Attitudes in Music Education

8/3/2019 Attitudes in Music Education

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A report by:

Arielle Baltazar Estefani

II-17 BSE Music Ed.


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One of the most important goals of music

education is the development of positive

attitudes towards music.A teacher can win the battle but lose the

war: if the students are taught cognitive

knowledge and listening skills but end

up disliking music and avoidingwhenever they can.


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II. How attitudes are formed?II. How attitudes are formed?

y Process of association and reinforcement

y The idea of When in Rome, do whatRomans do.

y Consistency in what they encounter

y Feelings towards ones country


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III. Factors affecting attitudeIII. Factors affecting attitudeformationformation

y Family/early contacts

y Teachersy Friends


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IV. Music Instruction and AttitudeIV. Music Instruction and AttitudeFormationFormation

yAttitudes are caught, not taught.

y Limited opportunities to influencestudents.

y Familiarization and comparison


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V. Creativityy Factors (J.P. Guilford)

y Fluency

y The ease with which people can make associations of words or ideas.

y Flexibility

y Involves changing procedures to solve a problem.

y Originality

y A trait involving the ability to think in unusual ways, to see

relationships that others have not seen, and to think of new anddifferent uses for ideas and objects.

y Divergent thinking

y Barron (1969)


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V. Creativityy Four traits of creative persons (John Gardner)

y Openness

y A receptivity to all the sights, sounds, and ideas that oneencounters and to ones own inner feelings.

y Independence

y The ability to be free from social pressures and to questionassumptions

y Flexibility

y The willingness to try ideas and the ability to tolerate internalconflict and to suspend final judgment.

y Capacity to find order in experience


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y Stages in creative behavior (Margery Vaughan)y Acquisitional/precreative

y Basic information and skills are acquired and assimilated.

y

Combinationaly Ideas are shuffled and alternatives considered.

y Developmentaly Insights and intuitions bring forth significant new ideas

y Synergisticy Creative efforts combine with needs and desires of the society


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y Major aspects of the creative process (Sylvia Farnham-Diggory)y Intuition of an order

y

An organization of elements is possible.y Combinational play and self-testing

y Trial organizations are attempted.

y Styles of orderingy Refers to as puzzle forms by Jerome Bruner.

y Virtually, every creative effort contains large doses ofexisting ideas and practices.


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y In Websters model, theword imagery refers to

the ability to imaginevarious aspects of soundsin the mind.

y The box in the center of

the figure presents thestages involved in thecreative process asWebster envisages them.

Websters Model ofcreative thinking in music.


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Plain hard work

10% talent, 90% perspiration

Right place at the right time Personality and the age in which the person

lived

Technological or cultural developments


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VIII. VALUES OF CREATIVITY

Allows and encourages individuals to try out

their own musical ideas.

Provides motivation.

Lets the students learn music better.


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IX. Fostering Creativity

It is not unreasonable to argue thatcreativity is fostered best when people aresubject to restrictions and demands.

Structure (or restrictions, depending onhow you want to look at it) is not harmful tocreativity, and in fact may contribute to it.

Creative efforts appear to be more a matter

of a mental inclination and outlook than ofa technique, although techniques arecertainly desirable.


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IX. Fostering Creativity

Creativity in music is largely an

individual matter.

It is the establishment of the right

atmosphere that appears to be more

significant.


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The interactions of individuals with

society have an important impact on the

culture, when in turn affects the efforts ofmusic teachers. If there are no attitudes

or self-images, no conformist behavior, or

no competitive situations, music teachers

would find their work very different fromwhat it is today.


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Because music teachers can build on

some of these social psychological

factors, and because in other instancesthey can reduce the detrimental effects

of other factors, music educators would

be more effective in their planning and

teaching if they applied informationdrawn from social psychology.


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Foundations of Music Education

By Harold F. Abeles, Charles F. Hotter,and

Robert H. Klotman

Attitudes in Music Education

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Transcript of Attitudes in Music Education