be comprehensive musicians, assess effectively, and broaden the content of music curriculum
David Elliot
-"Music Matters: A New Philosophy of Music Education"
-States that he is opposed to MEAE because it is not a logical and comprehensive foundation
-Students should not only focus on listening to music in an aesthetic manner, but also be taught musicianship
-Proposes a praxial philosophy - active music making
-"MUSIC is a diverse human practice."
-music/musicer/musicing, listenable/listener/listening
-Stages of musicianship: novice, advanced beginner, competent, proficient, expert
Emotion (Reimer)
-"Music is a direct presentation of the feelingful dimension of experience"
-We get feelings directly from the music
-Music is a way of verbalizing emotion
-Emotion is imbedded in music (Langer describes human emotion - ebb and flow, tension and release; Meyer - formal aspects give meaning)
-Feeling is non-verbal; emotions are more specific adn nameable (ocean vs. waves; music is about the education of FEELING)
-Musical values are both inherent and ideated (social)
-Some aspects of music are universal, therefore, you can understand music of virtually any culture without knowing the culture
-The power to "engage knowing through feeling"
Emotion (Elliott)
-Music may trigger memories of emotional situations but does not make people actually feel emotions
-expressional music intends to convey emotions
-musical flow creates enjoyment/happiness
-There are no universal feelings; only individual emotions that are personal and context-specific.
-The act of musicing elicits feelings and emotions specific to the musicer
-No inherent emotion in music; each culture will bring its meaning
-Must understand the cultural context
Aspects of Musical Knowledge (Reimer)
-Musical knowledge deals with musicianship, listenership, focus on formal elements (atomistic view)
-Music is an orange with separate parts and separate purposes
-Musical knowledge is (4): knowing about, knowing how, knowing why, knowing within
-Leads to aesthetic awareness and fulfillment
Aspects of Musical Knowledge (Elliott)
-Musical knowledge is procedural and includes both musicing and listening (Gestalt view)
-Music is a grape and you eat it whole
-Musical knowledge is (5): procedural, formal, informal, impressionistic, supervisory
-Leads to self-knowledge, self-growth, enjoyment
Goals of Music Ed. (Reimer)
-The education of feeling (unique to music - cannot be taught in any other subject; justification for music ed)
-Approached through understanding the formal aspects of music
Goals of Music Ed. (Elliott)
-Development of musicianship which leads to self-growth, self-knowledge, enjoyment/FLOW
-Approached through music making
Musical Works (Reimer)
-Process vs. Product depend on each other and are mutually co-dependent
Musical Works (Elliott)
-Music making and listening are mutually independent
-6 Dimensions of a musical work: a performance, a design, a tradition, expression of emotion, representations of our world, cultural-ideological information
Curriculum (Reimer)
-An excellent curriculum has structure, balance, comprehensive
-Prefers a breadth of experience at the elementary level; a depth of experience at the secondary level
-Aficionados, amateurs, professionals
-Aim for amateurs
-Unified, detailed curriculum
-Clear, well-designed lesson plans
-Differentiation to account for individual students' readiness and level of musicianship
-curriculum must be comprehensive, sequential, balanced
-individualized courses for specific musical activities (national standards)
-include each role-specific activity equally
Curriculum (Elliott)
-An excellent curriculum is an excellent teacher in action (p. 258)
-Prefers a depth of experience
-Must be driven by music in action
-Moving students from novice to beginner competent, proficient and to expert ("aim for proficient - I'd settle for competent!")
-Avoiding teacher proof curriculum
-Believes writing detailed lessons plans is counter-productive
-Real-world musical problem solving
-authentic musical situations
-differentiation to account for individual students' readiness and level of musicianship
Reimer/Elliot Agreements
-Music education for all children
-Some aspects of both process and product
-Similar ways of knowing music (situational music knowledge, specific music knowledge, facts, etc.)
-Lots of ways to make music (performing, improvising, composing, arranging, moving, conducting, listening)
-Listening embedded in cultural practices
-Multicultural music is important
-No "high" culture; all musics are valued in their own cultural tradition
-Music is not defined only by form; also consider context, personal, social issues are all dimensions of musical experience
-Gardner's musical intelligences
-Music literacy skills/concepts taught parenthetically and contextually; not a substitute for musicianship
-Sound before symbol (Pestalozzi)
-Differentiation for individual differences
-Authentic assessment of role-specific activities
-Teachers must be adequate musicians themselves
-Depth vs. breadth
-Philosophy is not the same as advocacy
-Music should have a prominent place in the curriculum
Elliot/Reimer Disagreements
-Praxial vs. aesthetic philosophy
-Music as practice vs. music as organization of sounds
-education of emotions vs. self-growth
-process vs. product
-music and emotion
-listening for performance vs. listening as creative act
-creativity as arbitrary vs. creativity as continuum
-music taught separately vs. music connected with other subjects
-curriculum emphasizing listening vs. curriculum emphasizing real world problem solving
-mentor-apprentice role (elliott)
-equal treatment of national standards vs. curriculum emphasizing real world problem solving
Assessment
(Elliott) "process-folio"; collect evidence over time to show development/growth; not assessed using only one type of activity; authentic assessment activities
(Reimer) Not assessed using only one type of activity; authentic assessment activities; role-specific assessment
Creativity
(Elliot): Creative = original, significant, intentional; children are often spontaneously original but not always creative
(Reimer): Creativity (Big C vs. Small C); Creative = masters, creative = anyone at their level; "the difference is not in kind, only in degree (p. 107); also views listening as creative; creativity is "application specific" (p. 109)
Intelligence
(Elliott) Musical intelligence (Gardner); not just verbal intelligence but thinking-in-action/procedural intelligence/actions
(Reimer) Musical intelligence (Gardner); can also have musical role-specific intelligence (composing, performing, etc.)
Listening to Music
(Elliott) Should be done in context of the particular musical practice; tones-for-us; important for music making; should listen to music as a performer would listen; performance enhances music listening skills; listening in context
(Reimer) Should be a central focus since most adults involve themselves in listening (p. 118); listening for meaning making rather than as a performer; listening in context
Music and Arts Advocacy
(Elliott): Philosophy says what you're doing and why it's important; advocacy is convincing others to support your work
(Reimer): Philosophy can support advocacy; part of the committee who wrote national standards; should be as important as other subjects; music provides experiences and expression that no other subjects can provide
Music and Other Arts
(Elliott): Music taught separately from other art forms; integration approaches make it less musical; musical thinking is unique
(Reimer): Should understand connections between music and other arts; music is still distinct but has ties to other art areas
Must in Context
(Elliott): All music is grounded in practices unique to the musical culture; depth vs. breadth (finding a balance between the two); not sufficient to only teach Western Classical music
(Reimer) All music is grounded in practices unique to the musical culture; not sufficient to only teach Western Classical music; individuals experience music differently based on their culture/experience
Music Literacy
(Elliott): Should be taught parenthetically/contextually; not a substitute for musicianship; formal knowledge; "ability to decode and encode a system of musical notation"; sound before symbol
(Reimer): Should be taught parenthetically/contextually; not a substitute for musicianship; sound before symbol
Music Making
(Elliott) Performing, improvising, composing, arranging, listening, moving conducting; all are ways to be involved in the musical process
(Reimer) Performing, improvising, composing, arranging, conducting, listening (is creative, but not an act of a musician p. 116)
Philosophy of Music Education
(Elliott) Praxial philosophy; active music making; actual music making similar to real world experiences in a particular musical practice
(Reimer) aesthetic education; education of emotions through musical experience
Process vs. Product
(Elliott) Music is something people "do" rather than something they "make" (PROCESS); aspects of both process and product
(Reimer) Emphasis on formal structures and organization of musical sound (PRODUCT); aspects of both process and product
Role of Music Concepts
(Elliott) Should be taught contextually and parenthetically
(Reimer) Should be taught contextually and parenthetically
Role of Music Teacher
(Elliott) Educators must have their own musicianship; educatorship (knowing what to do in teaching); mentor-apprentice relationship with students
(Reimer) Must be able to do each musical role
Value/Purpose of Music Education
(Elliott) Music ed for all students; self-growth, self-knowledge, musical enjoyment, flow; leads to increase in self-esteem; using musicianship to solve real music challenges of increasing difficulty (p. 129)
(Reimer) Music ed for all students; education of emotions
Ways to Know Music
(Elliott) Procedural music knowledge (thinking-in-action); consists of: formal musical knowledge (facts, dates, etc); informal musical knowledge (situated knowledge gained from authentic experience); impressionistic (common sense, feeling about musical decisions); supervisory (reflecting-in-action)
(Reimer) "Knowing within" (informal); "knowing about/"knowing why" (formal; Gardner's multiple intelligences
What is Music?
(Elliott) Diverse human practice (p. 43), something people do
(Reimer) "Music can be described as sounds organized to be inherently meaningful" (p. 152)
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