openness - a music education philosophy - dutton
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A paper submitted as partial requirements for Master of Music Education studies at Northwestern University, Chicago. Gerard Dutton (Class of 2013)TRANSCRIPT
Openness: A Music Education Philosophy - Gerard Dutton 1
Openness: A Music Education Philosophy
Gerard H. Dutton
Northwestern University
Openness: A Music Education Philosophy - Gerard Dutton 2
Estelle Jorgensen warns against creating an eclectic philosophy, which merely combines
ideas that may or may not be internally consistent. The view that taking the good from
several places, in an attempt to make an amalgam which is wholly better than its
component parts, may be flawed. Jorgensen suggests that, “the reconciliation of disparate
visions of music education ought properly to be synthetic rather than simply eclectic. In
creating a synthesis, one formulates something that is not only integrated but new” (1990,
p.19).
I propose a music education philosophy with openness as its central value. Music teachers
will learn the value of being open to: change, new ideas, the unfamiliar, challenge,
criticism, success and failure. This philosophy will lead teachers to look outward for
inspiration rather than looking inward to a closed world of established norms and
expectations.
I believe this philosophy for music education will indeed provide something ‘new’ for
teachers. By its design, synthesis of good practices modeled in other music education
philosophies, will be organic. Teachers, who adopt this philosophy built around the
concept of openness, will naturally embrace diversity and inclusiveness. These ideals bring
to mind the ‘synergistic proposal‘ of Bennett Reimer (2005), who in warning against
extreme views reminds us that “a synergistic spirit requires . . . an openness to and a
positive attitude toward diversity, in which inclusiveness, or comprehensiveness, is seen as
a guide and a goal. The nature of music, in this spirit, is likely to be multifaceted, music
Openness: A Music Education Philosophy - Gerard Dutton 3
being identifiable as a special domain while manifesting its single nature in a great variety
of ways” (p. 295).
Being open to new ideas implies being open to diversity, yet much of our music teaching
practices in schools lacks diversity. Reimer describes music education (in America) as
warranting admiration, yet of:
very limited scope in its lack of comprehensiveness, its narrow view of sequential
learning therefore, and its striking, perhaps dismaying, imbalance. We serve very few
students, with very few options, with restricted kinds of music and a limited number
of ways to develop musical creativities and intelligences. (2005, p. 297)
Questions
It is essential that a community of scholars in music education be broadened and
fostered. Ongoing conversations . . . can foster such qualities of mind as incisiveness,
the ability to separate oneself from one's argument or one's practice, take criticism
gracefully as one also criticizes constructively, and develop a love of the questions
themselves. (Jorgensen, 2001, p. 352)
In this paper, the following questions will be answered. In doing so, the reasoning behind
the explicit inclusion of these themes, as central ideas for the philosophy, will be explained
and defended and their implications for teachers and students will become clear.
Openness: A Music Education Philosophy - Gerard Dutton 4
• Why openness?
• What is the relationship between choices and openness?
• What are the modes of openness?
• How can tone of language affect openness?
• How can teachers open spaces for learning?
• What does it mean to be open to change and new ways of doing?
• What does it mean to be open to success and failure?
• How is this a philosophy?
Why openness?
Unfortunately, many practices and entrenched ways of doing, in music education, do not
embrace openness. Pondering this fact initially appears to create a conundrum for teachers
following a philosophy based on openness. How does one remain ‘open’ to negative
practices, which threaten openness? The answer is clear when it is understood that this
philosophy encourages teachers to be flexible and discerning about the many choices they
make in their work with students. Being open to new ideas, to challenges, to criticism, and
to change will lead thinking, ethical teachers towards practices which ‘open’ up
opportunities for learning. The beauty of this philosophy is that openness does not imply
fickleness. If a music teacher unquestioningly accepts the established norms or the forceful
voices of the self-proclaimed experts without looking outwards for better ‘ways of doing’,
then this behavior does not reflect openness.
Openness: A Music Education Philosophy - Gerard Dutton 5
Choices
All teachers must make choices in their daily practices alongside colleagues and
particularly in their minute-to-minute dealings with their students. Stepping out in the time
scale, there are choices too, which shape and color the teacher’s self-image and overall
mode of operation in practice. The two types of choice, set on different time frames of
macro and micro, are inter-related. In ‘stepping out’ from the minute-to-minute works,
which so occupy our energies as teachers, we have the opportunity to consider and make
choices, which may establish the sorts of teachers we will become. This ‘macro’ time
frame is the starting point for our choice of philosophy. One’s philosophy for music
education, once clearly ‘chosen’ will guide all our other ‘micro’ choices, hopefully
informing our minute-to-minute, day-to-day, week-to-week modes of operating. The
philosophy we choose for ourselves as music teachers, will influence all that we do as
teachers. Perhaps ‘choose’ is not the only way to look at this, since we do more than
choose our philosophy. We actually create our philosophies through informed choices and
then, our subsequent choices will be filtered through our philosophy.
One more important point to make about ‘choosing’ is that this often involves
compromise. As teachers, we can find ourselves paralyzed by difficult choices. A
philosophy based on openness gives music teachers a filter to at least help them in the
process of making their choices, even when choices involve challenge to beliefs or to
established ways of doing. Being open to all points of view, being open to failure, being
open to the unfamiliar, will lead to decisions made with wisdom. Openness will lead to, if
nothing else, the making of better-informed choices as reflective music teachers. Maxine
Openness: A Music Education Philosophy - Gerard Dutton 6
Greene (1995) writes “Once granted the ability to reflect upon their practice within a
complex context, teachers can be expected to make their choices out of their own situations
and to open themselves to descriptions of the whole” (p. 12).
Meanings
Careful analysis of the meaning(s) of the word ‘openness’ is an important element in
presenting this philosophy to teachers and readers. The word is at once, soft and powerful,
in the way it influences our thinking. To be ‘open’ to something is not the same as to invite
something, or to welcome something, or to be searching for something. For example, to
invite criticism, implies a will or desire, whereas to be ‘open’ to criticism implies a neutral
readiness if criticism is forthcoming. To be ‘open’ is to be prepared, to be alert, to be
receptive, and to be accepting if change arrives. It does not imply a wish or desire or
needfulness. Nor does it imply a reluctance or trepidation or fear. The attributes of being in
a state of openness are positive states for ‘receiving’ something if it is forthcoming. The
careful analysis of language is integral to making meanings from philosophical discourse.
These meanings then can translate into actions, which may then translate into practice.
Modes of openness
A philosophy based on openness calls on its proponents to look for and consider the good
and valuable ideas of others and to share and collaborate in a non-competitive and
generous fashion. In being open, the music teacher will look beyond intemperate and
dogmatic use of language, to extract the core goodness and usefulness of ideas, which may
later be synthesized into their own practice and beliefs. This mode of ‘openness’ may be
Openness: A Music Education Philosophy - Gerard Dutton 7
thought of, in a metaphorical sense, as the feminine mode. In other words, in this mode,
one is: receptive and willing to receive ideas; willing to consider and learn from others;
open to consider and empathize with the beliefs and practices of others; and ready to ‘take
in’ and benefit from ‘openness’. To follow the metaphor, in the masculine mode of
openness, one is: generous and willing to ‘give’ ideas freely and openly; willing to
collaborate and share ideas and discoveries with others; prepared to offer one’s own beliefs
and practices up for criticism and challenge by others; and ready to ‘give forth’ and be
generous through ‘openness’.
To embrace the masculine mode of openness is: to offer one’s ideas for consideration; to
make ideas accessible through generous use of language; to avoid dogmatic behavior in
relationships; and to relinquish or at least, share power. This mode of being ‘open’ may at
first seem paradoxical, since the nature of the masculine is often thought of as forceful and
dominating. In the context of this philosophy, though, it may be argued that to force one’s
ideas onto others as if they are superior or the ‘only way’ to do, is incompatible with the
modes of openness described above.
Tone of language
In the same way it is important to analyze the meanings assigned to words, so it is
important to use language carefully and in a temperate manner, if a philosophy of openness
is to be adopted. If the philosophical discourse is to generate ongoing and useful meanings,
whether in the masculine or feminine modes of openness, one’s use of language must be
considered. Perhaps, rather, it is the tone of language, which has most influence on
Openness: A Music Education Philosophy - Gerard Dutton 8
openness. The following are examples of thoughtful and highly respected educators, who
write about the value of western art music in education. One writer fails to create a sense of
openness, through the tone of language employed. The other writer succeeds.
Example 1 In his passionate advocacy for the place of western art music above popular music in
education, Robert Walker (2007) writes:
An educated mind must know the nature, intent, purpose, and content of the practices
of musicians in the traditions of western thought. We, in many western countries are
in danger of losing these important traditions under the weight of entertainment and
its music of immediate gratification which acknowledges no cultural ties except
those invented by popular culture. (p. 5)
Later, Walker admonishes:
The distinction between education and entertainment . . . has become blurred . . . to
the point where some people, who I argue, should know better, are proclaiming that
Beethoven and Britney Spears, or Lennon and Schubert, are somehow co-equal as
composers and musicians and, therefore, both deserve to be studied in education.
(p. 6)
In criticizing the tone of the writing in the cited passages above, the merit or otherwise, of
the ideas being delivered by the author, is not in question. By isolating ‘entertainment’
from the ‘important traditions’ of western culture, Walker implies that all popular music
and popular culture is unimportant. He goes further, even than this. By using the specific
Openness: A Music Education Philosophy - Gerard Dutton 9
examples of Beethoven/Britney Spears and Lennon/Schubert to make his point that these
musicians are not ‘co-equal’, he immediately alienates any reader who has ever valued or
even taken pleasure from the music of the two contemporary artists named. In a rather
superior tone, he declares that “some people . . . should know better”. Finally, and
emphatically he closes the discourse by implying that neither Britney Spears nor John
Lennon “deserve[s] to be studied in education”.
As demonstrated by this short analysis, tone of language is an important consideration in
promoting openness in a discourse. The points being made by Walker are certainly valid
and worthy of consideration, however, the tone of his delivery is closed and one-sided.
Ironically, the writer’s argument may be more persuasive if he made an effort to engage his
readership in a softer, more ‘open’ manner. Polarizing opinion by taking a dogmatic and
arrogant tone may not be the best strategy for gaining maximum support for one’s
argument. The tone of our language, as teachers, should be considered wisely too in our
day-to-day dealings with our students.
The true value of a philosophy of openness can be illustrated by the response of the reader,
who despite strongly disagreeing with the opinions of the writer is still open to finding
value in the ideas. To read this text with openness to its full meanings is to be firmly in the
feminine mode described earlier.
Openness: A Music Education Philosophy - Gerard Dutton 10
Example 2 Estelle Jorgensen (1998) writes:
We see examples of musical genius in all sorts of music, especially in the great
traditions of the world. Indeed, classical musics have been remarkably adept at
incorporating elements of other musics within them, often in surprising and
innovative ways. They have stretched the limits of human imagination, and because
of what they demand of their exponents and listeners, they have historically been the
province of a comparative few. Surely, music education ought to be as much about
enabling as many as possible to have access to these classical musics, even changing
their face if necessary, as it should be about widening the public's musical
perspectives to include a host of other traditional and popular musics of the world.
(p. 85-86)
The written language in the chosen excerpt demonstrates a ‘tone’ of openness. It is most
often describing what ‘is’ and uses positive imagery. It is about what ‘ought’ to be. Apart
from the ‘tone’, we see into the writer’s own philosophy, which is also one of openness.
Jorgensen speaks of “enabling as many as possible to have access” and “widening the
public’s musical perspectives to include”. Here is a clear example of the masculine mode
of openness. The ideas are given freely, yet without being forced upon the reader. Here is a
writer who is looking outwards and opening the discourse up for further development of
thinking and imagination.
Openness: A Music Education Philosophy - Gerard Dutton 11
Opening spaces
Maxine Greene (1965) paints a bleak picture of attending school in New York, at the turn
of the twentieth century. At that time, there had been a massive immigration of more than a
million people. New York was a city of ghettos – Jewish, Italian, Greek, Slavic, Armenian,
as well as Negros. From a multicultural standpoint, schooling at that time gave the children
of immigrants and farmers nothing of relevance. The ‘school of life’ was where students
would learn the real lessons needed for their future success – not in the public school (p.
140-141).
Many students in the early twenty-first century still feel that the learning they ‘do’ at
school is not relevant to them in their ‘real’ lives. Perhaps this will always be so in formal
education settings, but caring music teachers armed with this awareness and equipped with
openness, have the opportunity to improve the experiences of their students through the
choices they make. Maxine Greene (1995) speaks of “opening spaces” especially for those
who have been “silenced and disempowered” by literacy when they find themselves in new
and unfamiliar contexts:
As a set of techniques, literacy has often silenced persons and disempowered them.
Our obligation today is to find ways of enabling the young to find their voices, to
open their spaces, to reclaim their histories in all their variety and discontinuity.
Attention has to be paid to those on the margins. (p. 120)
By opening spaces for our students to build on their own life experiences, to “find their
voices” and allow them to take control of their own learning, we also open ourselves to the
Openness: A Music Education Philosophy - Gerard Dutton 12
rewards of doing our jobs well.
Music has a unique place in the multicultural lives of our students, but teachers must learn
to bridge the meanings they have made for themselves to the unique meanings that are
culturally embedded in the life experiences of our students. Kerchner and Abril (2009)
describe the special power of music to inspire:
Musical experiences that result in the construction of meaning and learning are the
spark that can incite deeper understanding of one’s self, others, and culture; can
inspire subsequent musical engagement and learning experiences throughout life; or
can help to reshape a musical culture. (p. 14)
An example of a situation where racial and patriotic tensions must have caused many
students from non-English speaking backgrounds, to feel disempowered, is the furor
created over the singing of the American National Anthem (Star Spangled Banner), in
languages other than English. The reasons for the conflict within the wider community are
complex and many, but if one frames the problem within a philosophy of openness,
solutions appear. At least, there can be understanding and empathy for reactions on both
sides of the divide. It can be fairly observed, that to sanction the singing of the anthem in
languages other than English, is not an action that embraces openness. Abril (2007)
describes how one version of the song, was performed by students from a school for the
deaf, using American Sign Language (ASL). He asks the question, “Why might Spanish be
more offensive than ASL in 2006?” (p. 75). He also cites opposing views, one from the
General coordinator of the National Capital Immigration Coalition, Juan Carlos Ruiz who
Openness: A Music Education Philosophy - Gerard Dutton 13
explains, “In our countries, national anthems are a beautiful expression of who we are. Our
immigrant communities want to be part of this country [U.S.]. We want the American
dream” (p. 75). Compare this position with that of columnist Michelle Malkin who called
the Spanish version the “Illegal Alien Anthem”. As Abril implies, this conflict provides
many opportunities for music teachers to open spaces for their students. Greene (1995)
observes that “Teachers imaginative enough to be present to the heterogeneity of social life
. . . may also have strong impulses to open pathways towards better ways of teaching and
better ways of life” (p. 12).
Cecilia Ferm (2006) speaks of two important themes for openness to be considered by
music teachers, “openness for earlier musical experience” and “openness for initiatives”.
These two specific objectives of openness with our students may be used as an effective
checklist for teachers, in everything from curriculum planning (macro) to verbal
interactions with individual students (micro). On openness for earlier musical experience,
the author describes how:
Four different aspects show the teacher’s relation to the pupil’s earlier experience of
music are pointed out: events where the teacher’s interest in the pupil’s musical
experience is shown; events that show the teachers’ knowledge about their musical
experience; events that give the pupils an opportunity to show their earlier
experience; and events that illustrate how the teachers in different ways take care of
musical experience. (p. 243)
Openness: A Music Education Philosophy - Gerard Dutton 14
And on openness for initiatives, Ferm writes:
The theme focuses aspects of the teacher’s openness towards, and encouragement of,
suggestions from the pupils. Initiatives from the pupils might focus activities as well
as affect their shaping. The aspects are grouped as follows: offers, ways of working,
conversation and stimulation/ inspiration. (p. 243)
These themes, when considered during interactions with students for whom English is their
second language (ESL), will be empowering. Considering the possible classroom events
and learning scenarios stemming from the Star Spangled Banner situation cited earlier, this
framework of openness would provide teachers with a valuable tool.
Openness to change and new ways of doing
Considering Ferm’s second theme, “openness for initiatives”, music teachers who embrace
a philosophy of openness, will freely consider and choose new ways of working with their
students in their practice. In searching for authentic musical experiences and those which
open spaces (Greene, 1995) for students to construct their own meanings, students may
devise new ways of challenging themselves through creative self-directed projects.
Teachers who enable this type of authentic, student-centered learning may find it difficult
to relinquish part of their power. The teacher’s role will move towards that of partner, of
enabler, even friend. It will move away from the traditional role of expert and provider of
all knowledge. Sometimes the teacher’s role may be completely transformed into that of
the student, which may be both confronting and liberating. When both teachers and
students can release their imaginations (Greene, 1995), and when students are allowed to
Openness: A Music Education Philosophy - Gerard Dutton 15
find their voices, the learning environment will be improved.
In their study of tertiary music education students’ patterns of musical experiences, Lines
and Naughton (2009) warn of the dangers of ‘calculative thinking’ in education.
This form of thinking . . . is centered on the objective considerations and
deliberations of the individual subject [in this case music]. Problems occur when
calculative thinking, in its scheduling and representations of order, begins to obscure
or ignore possibilities of learning not deemed important in the predetermination of
events. This issue means that wherever calculative thinking dominates educational
practice it remains an important task to preserve open pedagogical styles and the
perceptive capabilities of teachers so that emergent learning outside the frame of
calculation can be affirmed. (p. 3)
The musical experience, of many undergraduate music education students, is limited
largely to the ‘serious’ study of the ‘printed score’ - mostly of technically challenging,
western art music sanctioned by the ‘academy’. This “limiting of the student experience”
(p. 3) of music teachers-to-be, takes away from them the chance to playfully explore
different styles of music or to improvise and think imaginatively about music making, to
freely try out new ideas in music and create meaning. These are the very skills, which
would set them up to be creative, imaginative teachers, open to new ways of doing.
Several authors (Allsup, 2003; Campbell, 1995; Lines & Naughton, 2009) have explored
the dichotomy of the two musical worlds inhabited by students. There is a clear disconnect
Openness: A Music Education Philosophy - Gerard Dutton 16
between music studied at school and all the other musical experiences enjoyed by students.
They bring themselves together, at home and in various social contexts to create their own
meanings through their own music, which is wholly relevant to them. Music teachers who
embrace a philosophy of openness will wonder how the spontaneity and joy of the garage
band can be brought into the classroom. Opening spaces for students to explore,
experiment, collaborate, and teach each other may be part of the answer. Of course, there
may be no clear answer. Perhaps, it is perfectly natural that the musical experiences and
meanings created by students outside of school should bring them the greatest joy. Perhaps
it is also perfectly natural that the musical experiences and meanings created by students
outside of school should stay outside. Openness to students’ success, and teachers’ genuine
interest in and support of these musical experiences may be enough. The ideal situation
would be to make connections between the two musical worlds. Bridging this divide is
perhaps, one of the most rewarding challenges in music education. It requires openness by
the music teacher in all of the various modes of openness espoused by this philosophy.
Lines and Naughton (2009) remind us, “The ideal of pedagogical ‘openness’ is key to
ensure that [teachers] are in a position where they might discover new possibilities and
ways of thinking about what they might otherwise tend to conceive as ‘normal’ practice”
(p. 5).
Logically, a philosophy based on openness to change and new ways of doing, will lead
music teachers to explore and engage with new technologies in their practice. As
previously discussed, the changing roles of the teacher and the dynamically changing
Openness: A Music Education Philosophy - Gerard Dutton 17
relationships between teachers and students, will go a long way towards enabling good
working and learning environments and partnerships with technologies (Folkestad,
Hargreaves & Lindstrom, 1998). As good teachers accept that they are no longer expected
to be experts-in-everything, (or even to portray that illusion) they will discover how to
creatively use newer and newer digital tools alongside their students, who will increasingly
be acknowledged as the new experts. Apart from increased creativity achievable through
engagement with technology, this empowering of our students-as-experts will be
worthwhile in itself.
Success and Failure
In much of what has been discussed here about openness, the implication may seem to be
that this philosophy is the key to success. Success is a natural goal for all endeavors,
especially in music education. An interesting paradox should be addressed however, that
by embracing openness, both teachers and students will inevitably encounter failure. I
would argue that music teachers must be open to failure as a positive learning experience.
If one fails, there is usually a clear implication of effort. What is trial-and-error, if not a
series of failures? How would experimentation, improvisation, or practicing a musical
instrument, be possible without openness to failure? In a society increasingly geared
towards the product rather than the process, there is danger in avoiding challenge and risk
in an attempt to be safe from failure. Again, there is paradox here, since the avoidance of
possible failure will be a type of failure in itself. The failure to be open to new ideas and
challenges is a failure to be open to eventual success.
Openness: A Music Education Philosophy - Gerard Dutton 18
A final thought about openness to new ways of doing, is that if teachers want and expect
their students to be risk-takers, to be innovative, and to think critically, then teachers
themselves must model these behaviors by being open to new ideas in their practice. As
Maxine Greene (1995) asserts, “I think that if I and other teachers truly want to provoke
our students to break through the limits of the conventional and the taken for granted, we
ourselves have to experience breaks with what has been established in our own lives; we
have to keep arousing ourselves to begin again” (p. 109).
How is this a philosophy?
Critics of a philosophy of music education based on a concept such as ‘openness’ may ask
the question, “How is this a philosophy?” They may identify as weaknesses, what this
philosophy does not do. For example, this philosophy does not offer a defined set of
instructions, guides or rules. It does not prescribe policy. It does not prescribe curriculum.
It does not give preference to specific practices over others. What this philosophy does, is
act as a filter and a catalyst for making choices. These choices may lead to positive
changes in policy, curriculum, practice etc. By offering a filter for choices, based on
openness, this philosophy can, I believe, build courage and resilience in teachers. It creates
a multi-directional web for sharing ideas and knowledge. The perceived weaknesses
identified above, are in fact its strengths. Precisely by not being prescriptive, this
philosophy can be universally applied by all music teachers who are open to the ideas
discussed in this paper.
Openness: A Music Education Philosophy - Gerard Dutton 19
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