Aesthetic, Praxial, and Societal Learning in Choral Music Education
S. Andrew Miller
S. Andrew Miller
“Choral music is the ultimate embodiment of the human voice; it is an expression of our collective soul and a reflection of our shared humanity.” – Eric Whitacre
Choral music education plays an important role in developing well-versed individuals who are able of think critically, create with expression, and empathize with others. As a choral music educator, I believe that the choral experience is crucial in developing the students' musicality, creativity, and cultural awareness. My teaching philosophy is entrenched in the belief that aesthetic, praxial, and societal learning are essential in shaping students' musical experiences.
Aesthetic learning in choral music education is the understanding and appreciation of music as a fine art. Through its exposure, students can learn to identify and welcome the beauty, complexity, and cultural significance of music. Acquiring the skills and knowledge through exposure is, at its core, the basis of aesthetic learning. This type of learning is often associated with the arts but can also be applied to other academic disciplines. The University of British Columbia found that individuals who were exposed to visual art were better able to process complex information and make more accurate decisions compared to those who were not exposed to art (Gombrich, 2000). I believe that choral music education should embrace aestheticism and an appreciation for all types of music, regardless of genre or style, and encourage students to explore their own creative expression within the medium.
Praxial learning focuses on the practical aspects of music-making, such as performance, composition, and improvisation. It encourages students to engage in music-making and exploration, rather than just passive listening and memorization of musical concepts. In this approach, the focus is on developing musical skills and understanding through practical application and reflective practice. According to Bowman (2005), praxial learning involves “developing musical skills and knowledge through active music-making, listening, and reflection, and valuing a wide range of musical experiences and traditions.” This approach recognizes that music is not just a set of technical skills, but also a cultural and social practice that can bring people together and facilitate personal growth. Praxial learning approaches in music education can lead to improved musical skills, greater engagement and motivation, and enhanced social and emotional development (Elliott & Silverman, 2014). By allowing students to actively participate in music-making and exploration, praxial learning can foster creativity, critical thinking, and problem-solving skills.
Societal learning involves the recognition of music as a social and cultural practice with the power to bring people together and facilitate communication across cultural barriers. Through participation in choral ensembles, students learn to collaborate, communicate, and empathize with others. It emphasizes the importance of understanding the social and cultural contexts in which music is created, performed, and consumed. This approach recognizes that music is not only a personal and individual experience but also a communal and collective one. A study by O'Neill and McPherson (2010) found that students who learned to play music in a social and collaborative environment had higher levels of motivation and achievement than those who learned in a more individualistic and competitive setting. Societal learning in music education is a valuable approach that can promote cultural diversity, social inclusion, and musical excellence. By embracing the social and cultural dimensions of music, choral music can create meaningful and engaging learning experiences that prepare musicians for active participation in their communities and the wider society.
My teaching philosophy emphasizes the importance of aesthetic, praxial, and societal learning in choral music education. It is an essential component of the liberal arts curriculum, as it enhances the students' academic and social growth. By adopting an appreciation for music as an art form, developing practical musical skills, and engaging with music as a social practice, I believe students are empowered to become well-rounded individuals who can contribute to their communities and engage with the world in meaningful ways.
References
Bowman, W. (2005). The Cambridge Companion to Musical Education. Cambridge University Press.
Elliott, D. J., & Silverman, M. (2014). Music matters: A philosophy of music education. Oxford University Press.
Gombrich, E. H. (2000). Art and Illusion: A Study in the Psychology of Pictorial Representation. Princeton University Press.
O'Neill, S. A., & McPherson, G. E. (2010). Community music as social and cultural capital for young people. Music Education Research, 12(2), 107-126.
Choral music education plays an important role in developing well-versed individuals who are able of think critically, create with expression, and empathize with others. As a choral music educator, I believe that the choral experience is crucial in developing the students' musicality, creativity, and cultural awareness. My teaching philosophy is entrenched in the belief that aesthetic, praxial, and societal learning are essential in shaping students' musical experiences.
Aesthetic learning in choral music education is the understanding and appreciation of music as a fine art. Through its exposure, students can learn to identify and welcome the beauty, complexity, and cultural significance of music. Acquiring the skills and knowledge through exposure is, at its core, the basis of aesthetic learning. This type of learning is often associated with the arts but can also be applied to other academic disciplines. The University of British Columbia found that individuals who were exposed to visual art were better able to process complex information and make more accurate decisions compared to those who were not exposed to art (Gombrich, 2000). I believe that choral music education should embrace aestheticism and an appreciation for all types of music, regardless of genre or style, and encourage students to explore their own creative expression within the medium.
Praxial learning focuses on the practical aspects of music-making, such as performance, composition, and improvisation. It encourages students to engage in music-making and exploration, rather than just passive listening and memorization of musical concepts. In this approach, the focus is on developing musical skills and understanding through practical application and reflective practice. According to Bowman (2005), praxial learning involves “developing musical skills and knowledge through active music-making, listening, and reflection, and valuing a wide range of musical experiences and traditions.” This approach recognizes that music is not just a set of technical skills, but also a cultural and social practice that can bring people together and facilitate personal growth. Praxial learning approaches in music education can lead to improved musical skills, greater engagement and motivation, and enhanced social and emotional development (Elliott & Silverman, 2014). By allowing students to actively participate in music-making and exploration, praxial learning can foster creativity, critical thinking, and problem-solving skills.
Societal learning involves the recognition of music as a social and cultural practice with the power to bring people together and facilitate communication across cultural barriers. Through participation in choral ensembles, students learn to collaborate, communicate, and empathize with others. It emphasizes the importance of understanding the social and cultural contexts in which music is created, performed, and consumed. This approach recognizes that music is not only a personal and individual experience but also a communal and collective one. A study by O'Neill and McPherson (2010) found that students who learned to play music in a social and collaborative environment had higher levels of motivation and achievement than those who learned in a more individualistic and competitive setting. Societal learning in music education is a valuable approach that can promote cultural diversity, social inclusion, and musical excellence. By embracing the social and cultural dimensions of music, choral music can create meaningful and engaging learning experiences that prepare musicians for active participation in their communities and the wider society.
My teaching philosophy emphasizes the importance of aesthetic, praxial, and societal learning in choral music education. It is an essential component of the liberal arts curriculum, as it enhances the students' academic and social growth. By adopting an appreciation for music as an art form, developing practical musical skills, and engaging with music as a social practice, I believe students are empowered to become well-rounded individuals who can contribute to their communities and engage with the world in meaningful ways.
References
Bowman, W. (2005). The Cambridge Companion to Musical Education. Cambridge University Press.
Elliott, D. J., & Silverman, M. (2014). Music matters: A philosophy of music education. Oxford University Press.
Gombrich, E. H. (2000). Art and Illusion: A Study in the Psychology of Pictorial Representation. Princeton University Press.
O'Neill, S. A., & McPherson, G. E. (2010). Community music as social and cultural capital for young people. Music Education Research, 12(2), 107-126.