Aesthetic education and the practice of music teaching

Abstract

Over the past three decades it has become customary to regard music education as a form of aesthetic education. Recently a number of writers have expressed some objections to this view which they maintain has acquired the status of an accepted orthodoxy. In a healthy educational climate it is right that any orthodoxy should be questioned and aesthetic education has often become the subject of an international debate The purpose of this paper is not to add another voice to that debate but to re-examine the concept of aesthetic education with reference to the teaching and learning of music in educational institutions.Many discussions on this issue become clouded because the term ‘aesthetic education’ is used in different ways and in different contexts In a broad sense the aesthetic is not necessarily associated with the arts and is taken to be a dimension of experience in any discipline; accordingly, aesthetic education is across the curriculum. Most frequently, it implies an education in the fine arts, the aim of which is the development in children of a particular style of thinking or mode of intelligence. A third view arises from the notion of aesthetics as a form of enquiry best described as the philosophy of art; aesthetic education thus conceived involves the study of topics such as artistic meanings, judgements and values.An examination of these different conceptions of aesthetic education raises a number of philosophical and educational issues that have implications not only for the organisation and practice of music education in schools but also for the education and professional development of teachers.

Pengembangan Materi Ajar Seni Budaya Sub Materi Musik pada Sekolah Umum Jenjang Pendidikan Dasar

“…Bentuk musik dapat dibedakan atas tiga macam, yaitu musik vokal, musik instrumental, dan musik campuran dalam konteks pembelajaran tematik di Sekolah Dasar dalam hubungannya pula dengan memasukkan materi lewat bernyanyi atau nyanyian menggunakan lagu-lagu yang sesuai tema pembelajaran menjadi terasa sangat penting perlu dikembangkan dari aspek sisi terwujudnya lagu yang sesuai dengan isi dari materi ajar tersebut. Plummeridge (1999) pemahaman mendasar berkait dengan lagu yang perlu diketahui adalah apa yang dilihat sebagai produk tidak lebih penting dari proses karena sebuah proses berlagu akan berimplikasi pada banyak aspek termasuk aspek masuknya materi ajar dengan cara yang lebih efektif.…”

“…Wujud karya musik dalam praktik pembelajarannya di sekolah selain ditujukan untuk mendapatkan pengalaman estetik siswa, melalui proses berkesenian juga diarahkan untuk menyampaikan pesan pendidikan. Penyampaian pesan pendidikan ini lebih kehubungan dengan pengolahan informasi melalui kegiatan berkesenian (Tomlinson, 2012;Plummeridge, 1999) dan itu yang dipraktekkan dalam pendidikan seni musik pada Pendidikan Dasar saat ini.…”

The Disciplines of Vocal Pedagogy: Towards an Holistic Approach

“…This broad term covers criticism and philosophical aesthetics. The question of the relation of these will be discovered with reference to Osborne (1979), Plummeridge (1999), Kimmel (1992, Sim (1992), Hanfling (1995), Senyshyn (1996) and Rowe (2000). The former concerns an individual's response to a performance; the latter is a second order discipline which analyses the language of criticism.…”

Aesthetics and Education: An ill-matched couple?

“…The debate became fierce and filled with mutual misunderstandings and accusations, which indicated that very important ideological questions were at stake. Some writers intervened, trying to sketch an intermediate position that retains both the music as aesthetic and as a practice (Constantin Koopman, 1998; Charles Plummeridge, 1999). Readers are referred to these clarifying contributions.…”