PHILOSOPHY AND VALUES IN MUSIC EDUCATION

SCOPE AND SEQUENCE OF MUSIC FOR GRADES

1-6 AND THE MUSIC TEACHER

1
EMILE JACQUES-DALCROZE (1865-1950)
Dalcroze Eurhythmics” is an educational approach

based on the philosophy and research of Emile

Jacques-Dalcroze, a Swiss pedagogue born in 1865.

Reimer begins his definition of his

Reimer appreciates the philosophy
of aesthetics, however he also
states that “only those portions of
aesthetics useful for [making
statements about the nature and
value of music and music
education] need be used.
educational philosophy by outlining
the positive and negative parts of
aesthetics, which is “the study of that
about art which is the essence of art
and that about people which has
throughout history caused them to
need art as an essential part of their
lives.”

ZOLTÁN KODÁLY (1882-1967)

The Kodály Method is
educational approach to music
an
2 “All people capable of

linguistic literacy are also

capable of musical literacy.”

“Music education, to be most

effective, must begin with the

very young child.”

developed by the Hungarian
“Singing is the best foundation
pedagogue Zoltán Kodály, born in for musicianship.”
1882. “Only music of the highest
The Kodály Method outlines organized ways to teach artistic value, both folk and
rhythm, melodic groupings, scales, form, harmony, and composed, should be used in
music theory, based on two criteria: Complexity and teaching.”
“Music should be at the heart

Relevance.
of the curriculum, core

Kodály’s philosophy of music education can be summed

subject, used as a basis for

up with six main points education.”

Carl Orff, a German

3 CARL ORFF (1895-1982)
Orff’s pedagogical

composer born in 1895, is work is directly

the namesake of the Orff related to his artistic

Method (also known as compositions. The
According to the

Schulwerk), an
exploration of melody
philosophy, Orff students
and rhythm is
develop “increased

educational approach to

music first developed

addressed through
responsibility for their own
singing, playing
learning, and they develop

through his “vision of an

the capacity to
ultimate wedding of
percussion

formulate and express their

music to dance instruments, speech,

own musical
and movement.
for theatre.” judgments and values.”

BENNET REIMER (1932-2013)

Reimer appreciates the philosophy of
aesthetics, however he also states that “only
4 Dr. Reimer

concerned with the

need for
those portions of aesthetics useful for [making
students and the

statements about the nature and value of music

and music education need be used.
teacher in the

profession to look
Reimer begins his definition of his educational
American music
closely at the

philosophy by outlining the positive and negative

educator, wrote
parts of aesthetics, which is “the study of that function and the

about art which is the essence of art and that status of music

the book A

about people which has throughout history education in

Philosophy in
caused them to need art as an essential part of general education.
Music Education their lives.”

“David Elliott is a

Professor of Music

Education at New York

University, as well as a

5 DAVID ELLIOTT 1970

“When a listener’s level of

musicianship is equal to the

jazz trombonist and overall challenge presented by

pianist. Elliott wrote the
the several kinds of information
Elliot’s philosophy of

book Music Matters, in

that constitute a heard musical
music education is
which he outlines his
performance, a listener
rather fluid. It offers a

philosophy of music
experiences this matching of solid philosophy that
education and the
musicianship and challenge as
can apply to many

practical application of
optimal experience: as an
different classrooms,
such. enjoyable, absorbing flow
with many different

experience.” communities.
MALIT, ZENROSE M BEED 3B