Kosmas lapatas music pedagogy final

MUSIC PEDAGOGY

KOSMAS LAPATAS EEME, HEjMEC, IACOMP, ISME, ISPME, MPG, NAfME, WPTA

Contents

1. Introduction 2. Music Education Models 3. Music Education Overview 4. Music Education Methods 4.1 Dalcroze 4.2 Kodรกly 4.3 Orff 4.4 Suzuki 4.5 Gordon 4.6 Manhattanville 5. Standards and Assessment 6. Significance 7. Experiments 8. Advocacy

Dedication This study is dedicated to the HELLO STAGE team, board and founders. Special thanks to Bernhard Kerres, Nina K Lucas and Bettina Mehne for their faith on me within such as very short time.

Acknowledgement I would like to thank my old-time soulmate, friend for life and everlasting supporter musician/psychologist Gianna Tzanoukaki, actress Maria Tzanoukaki and school master Antonis Skellas for the faith and trust in me and my music education work. Special thanks to my lifetime supporter, my Godmother Chris Tsettos.

About the author Kosmas Lapatas studied Piano, Harmony, Counterpoint, Fugue, Composition, Musicology, Music Technology and Music Therapy under the world-renowned celebrities Dmitri Toufexis, Danae Kara, Marcos Alexiou, Bruce Miller, Bobby Owsinski and Nordorff-Robbins. He is a Teaching Artist in prestigious schools, colleges, conservatories and institutions, and has performed at prestigious concert halls and cultural centers His awards include the 1st Prize in Piano Performance, the 1st Prize in Music Composition, and the Classical Music Education Initiative. His is a member of EEME, HEjMEC, IACOMP, ISME, ISPME, MPG, NAfME and WPTA.

1.

Introduction

Music education is a field of study associated with the teaching and learning of music. It touches on all learning domains, including



The psychomotor domain (the development of skills)



The cognitive domain (the acquisition of knowledge) and



The affective domain (the learner's willingness to receive, internalize, and share what is learned), including music appreciation and sensitivity.

Music training from preschool through post-secondary education is common in most nations because involvement with music is considered a fundamental component of human culture and behavior. Music, like language, is an accomplishment that distinguishes humans as a species.

2.

Music Education Models

During the past century, many distinctive approaches were developed for the teaching of music, some of which have had widespread impact.



The Dalcroze method (eurhythmics) was developed in the early 20th century by Swiss musician and educator Émile Jaques-Dalcroze.

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The Kodály Method emphasizes the benefits of physical instruction and response to music.

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The Orff Schulwerk "approach" to music education leads students to develop their music abilities in a way that parallels the development of western music.

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The Suzuki method creates the same environment for learning music that a person has for learning their native language.



The Gordon Music Learning Theory provides the music teacher with a comprehensive method for teaching musicianship through audiation, Gordon's term for hearing music in the mind with understanding. 

The Manhattanville Music Curriculum Project is presenting music as changing and evolving rather than “static” and increases the interest in new creation.

Students act as musicians and not spectators, discovering comprehensive meaning on many levels of understanding.

3.

Overview

In primary schools in European countries, children often learn to play instruments such as keyboards or recorders, sing in small choirs, and learn about the elements of music and history of music.

In countries such as India, the harmonium is used in schools, but instruments like keyboards and violin are also common. Students are normally taught basics of Indian Raga music.

In primary and secondary schools, students may often have the opportunity to perform in some type of musical ensemble, such as a choir, orchestra, or school band: concert band, marching band, or jazz band.

In some secondary schools, additional music classes may also be available. In junior high school or its equivalent, music usually continues to be a required part of the curriculum.

At the university level, students in most arts and humanities programs receive academic credit for music courses such as music history, typically of Western art music, or music appreciation, which focuses on listening and learning about different musical styles.

In addition, most North American and European universities offer music ensembles such as choir, concert band, marching band, or orchestra - that are open to students from various fields of study.

Most universities also offer degree programs in music education, certifying students as primary and secondary music educators. Advanced degrees such as the D.M.A. or the PhD can lead to university employment. These degrees are awarded upon completion of music theory, music history, technique classes, and private instruction with a specific instrument, ensemble participation, and in depth observations of experienced educators.

Music education departments in North American and European universities also support interdisciplinary research in such areas as music psychology, music education historiography, educational ethnomusicology, sociomusicology, and philosophy of education.

The study of western art music is increasingly common in music education outside of North America and Europe, including Asian nations such as South Korea, Japan, and China. At the same time, Western universities and colleges are widening their curriculum to include music of outside the Western art music canon, including music of West Africa, of Indonesia (e.g. Gamelan music), Mexico (e.g., mariachi music, Zimbabwe (marimba music), as well as popular music.

Music education also takes place in individualized, lifelong learning, and in community contexts. Both amateur and professional musicians typically take music lessons, short private sessions with an individual teacher.

4.

Music education methods

4.1 Dalcroze method The Dalcroze method was developed in the early 20th century by Swiss musician and educator Émile Jaques-Dalcroze. The method is divided into three fundamental concepts



The use of solfège



Improvisation, and



Eurhythmics.

Sometimes referred to as "rhythmic gymnastics," eurhythmics teaches concepts of rhythm, structure, and musical expression using movement, and is the concept for which Dalcroze is best known. It focuses on allowing the student to gain physical awareness and experience of music through training that engages all of the senses, particularly kinesthetic.

According to the Dalcroze method, music is the fundamental language of the human brain and therefore deeply connected to who we are. Eurhythmics classes are often offered as an addition to general education programs, whether in preschools, grade schools, or secondary schools. In this setting, the objectives of eurhythmics classes are to introduce students with a variety of musical backgrounds to musical concepts through movement without a specific performance-related goal.

For younger students, eurhythmics activities often imitate play. Games include musical storytelling, which associates different types of music with corresponding movements of the characters in a story. The youngest of students, who are typically experiencing their first exposure to musical knowledge in a eurhythmics class, learn to correlate types of notes with familiar movement; for example the quarter note is represented as a “walking note.” As they progress, their musical vocabulary is expanded and reinforced through movement.

While eurhythmics classes can be taught to general populations of students, they are also effective when geared toward music schools, either preparing students to begin instrumental studies or serving as a supplement to students who have already begun musical performance.

Vocabulary Eurhythmics classes for students in elementary school through college and beyond can benefit from a rhythmic curriculum that explores rhythmic vocabulary. This vocabulary can be introduced and utilized in a number of different ways, but the primary objective of this component is to familiarize students with rhythmic possibilities and expand their horizons. Activities such as rhythmic dictation, composition, and the performance of rhythmic canons and polyrhythms can accommodate a wide range of meters and vocabulary. In particular, vocabulary can be organized according to number of subdivisions of the pulse.

Movement A key component of a rhythmic education, movement provides another way of reinforcing rhythmic concepts - kinesthetic learning serves as a supplement to visual and aural learning. While the study of traditional classroom music theory reinforces concepts visually and encourages students to develop aural skills, the study of eurhythmics solidifies these concepts through movement. In younger students, the movement aspect of a rhythmic curriculum also develops musculature and gross motor skills. Ideally, most activities that are explored in eurhythmics classes should include some sort of kinesthetic reinforcement.

Meter and Syncopation Another element of a rhythmic curriculum is the exploration of meter and syncopation.

In particular, the study of meter should incorporate an organization of pulses and

subdivisions. This organization can be expressed in a “meter chart,” which can include both equal-beat and unequal-beat meters.

Experiment A group of 72 pre-school children were tested on their rhythmic ability; half of the children had free-play (35–40 min.) twice a week for a 10-week period while the other half had rhythmic movement classes for the same amount of time. The group that had classes (experimental group) did significantly better than the group that just had freeplay (control group). The experiment group scored four or more points better in every area tested than the control group in the final test. This shows that eurhythmic classes can benefit a child’s sense of rhythm.

List of Institutions implementing the Dalcroze method: Carnegie Mellon University, Cleveland Institute of Music, Colorado State University, Hope College, Longy School of Music of Bard College, Oberlin Conservatory of Music, Stony Brook University

4.2 Kodály method Zoltán Kodály was a prominent Hungarian music educator and composer who stressed the benefits of physical instruction and response to music. Although not really an educational method, his teachings reside within a fun, educational framework built on a solid grasp of basic music theory and music notation in various verbal and written forms.

Kodály's primary goal was to instill a lifelong love of music in his students and felt that it was the duty of the child's school to provide this vital element of education.

Some of Kodály's trademark teaching methods include 

The use of solfège hand signs

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Musical shorthand notation (stick notation), and

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Rhythm solmization (verbalization).

Most countries have used their own folk music traditions to construct their own instruction sequence, but the United States primarily uses the Hungarian sequence.

Child-developmental approach The Kodály Method uses a child-developmental approach to sequence, introducing skills according to the capabilities of the child. New concepts are introduced beginning with what is easiest for the child and progressing to the more difficult. Children are first introduced to musical concepts through experiences such as listening, singing, or movement. It is only after the child becomes familiar with a concept that he or she learns how to notate it, similar to methods like Suzuki and Simply Music. Concepts are constantly reviewed and reinforced through games, movement, songs, and exercises.

Rhythm syllables The Kodály Method incorporates rhythm syllables similar to those created by nineteenthcentury French theoretician Emile-Joseph Chêvé. In this system, note values are assigned specific syllables that express their durations.

Rhythm and movement The Kodály Method also includes the use of rhythmic movement, a technique inspired by the work of Swiss music educator Emile Jaques-Dalcroze. Kodály was familiar with Dalcroze’s techniques and agreed that movement is an important tool for the internalization of rhythm. To reinforce new rhythmic concepts, the Kodály Method uses a variety of rhythmic movements, such as walking, running, marching, and clapping.

These may be performed while listening to music or singing. Some singing exercises call for the teacher to invent appropriate rhythmic movements to accompany the songs.

Rhythm sequence and notation Rhythmic concepts are introduced in a child-developmentally appropriate manner based upon the rhythmic patterns of their folk music. Rhythms are first experienced by listening, speaking in rhythm syllables, singing, and performing various kinds of rhythmic movement. Only after students internalize these rhythms is notation introduced. The Kodály Method uses a simplified method of rhythmic notation, writing note heads only when necessary, such as for half notes and whole notes.

Movable-do solfege The Kodály Method uses a system of movable-do solfege syllables, in which, during sight-singing, scale degrees are sung using corresponding syllable names (do, re, mi, fa, so, la, and ti). The syllables show function within the key and the relationships between pitches, not absolute pitch. Kodály found movable-do solfege to be helpful in developing a sense of tonal function, thus improving students’ sight-singing abilities. Kodály felt that movable-do solfege should precede acquaintance with the staff, and developed a type of shorthand using solfege initials with simplified rhythmic notation.

Melodic sequence and pentatony Scale degrees are introduced in accordance with child-developmental patterns. The first Kodály exercise books were based on the diatonic scale, but educators soon found that children struggled to sing half steps in tune and to navigate within such a wide range. It is thus that the pentatonic scale came to be used as a sort of stepping stone. Kodály stated that each nation should create its own melodic sequence based upon its own folk music.

Hand signs Hand signs, are performed during singing exercises to provide a visual aid. This technique assigns to each scale degree a hand sign that shows its particular tonal function.

The signs are made in front of the body, with do falling about at waist level and la at eye level. Their distance in space corresponds with the size of the interval they represent. The hand signs were featured in the 1977 film, Close Encounters of the Third Kind.

Studies have shown that the Kodรกly Method improves intonation, rhythm skills, music literacy, and the ability to sing in increasingly complex parts. Outside of music, it has been shown to improve perceptual functioning, concept formation, motor skills, and performance in other academic areas such as reading and math.

4.3 Orff Schulwerk Carl Orff was a prominent German composer. Orff Schulwerk is considered an "approach" to music education. It begins with a student's innate abilities to engage in rudimentary forms of music, using basic rhythms and melodies.

Orff considers the whole body a percussive instrument and students are led to develop their music abilities in a way that parallels the development of western music. The approach fosters student self-discovery, encourages improvisation, and discourages adult pressures and mechanical drill.

Carl Orff developed a special group of instruments, including modifications of the glockenspiel, xylophone, metallophone, drum, and other percussion instruments to accommodate the requirements of the Schulwerk courses. The music generated in the Orff Approach is largely improvisational and uses original tonal constructions that build a sense of confidence and interest in the process of creative thinking.

Students of the Orff Approach sing, play instruments, and dance alone as well as in groups. Songs are usually short, contain ostinatos, are within singing range, can be manipulated to be played in a round or ABA form. Music can also be anything from nursery rhymes to songs that are invented by the children themselves.

Orff-Schulwerk music is largely based on simple but forceful variations on rhythmic patterns. This makes for very simple and beautiful musical forms, which are easily learned by young children, and is also useful for adults and thus it has a universal appeal.

Main Characteristics 

The music is largely modal, beginning with pentatonic scales. The drone is quickly established as the ground bass that supports most melodies and melodic ostinati add energy and colour.

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Ionian mode. Note, this is not major scale, as the drone bass enforces a nonfunctional harmony. Parallel thirds and sixths (paraphony) are used as well as triads.

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Major Dominant and Subdominant triads (That is to say: functional harmony).

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Dorian, Aeolian and Phrygian modes with similar shifting drones and triads

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Aeolian, Dorian and Phrygian mode, shifting drones and triads.

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Tonic and Leading Note triads, and decoration of the third.

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Major Dominant and Subdominant Triads. This harmonic world is more challenging for children and improvising than the modes, hence the importance of leaving until skills have developed appropriately.



Minor Dominant and Subdominant Chords.



Paralipomena which explores the worlds of Lydian and Mixolydian.

When interesting original music has been generated by the groups or individual child a desire to record it may arise. Thus, the desire to develop musical skills emerges by itself and the child may be intrinsically propelled to learn formal music.

4.4 Suzuki method The Suzuki method was developed by Shinichi Suzuki in Japan shortly after World War II, and uses music education to enrich the lives and moral character of its students. The movement rests on the double premise that "all children can be well educated" in music, and that learning to play music at a high level also involves learning certain character traits or virtues which make a person's soul more beautiful.

The primary method for achieving this is centered around creating the same environment for learning music that a person has for learning their native language. This 'ideal' environment includes love, high-quality examples, praise, rote training and repetition, and a time-table set by the student's developmental readiness for learning a particular technique.

The central belief of Suzuki, based on his language acquisition theories, is that all people can (and will) learn from their environment. The essential components of his method spring from the desire to create the "right environment" for learning music (he believed that this positive environment would also help to foster excellent character in every student).

These components include: 

Saturation in the musical community. This includes attending local concerts of classical music, developing friendships with other music students, and listening to music performed by "artists" (professional classical musicians of high caliber) in the home every day (starting before birth if possible).



Deliberate avoidance of musical aptitude tests or "auditions" to begin music study.

Suzuki firmly believed that teachers who test for musical aptitude before taking students, or teachers who look only for "talented" students, are limiting themselves to people who have already started their music education. Just as every child is expected to learn their native language, Suzuki expected every child to be able to learn to play music well when they were surrounded with a musical environment from infancy.

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Emphasis on playing from a very young age, typically starting formal instruction between the ages of three and five years old and sometimes beginning as early as age two.



Using well trained teachers, preferably also trained in using the Suzuki materials and philosophy.

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In the beginning, learning music by ear is emphasized over reading musical notation. This follows Suzuki's observation that in language acquisition, a child learns to speak before learning to read. To support learning by ear, students are usually expected to listen to the repertoire on CD daily.

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Memorization of all solo repertoire is expected, even after a student begins to use sheet music as a tool to learn new pieces. This is related to this focus on music as separate from notation.

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Music theory and note reading are left to the teacher. The Suzuki method doesn't include a formal plan or prescribe specific materials for introducing music theory & reading into the curriculum.

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Regular playing in groups (including playing in unison) is strongly encouraged.

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Retaining and reviewing every piece of music ever learned is required. This is intended to raise technical and musical ability.

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Frequent public performance makes performing feel like a natural and enjoyable part of being a musician.

Suzuki Institutes were established to encourage a musical community, train teachers, and provide a place where master teachers' ideas can easily be spread to the whole community of Suzuki students, teachers, & parents. These music festivals include teacher training courses; concerts; discussion sessions; seminars; and various 'enrichment' classes in different musical styles, instruments.

4.5 Gordon Music Learning Theory Music Learning Theory is based on an extensive body of research and field testing by Edwin E. Gordon and others. It provides music teachers with a comprehensive framework for teaching musicianship through audiation, Gordon's term for hearing music in the mind with understanding.

The skills and content sequences within the Audiation theory help music teachers establish sequential curricular objectives in accord with their own teaching styles and beliefs. There also is a Learning Theory for Newborns and Young Children. The term audiation is relatively new, having been coined recently by Edwin E. Gordon. The general idea, however, is not new at all. To audiate means to think music in the mind. Good musicians of all cultures have audiated since the dawn of music.

The power of Gordon’s word is that it provides a well-defined way to think about essential cognitive musical processes, thereby clarifying the steps teachers should take to help students fully comprehend music.

MLT is specifically concerned with developing the ability to audiate the tonal and rhythm content of music. 

First, the rhythmic and tonal realms constitute a very large portion of what makes music.



Further, the great depth and complexity of tonal and rhythm content necessitates a careful focus on sequence.



Music learning theory provides a comprehensive and elegant approach to the many hierarchical levels of both content and skill.

Tonal and rhythm content in music are challenging enough to teach in isolation.

Their interaction with each other and other musical elements significantly compounds the complexity of the music teaching task. By spending some instructional time focusing on each separately, clarity is enhanced and confusion minimized.



MLT’s emphasis on tonal and rhythm is not meant to suggest that musical elements such as timbre, phrasing, expression and style are unimportant. The traditional model serves well for teaching these nonsyntactical musical elements, for which sequence is less important than it is for tonal and rhythm elements. A teacher who implements MLT for teaching tonal and rhythm skills is likely to approach the other musical elements in much the same way as any other capable music teacher.

MLT classroom An MLT classroom looks like any other music class. The crucial difference is that the time spent in tonal and rhythm pattern instruction develops essential audiation skills that are otherwise likely to be left to chance. Students who have engaged in learning sequence activities are able to bring greater aural comprehension and more skills to the music literature they study during classroom activities.

4.6 Manhattanville Music Curriculum Project The Manhattanville Music Curriculum Project was developed in 1965 as a response to declining student interest in school music. This creative approach aims to shape attitudes, helping students see music not as static content to be mastered, but as personal, current, and evolving.

Rather than imparting factual knowledge, this method centers around the student, who learns through investigation, experimentation, and discovery. The teacher gives a group of students a specific problem to solve together and allows freedom to create, perform, improvise, conduct, research, and investigate different facets of music in a spiral curriculum.

MMCP is viewed as the forerunner to projects in creative music composition and improvisation activities in schools. The MMCP learning objectives are to develop positive

musical behaviors in students. MMCP does not focus on imparting factual music knowledge. Rather, learning and acquisition of musical information are the byproduct of the “doing” in performing and creating the music.

The four behavioral objectives closely aligned with the MMCP process of learning are: 

Cognitive – Students using knowledge to solve problems.



Attitudinal – Students excited about their own creative musical potential and their aesthetic sensitivity to music.



Skill – Dexterous movement behaviors in performing vocally, or on instruments.

Translative notational skill to perform music and Aural music listening behaviors.



Aesthetic – Students understanding intrinsic meaning in music.

Students evaluate themselves on their own personal achievement of these objectives.

Teacher serves to not evaluate the student but to evaluate how well the curriculum is working and modify accordingly to each student.

The four main areas of MMCP focus are: 

Discovery - Learning by creating is the most exciting way to retain, understand, and learn music.



Concepts & Skills - Going through the task-oriented process of deciding how to create music using concepts from all styles and periods.



Music of Today - Students should understand and create the music of their contemporary environment.



Totality - Students gain a complete understanding of music by; composing, performing, conducting, listening, enjoying, sharing, and reacting.

The MMCP uses a spiral curriculum that sequentially introduces new concepts in actionoriented cycles that are developmentally appropriate.

A typical MMCP sequence of events is as follows: 

Strategy - Teacher presents a framework for introducing a musical problem that inspires creative thought. The problem must be well-defined and able to be solved creatively by all students.



Composing & Rehearsing - Students solve the musical problem in group composition projects by developing a musical hypothesis and testing it using aural logic. Critical thought should be used in solving the problem, and all students are encouraged to experiment.



Performance - After groups rehearse their compositions, a performance typically takes place to share ideas. From the experimenting process students have developed necessary musical skills needed to perform.



Critical Evaluation - Students may have an oral discussion after the performance to discuss and evaluate themselves. They may also record the performance for critical analysis at a later time.



Listening - Students listen to music for pleasure or as a resource to discover new ideas.

The teacher's role in this sequence is the creator of the musical problem yet an unobtrusive observer. Students should view the teacher as a resource rather than an evaluator.

5.

Music Education Standards & Assessment

Achievement standards are curricular statements used to guide educators in determining objectives for their teaching. Use of standards became a common practice in many nations during the 20th century. For much of its existence, the curriculum for music education was determined locally or by individual teachers. In recent decades there has been a significant move toward adoption of regional and/or national standards, such as NAME.

NAME The National Association for Music Education, created nine voluntary content standards, called the National Standards for Music Education. These standards call for:



Singing, alone and with others, a varied repertoire of music



Performing on instruments, alone and with others, a varied repertoire of music.



Improvising melodies, variations, and accompaniments.



Composing and arranging music within specified guidelines.



Reading and notating music.



Listening to, analyzing, and describing music.



Evaluating music and music performances.



Understanding relationships between music, the other arts



Understanding music in relation to history and culture.

6.

Music Education Significance

It has been argued that studying music enhances academic achievement. The research was brought to the attention with the assertion that listening to Mozart improved spatial reasoning skills. This led to countless attempts to recreate the study, debunk the results, and expand upon them. While listening to Mozart may temporarily enhance a student's spatial-temporal abilities, learning to play an instrument holds much more promise as an avenue to improve student performance and achievement.

According to the Florida Music Educators Association, “Music and the Fine Arts have been a significant portion of every culture’s educational system for more than 3,000 years. The human brain has been shown to be “hard-wired” for music; there is a biological basis for music being an important part of human experience.

Music and the Arts surround daily life in our present day culture. Most present day artists, architects, and musicians acquired their interests during public school Fine Arts classes. Education without the Fine Arts is fundamentally impoverished and subsequently leads to an impoverished society.”

William Earhart, former president of the Music Educators National Conference, said that “Music enhances knowledge in the areas of mathematics, science, geography, history, foreign language, physical education, and vocational training."

Music not only inspires creativity and performance, but academic performance over all is seriously impacted. A research study produced by the Harris Poll has shown that 9 out of 10 individuals with post graduate degrees participated in music education.

The National Report of SAT test takers study indicated students with music performance experience scored higher on SAT: 57 points higher on verbal and 41 points higher on math.

Schools that have high academic performance are spending 20 to 30% of their budget in the arts with emphasis on music education. Comprehensive music education programs average $187 per pupil, according to a 2011 study funded by the national Association of Music Merchants (NAMM) Foundation.

Music education also increases one's success in society. The Texas Commission on Drugs and Alcohol Abuse Report noted that students who participated in band or orchestra reported the lowest lifetime and current use of all substances including alcohol, tobacco, and illicit drugs.

Playing music increases overall brain activity. In experiments done at the University of Wisconsin students with piano or keyboard experience performed 34% higher on tests that measure spatial-temporal lobe activity, which is the part of the brain that is used when doing mathematics, science, and engineering.

7.

Experiments

Music aids in text recall. Wallace conducted a series of experiments by setting text to a melody.



One experiment created a three verse song with a non-repetitive melody; each verse had different music.



A second experiment created a three verse song with a repetitive melody; each verse had exactly the same music.



Another experiment studied text recall without music. The repetitive music produced the highest amount of text recall; therefore, music serves as a mnemonic device.



One experiment involved memorizing a word list with background music; participants recalled the words 48 hours later.



Another experiment involved memorizing a word list with no background music; participants also recalled the words 48 hours later. Participants who memorized word lists with background music recalled more words demonstrating music provides contextual cues.



It is important to note that "While studies show positive influences in other academic areas, music and the Fine Arts are an academic discipline that are, as the other academics, an independent way of learning and knowing."

Citing many of the statistics above passed a resolution declaring that: “Music education enhances intellectual development and enriches the academic environment for children of all ages; and Music educators greatly contribute to the artistic, intellectual and social development of children and play a key role in helping children to succeed in school.

Unfortunately, music in our schools are being cut at a drastic rate due to budget cuts being forced upon the schools. Dr. Patricia Powers states, “It is not unusual to see program cuts in the area of music and arts when economic issues surface. It is indeed unfortunate to lose support in this area especially since music and the art programs contribute to society in many positive ways.”

Music makes students more successful in school. Skills learned through the discipline of music, transfer to study skills, communication skills, and cognitive skills useful in every part of the school curriculum. It also makes students become successful when participating to ensembles. This helps students learn to work effectively in the school environment and cuts down on resorting to violent or inappropriate behavior.

Music also has found to help students with developing intelligence. Studies have found that some measure of a child’s intelligence is indeed increased with music instruction.

Behavioral studies and groundbreaking neurological research that show how music study can actively contribute to brain development. Researchers at the University of Montreal used various brain imaging techniques to investigate brain activity during musical tasks and found that sight-reading musical scores and playing music both activate regions in all four of the cortex’s lobes; and that parts of the cerebellum are also activated during those tasks.

Other studies show that music also helps with reasoning. Music makes students better learners and better thinkers.

8.

Music advocacy

In some communities music is provided little support as an academic subject area, and music teachers feel that they must actively seek greater public endorsement for music education as a legitimate subject of study. This perceived need to change public opinion has resulted in the development of a variety of approaches commonly called "music advocacy". Music advocacy comes in many forms, some of which are based upon legitimate scholarly arguments and scientific findings, while other examples rely on unconvincing data and remain rather controversial.

Most recent high-profile music advocacy projects include the "Mozart Effect", the National Anthem Project, and the movement in World Music Pedagogy which seeks out means of equitable pedagogy across students regardless of their race, ethnicity, or socioeconomic circumstance.

Even though the “Mozart Effect” is controversial, the proof shows reliability. The study includes two tested groups: a group of students with and another without music education. When this test was given to three-year-olds their temporal test improved by 35% over those with no music; this lasted for several days.

Many contemporary music scholars assert that music advocacy will only be truly effective when based on empirically sound arguments that transcend political motivations and personal agendas. Yet a gap remains between the discourse of music education philosophy and the actual practices of music teachers and music organization executives.

The culmination of all aforementioned pedagogy models into one single holistic approach will be discussed in my next treatise ‘’MY HOLISTIC MUSIC PEDAGOGY’’

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GLYFADA, JULY-AUGUST 2015