In the second chapter of the book “Making Sense of Music,” Foundations for Music Education by Colin Durrani and Graham Welch, by Salaman (1997), ‘composing’ focuses on how teachers should act as senior learners. With no doubt, this aspect implicates that learning starts and ends at death by default. Notably, when teachers acknowledge their uncertainty or ignorance, it does not mean that they are diminished. As a result, it implies that they can only be diminished if they consent to or accept their uncertainties. It is more beneficial when both teachers and learners exchange ideas. In this case, it should be noted that the teacher is a senior learner who plays a vital role in ensuring that there is a keen sense of exploring the aspects that must be diverted, maintained, and activated as an element of the learning process. As a result, this paper reflects how teachers are supposed to act as experts, advisors, facilitators, and guides in musical development.
I concur with the aspect that teachers are supposed to be knowledgeable. Indeed, there is supposed to be an emphasis that argues that knowledge is supposed to be defined sharply. Both learners and teachers should continue learning because it is a vital element of human life. As a result, teachers are expected to gain more knowledge than their students in their pleasure and understanding of music. What is more intriguing is that, traditionally, the image of musicians and composers is said to be that of an intellectually gifted individual. Composing is taken as a cerebral exercise inspired by God, poetry, or a walk alongside the seashore. I wonder whether one can pray for inspiration to become a musician or a composer. Can we detract from these earlier thoughts about music as it is seen by the geniuses who played a significant role in contributing to the world’s music? Is it possible to move away from the image of these composers and focus on the composing process?
It is interesting to note that music education has been failing many students in the past years. A significant number of these students have managed to reach a milestone through their education and have managed to become primary school generalist teachers, amongst other important roles. The musical education administered has been affirming to the specialists and created an elitist nature that relies on the reach of information and skills through practical involvement and expense. Despite that, I feel that in those areas where learners are into music, the established curriculum in those areas has significant creative aspects. I accept the idea that music is a practical subject, and that is why those who manage to compose and perform it are more likely to have a significant response to music and have more understanding than those who do not. I believe that the aspect of practicality in music embedded in most secondary schools is creating a more positive approach to secondary school music.
One of the key significant ideas is that the GCSE has a wide range of emphasis on creative work and music styles. This curriculum creates the differences noted between primary and secondary schools. As a result, music is supposed to be developed as an art form and, hence, a creative subject. Schools need to emphasize the structure of musical education, and singing should not be the only musical activity in the system. The development of music as art requires an approach that teaches music as an art form, just like the other art subjects. In this case, creative exploration should be emphasized using musical materials. Children should be involved in the creative use of visual art materials and the use of language. More focus on the kids’ natural interests should be emphasized at the start of the lessons, and the knowledge should be acquired through feelings. The nature of creativity emphasizes creating personal work rather than copying the works of others.
The inspiration for imaginative skills comes from personal experiences. Notably, students should explore their written and oral culture and use words when composing stories and poems. In this case, it should be noted that considering reflection, originality, and imagination is essential in creating new pieces of work. Indeed, primary school teachers should be confident when exploring creative music aspects and ensure that the subject is approached similarly to language arts, drama, and art. Early childhood musical development starts from the beginning of life when exposed to sound. The learners are enabled to make sense, structure, perceive, and ultimately create a sound environment.
The importance of music to our daily lives indicates that it is supposed to be encouraged in schools like the other creative subjects. It is an aspect which can be applied in children by allowing them to experience a range of sounds through their environment to come up with their uses and causes. It is interesting that when I look at the world’s cultures, it shows that music is a necessity of everyday life, and that is why I can employ music in reflecting my life like poetry, drama, and art.
Reference
Salaman, W. (1997). Making Sense of Music. Foundations for Music Education by Colin Durrani and Graham Welch. London: Cassell, 1995. No price supplied, 135 pp. British Journal of Music Education, 14(2), 187-189. DOI:10.1017/S0265051700003636