Aesthetic Music Educatin and the Influence of Bennett Reimer Essay

An explicit concept since the belatedly 1950s, aesthetic discipline first developed to provide a unanimous philosophical foundation for music teaching method and continues to evolve as a solid theoretical orientation for current effective practices. Bennett Reimer has contributed much to the discussion and development of the honor of aesthetic education for the teaching and learning of music. Others in music education also support and promote these holy mans and focus on developing an improved understanding for music educators. Some scholars oppose the principles of an aesthetic education, recently demonstrated by David Elliott who favors a praxial philosophy of music education centered on musical comedy performance. The work of Reimer shows an influence of these thinkers and illustrates the essential benefits of a professional emphasis on aesthetics, the branch of philosophy especially utilize to studying the value of the arts.With guidance from aesthetics, music educator s better understand the value of music and its fundamental role within the school political platform. With its introduction, aesthetic education provided an understanding of authentic fundamental characteristics of music not earlierly discussed and support an articulation of those ideas into relevant objectives for teaching and learning. The appearance of Basic Concepts in medicine Education (ed. Nelson B. Henry, 1958) and the college text Foundations and Principles of euphony Education (Charles Leonard and Robert W. House, 1959) promoted the acceptance of an aesthetic-based philosophy as a guiding theoretical foundation. These significant resources encouraged individuals to put their previous intuitions into effective practice using a shared, progressive concept of musical experience and learning. some music educators embraced aesthetic education (and continue to do so) because it reinforced the validity of music study in the school curriculum for reasons intrinsic to the art itself.Reimer emphasizes that we (as music educators) need not establish discipleship to bingle particular person or point of view of aesthetic education. The ideal of music Education as Aesthetic Education (MEAE) does not make it as a particular collection of fixed certainties it supports the attitude that philosophical truths develop and transform as we advance and verify new ideas. Many sources (books, journals, articles, etc.) provide the insig... ...le, J. Scott and Marie McCarthy. Music Education Philosophy Changing Times, Music Educators Journal, 891 (September 2002) 19-26.Reimer, Bennett. Putting Aesthetic Education to Work, Music Educators Journal, 59 (September 1972) 29-33.Reimer, Bennett. Music Education as Aesthetic Education Past and Present, Music Educators Journal, 75 (February 1989) 22-8.Reimer, Bennett. Music Education as Aesthetic Education Toward the Future, Music Educators Journal, 75 (March 1989) 26-32.Reimer, Bennett. Essential and Nonessential Characterist ics of Aesthetic Education, Journal of Aesthetic Education, 253 (Fall 1991) 193-214.Reimer, Bennett. David Elliotts New Philosophy of Music Education Music for Performers Only, publicize of the Council for Research in Music Education, 128 (Spring 1996) 59-89.Reimer, Bennett. A Philosophy of Music Education, third edition, (Upper Saddle River, NJ Prentice Hall, 2003).Schwadron, Abraham. Some Thoughts on Aesthetic Education, Music Educators Journal, 562 (October 1969) 35-6, 79, 81-5.Schwadron, Abraham. Are We Ready for Aesthetic Education, Music Educators Journal, 602 (October 1973) 37-9, 87-9.