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Smith
As a field of education, I believe that music should remain as broad and accessible as
music
itself.
Just
as
everybody
is
affected
by
music
in
the
real
world,
so
too
should
everybody
be
exposed
to
an
education
in
music.
An
early
exposure
to
music
in
school
is
important
for
all
students
for
several
reasons.
For
one
thing,
I
believe
that
when
it
comes
to
music,
seeing
is
believing,
or
perhaps,
hearing
is
believing.
That
is,
while
some
students
may
have
been
exposed
to
music
by
their
families
before
entering
school,
others
are
not
so
lucky.
My
time
at
the
University
of
Illinois
has
caused
me
to
consider
more
carefully
the
impact
of
a
variety
of
socio-economic
backgrounds
on
the
support
and
enrichment
that
a
student
receives
outside
of
school.
An
exposure
to
music
is
the
only
way
to
discover
a
passion
for
music,
and
if
it
is
not
required,
then
some
students
will
never
gain
exposure.
Requiring
music
education
legitimizes
music
education
for
those
who
have
in
the
past,
viewed
music
as
purely
an
elective.
If
everyone
is
required
to
learn
how
to
analyze
literature,
then
they
should
also
learn,
at
the
very
least,
a
basic
understanding
of
effective
music
listening.
This
being
said,
music
education
loses
its
effectiveness
when
students
are
coerced
into
learning.
This
loss
of
effectiveness
negatively
affects
not
only
the
resisting
student,
but
also
all
others
in
the
class
or
ensemble.
Exposure to music before students are old enough for a formal classroom music
Our discussions about diversity in the classroom have caused me to consider how
best
to
use
music
to
reach
a
classroom
made
up
of
individuals.
In
the
real
world,
music
has
so
many
different
facets,
covering
many
different
styles,
and
roles
within
different
cultures.
In
the
music
classroom
however,
music
often
becomes
limited.
It
is
easy,
especially
in
performance-
based
classes
to
limit
the
education
to
western
music
in
pre-measured
serving
sizes
of
band,
choir,
and
orchestra.
I
believe
that
performance-based
classes
should
therefore
be
as
well
rounded
as
possible.
Performance
classes
should
teach
fundamentals
and
skills,
not
just
repertoire.
Students
who
learn
skills
and
musicianship,
will
not
only
become
better
musicians,
but
will
also
learn
repertoire
more
effectively.
While
this
is
more
efficient
than
simply
drilling
notes,
it
is
also
important
as
a
tool
to
lead
students
to
learn
to
listen
critically
and
analyze
what
they
are
hearing,
and
not
just
to
spit
out
repertoire.
While
preparing
repertoire
for
performance
is
a
means
to
an
end,
the
goal
is
the
musical
inspiration
and
progression
of
the
student.
It
is
therefore
more
important
that
students
are
exposed
to
a
wide
range
of
repertoire,
which
should
not
be
limited
to
the
teachers
interests
or
strengths.
By
the
same
token,
repertoire
should
be
chosen
with
balanced
instructive
goals
in
mind,
not
just
because
theyre
fun
for
the
students.
Most
importantly,
students
should
understand
the
reasons
behind
why
they
are
doing
whatever
they
are
being
asked
to
do.
Student Teaching has led me to think more about how I would reach students who
do
not
necessarily
engage
with
music
in
the
same
way
that
I
personally
do.
Non-
performance
based
classes
can
and
should
draw
in
the
sorts
of
people
who
may
or
may
not
think
to
join
the
stereotypical
band,
orchestra,
or
choir.
It
is
easy
for
performance-based
classes
to
become
limiting,
while
music
itself
is
anything
but
limiting.
There
are
many
potential
non-performance
based
classes
to
be
taught,
and
each
of
these
can
be
adapted
to
step
outside
of
many
traditional
music-classroom
boundaries.
For
example,
a
music
history
class
can
teach
critical
listening,
comparison
of
styles,
and
musical
form
just
as
well
if
it
is
a
history
of
rock
music
class.
Music
is
everywhere
in
life,
and
so
every
person
should
have
the
opportunity
to
learn
about
it
in
a
way
which
will
inspire
them.
No
student
should
be
prevented
from
finding
his
or
her
own
connection
to
music
because
a
music
program
is
too
narrow
minded.