Scaling music education down unwise
| Friday April 4, 2014 11:52
As a music educator I am concerned about the manner in which some policymakers in education have been treating the music. As a subject there was a realisation of the need that music must be taught in schools.
The purpose of this paper is to shed light on those policymakers who had come to the conclusion that music must be scaled down in schools as observed by Reggie Kopi in the Music Educators Facebook page.
Kopi argues that: “Music at schools is being scaled down. We have not been accorded sufficient reasons other than to speculate. Equally important the department of training sends each year, a number of teachers to study in music”.
Out of the 12 questions Kopi posed, I wish to direct my same shared sentiments to the first question on his list: “What informs the ministry on scaling down music at school?”
In as much as other highly enlightened proponents in the circles of education, especially in the area of the Performance Arts, have aired their concerns.
I also would like to cast light on to the minds of those ignorant about the importance of music in the life of a person as well as the significance of music education in the curriculum.
Music is an integral part of human life and activity. The inclusion of the teaching of music has been a topic of debate in many countries in various institutions by different scholars. Music is a holistic approach towards the development of a well-rounded human being.
Music contributes entirely to the development of various human traits as; cognitive, language, socio-emotional and psychomotor growth.
Reimer argues: “One significant orientation to the values of music has been toward its role in enhancing the depth, quality, scope and intensity or inner human experience in ways particular to how music operates; ways that distinguish music from other human endeavours. Music has always been a medium of communication for centuries rendered to address several issues with different content and contextual themes.”
Music as a subject or a discipline falls in the category of Creative And Performing Arts. Arts in general have played a pivotal role in the development of the human race from time immemorial. Art influences political, religious and other views and has often been used in the fight for social justice.
Looking at the influence the arts have over social set-up, the time is now for everyone around the globe to urgently recognise and appreciate the significance of music in the curriculum.
Art movements have been formed worldwide to advocate for change in different spheres of life.
For example, at the height of the apartheid in South Africa, a group of exiled artists and activists in Gaborone used Literacy, Theatre, Visual Arts and Music to effectively draw world attention to the atrocities of the oppression system.
The significance of inclusion of music education in the curriculum of Botswana schools should be viewed as a platform to deal with the holistic development of the learner throughout childhood.
Music in the Botswana primary schools falls in the category of Creative and Performing Arts (CAPA). The aims and objectives of this discipline is to equip learners with knowledge, skills, and values that assist them to achieve their full physical, intellectual, personal, emotional and social potential. The subject aims to encourage learners to acquire and practice life skills that will assist them to become independent and effective in responding to life’s challenges and to play an active and responsible role in the society.
With regard to the above highlighted areas in which music develops an individual, it is essentially clear to realise that music plays an important role in the development of a human being.
Swanwick (1999) argues: “At times music has the power to lift us out of the ordinary, to elevate our experience beyond the everyday and commonplace. For many people music gives rise to what has often been called ‘aesthetic’ experiences”.
The skills referred to above; go along with developments of talents; in this context-musical talent. Suzuki (1991) advises, “We must never forget that certain talents can be developed when (a) certain environment is provided. Too many parents are misled by the words ‘born musician’ or ‘born painter’. They believe that talent is latent in children. They think their children have no talent if they see no ability in them as infants. What living creatures will become depends on the very first stage of their development. Man is no exception. One’s future, fate or his ability in later life is determined by the training in infancy and childhood.
Choksy (1991) outlines at least seven reasons why music should form part of the young people of today. Choksy reasons that music must find its way into the curriculum for many reasons due to its: potential entertainment and recreational value, career possibilities, positive effects on self image, contribution to the learning of other life skills, unique value to holistic education, socialising influence, capacity for offering spiritual or uplifting experiences. The main point Choksy justifies is of communal activities which are very important for they make up significant cultural practices that sustain families, villages, cities and nations. Billions of people have found meaning and enjoyment over the centuries through music, dance, literature, theatre and visual arts. Segomotso (2011) asserts, “music helps people communicate in difficult situations; it aids in-group identity; it encourages the development of memory; and it aids in creating a mood/atmosphere”. In his study, (pg116) he recommends “Botswana music educators (need) to encourage administrators in schools and government to become aware of the positive role music education plays”. From his sources (Spruce, Hoffer & Klotman, Kaagen & Chapman and others) Segomotso (pg31) alludes that “music education is important in children’s self expression and creativity, in their aesthetic sense, in their motor and rhythmic development, in learning cognitive and abstract thinking, in developing social and interpersonal skills, and in improving language skills”.
Music is so much related in context and supportive attributes to many subjects across the curriculum. Colwell and Wing (2004) theorise that music plays an integral part in supporting the progressive existence of other subjects in philosophical context. They ascribe philosophical advantages of music in the school curriculum as follows:
“Music (and other arts) is an integral aspect of all history and culture; the use of music may make core subjects more interesting by allowing the teacher more teaching strategies, and the relationship of music to other subjects (and to life) is an important concept designed to integrate all educational experiences toward a common goal-the improvement of the quality of life.”
It is substantially clear that the above citation shares some common attributes in context with the praxial philosophy of Elliot DJ, who is of the view that Music Education is based on four interrelated premises being; education in music, education about music, education for music and education by means of music (Elliot: 1995). Taking this premises and breaking it into the curriculum will in turn inform the syllabus, which then informs the lesson planning for any subject in any country and in particular Botswana. With its philosophy of education that quality basic education is fundamental human right, it promotes the all-round development of the individual as well as fostering growth and creativity.
By so doing it enables every learner to achieve their full potential including those with special needs whereby there is development of moral, ethical, and social values. Also cultural identity, self esteem and good citizenship form the rationale of the music education syllabi. These clearly support the entire philosophy of the Botswana education system and therefore, qualifying music as the important component of the whole curriculum, which need to be accorded equal standing with other subjects.