The Music Education Forum

Where Words Fail

In America’s public school systems, students have the opportunity to learn what they need in order to grow into successful young adults. Of course, this standardized education will include social skills, reading and writing, math, science, history, maybe even a world language, but what about music? Since before recorded history began, music, whether in the form of fully orchestrated masterworks or simple children’s songs, has been an integral part of human society and culture. It is a means of communication unique in its ability to provoke not only the mind, but the soul. Scientists and anthropologists have speculated that music was an important part of human culture long before the agricultural revolution, which sparked society as we know it (Barras). Thus, music is deeply intertwined with psychology and culture because it is not merely an invention by or a tool of humanity—it is an innate facet of humanity itself. Unfortunately, when public education systems in the U.S. face budgetary deficits due to lack of state or community funding, music classes are some of the first programs to be eliminated. In our recent political and economic climate, cuts to federal spending have been pushed, especially when concerning public schools. An estimated 80% of public school districts have cut funding since 2008 (Boyd).

The devaluation and nearly reflexive defunding of music within schools is harmful to young students, because music both fosters and enriches early childhood development. If music programs in American public education systems, especially elementary schools, were to be not only adequately funded but cohesively incorporated into curricula, students would benefit academically, socially, and emotionally. Music is a multisensory activity; playing an instrument engages multiple senses and portions of the brain at once (Kar), which helps young children to develop more robust cognitive skills, yielding long-term benefits. Because music is so connected to our daily lives, its integration into academic subjects such as math and English would facilitate learning through cultural connections. Since music is also a form of self-expression, similar to the fine arts, its study improves the comprehension of social and emotional concepts, making these complex matters more accessible to young minds. If large-scale changes were to be made across U.S. school districts over the next ten years prioritizing music curricula in primary education (kindergarten through eighth grade), students would benefit greatly from the enhancement of their educations through music’s academic, cultural, and social aspects.

Regardless of one’s stance on the need for music education, one must concur that the core classes—English, math, science, and history—take precedence and should be prioritized over less critical subjects like music and art classes. Time and resources should not be diverted from “real classes” in favor of  “extras,” but this point is moot, as cornerstones of education like math will never be removed. Though resources are finite, allocating a fraction of a school’s budget to pay for instruments does not necessitate the defunding of other classes. Alternatively, the problem of budget constraints on music programs could be solved through a heavier federal emphasis on the arts, and through grants made possible by organizations like the National Endowment for the Arts. The NEA receives federal funding to support the arts but has recently come under fire in a new Fiscal Year 2019 budget proposed by the President of the United States, which will completely eliminate it and similar institutions for the fine arts (National Endowment for the Arts). Though the NEA funds a variety of community art and music programs, not just those concerning music in public education, its presence is nonetheless relevant to the upholding of music programs in U.S. school districts, for when a community experiences change, its schools will soon follow suit.

It could also be argued that if students want music to be a part of their lives, they should just participate in music programs outside of school, and all musical education should be accessed through private funding and institutions. Arguing for music education to take place outside of school, however, is inadequate, particularly for low-income communities. Although core classes are important, education should include more than the bare minimum as it is meant to prepare students for the future just as much as it is to impart knowledge (Boyd). Additionally, many students who wish to study music may be unable to do so in an environment outside of their schools because they lack the time or money to devote to something they could do in school without such limitations. When analyzing public education, it is imperative to view the issue through the lens of socioeconomic class, for the funding for education is taken from income or property taxes levied on the community instead of being funded by the state or federal government. This means that funding is not redistributed equally between school districts, so schools in high-income communities receive far more funding than schools in low-income communities. According to a survey sponsored by the U.S. Department of Education, 97% of the elementary schools in areas with the lowest poverty concentration offered music classes, whereas only 89% of the elementary schools in areas with the highest poverty concentration did. Of those schools, it was found that 84% of low poverty schools had dedicated music classrooms with instruments and other equipment, but only 65% of high poverty schools had the same facilities (U.S. Department of Education). When taking both measures into account, about 81.5% of low poverty elementary schools had music programs with classrooms and equipment, while only about 58% of the high poverty did. The disparity between the two is shockingly large, illustrating the issues with current funding systems. This could be solved in part by the use of federal grants which would give more to low income schools so as to counteract their disadvantage in terms of music education funding.

Studying music substantially improves students’ cognitive skills in both long and short term areas, especially when musical training begins before age eight (Kar). The brain, similar to a muscle in the body, grows (or more accurately, forms neural connections) when put to use. Listening to and playing music engages many areas of the brain such as those concerning memory, language comprehension, auditory processing, visual interpretation, motor control, touch perception, and problem solving (Sachs). For example, when playing a violin in an orchestra, one must read sheet music, remember reinforced technique, play sequences of distinct notes by pressing lengths on the strings with the left hand while moving the bow along them with the right, listen to the instrument’s sound as well as the ensemble’s, watch the conductor for cues, and think to adjust for any intonation problems, all at once. Exercising these skills in tandem strengthens not only the individual areas of the brain that correspond, but the connections between them, which translate into task-switching ability and neuroplasticity in everyday life (Sachs). Between age six and eight, children’s minds experience a massive growth spurt, during which musical training is most efficacious, with the ability to permanently improve the cognitive function (White-Schwoch). Playing music also increases children’s verbal skills, which affect vocabulary and language, and spatial-temporal skills, which contribute to math fundamentals. Such effects of music on the brain can be seen in children’s test scores, which show that after just a few months or a year of music lessons, academics and critical thinking skills will improve. In 2007, a study conducted by Christopher Johnson found that students enrolled in elementary schools with superior music programs scored 22% higher in English and 20% higher in math sections of standardized tests when compared to schools with lower quality music programs (Brown). Similarly, analysis of SAT scores from 2012 revealed that students involved in music programs scored 31 points above average on reading and writing, and 23 points above average on math (“Music Education and Academic Achievement”). Both of these findings are somewhat exaggerated because of the correlation between access to music and access to better funded education, which also boosts test scores. However, there is still a clear advantage which musicians have on these tests after other variables have been taken into account. This can be attributed to the aforementioned verbal and spatial-temporal skills, as well as the increased concentration abilities, that come with music education.

In addition to furthering students’ cognitive development, the presence of music in education will improve academic classes themselves. Because music is so connected to our lives and the way we think, feel, and understand ideas, it can be utilized as another way to teach our children. Incorporating music when teaching core subjects can help students learn and retain information more efficiently and effectively. In recent years, teachers have made efforts to tailor their teaching methods to suit students’ individual learning styles (U.S. Department of Education), and the integration of music into lesson plans could do just that. In fact, some things are already taught in schools using music to reinforce information and concepts. When preschoolers are first learning the alphabet, they do so through song, which is no coincidence; because music is so instinctive, people can retain information far more easily when it is related to song. Countless examples of this phenomenon can be seen in the tools American students use to study, from conjugation songs used in language classes to the Chinese Dynasties Song (to the tune of Frère Jacques) upon which many AP World History students rely. If just adding a few children’s songs to the way classes are taught can facilitate learning and strengthen memory so well, one can only imagine the positive impacts on students whose curricula include even more musical aspects.

Music is not just tied to our psychology and learning abilities, but to our very history (Hill). For centuries, music has been a direct indicator of cultural, social, and political developments. This strong connection can be used as a resource to enhance lessons when teaching about said developments. Historians have drawn on this connection when analyzing the changing attitudes within societies, from the boom in music’s complexity and freedom following the Renaissance, to the politically charged protest songs written during the Cold War era. During the Renaissance, when society became more secular and humanist in its attitudes and the fine and liberal arts grew to be a part of the “Renaissance Man” ideal, composers had more freedom in their work. European music had previously been limited to chants used in church services, but because music directly reflects the culture from which it comes, music in the Renaissance developed in complexity continuing into the Baroque Era (Palisca). To help students contextualize historical developments like this, a history teacher may find success in playing the music which relates to it as an example. Many more examples of this exist just in U.S. history (Hill). Music can be used when illustrating the mentalities present during the American Revolutionary War (Yankee Doodle), the Trans-Atlantic Slave Trade (gospels and spirituals), and the Vietnam War (protest songs). Many songs, both classical and contemporary, have lyrics with poetic structure, and could easily lend themselves to English classes studying poetry. Moreover, being able to read a poem in class and then listen to a musical setting of it would help students analyzing the nuances of the language, which music tends to amplify.

When students are given the opportunity to learn music and perform in school ensembles, typically band, chorus, or orchestra, they can gain important life skills, similar to those one would gain from playing on a school sports team. These include communication, work ethic, and collaborative social skills. Playing in an ensemble with others encourages students to build friendships and a strong sense of community fostered by the team efforts required to make music come together (Boyd). When rehearsing pieces of music in class, students must work together, identify problem areas, think critically about how to fix them, then communicate and execute a solution. This daily occurrence in music classes provides a real-world application of many important social skills, setting students up for success in future professional environments.

As enchanting as higher test scores, more productivity, and heightened neuroplasticity may sound, music should not be pushed as a mere tool to satisfy our increasingly achievement-obsessed society. Music deserves a place in our public education system simply for music’s sake. It is a part of each of us, and can serve to make us more profound individuals. Art, and music by extension, is a form of self-expression—a direct communication of our emotions. Music is powerful; listening to specific traits in music can cause a person to feel vast emotions because people have evolved to perceive music as a manifestation of emotion itself. When young students, who may still be learning how to process emotions, are exposed to music within their educations, they may be more equipped to deal with complex emotions (Brown). As was stated previously, music and culture are connected in many ways, and this connection can be vital in bringing different groups of people together as one in our diverse society. Listening to and enjoying music from foreign cultures can expand worldview and give insight to the different cultural experiences other students have.

In a nation still recovering from the economic recession of 2008, and possibly facing new political/fiscal challenges in the presidential terms to come, the future of music education certainly looks bleak. However, there is still hope for a future in which music is properly funded and valued within our children’s educations. Unfortunately, organizations like the NEA are prohibited from advocating for themselves to legislators, making the fight against their defunding exponentially more difficult (National Endowment for the Arts). To save these programs, citizens who value the vast contributions they make to music in society and education must speak up on their behalves. The allocation of additional funds to public music programs will enrich children’s educations by providing access to music, which enhances cognitive skills, academics, and social/emotional wellness. To accomplish the aforementioned incorporation of music as a teaching tool, professional development programs (similar to those already in place which teachers attend periodically to update credentials or learn new teaching methods) focusing on the applications of music could be implemented for teachers to learn how to best incorporate music into their normal curricula. If we invest in music education and these changes are put in place gradually within U.S. school districts in the next decade, America’s youth will reap the benefits. A future in which music is a valued part of our public primary schools is a bright one.

Works Cited

Barras, Colin. “Did Early Humans, or Even Animals, Invent Music?” BBC, 7 Sept. 2014, http://www.bbc.com/earth/story/20140907-does-music-pre-date-modern-man. Accessed 17 Sept. 2017.

Boyd, Stacey. “Extracurriculars Are Central to Learning.” U.S News & World Report, 28 Apr. 2014, http://www.usnews.com/opinion/articles/2014/04/28/music-art-and-language-programs-in-schools-have-long-lasting-benefits. Accessed 20 Jan. 2018.

Brown, Laura Lewis. “The Benefits of Music Education.” Public Broadcasting Service, http://www.pbs.org/parents/education/music-arts/the-benefits-of-music-education/. Accessed 23 Jan. 2018.

Hill, Frankie. “Songs of War: The Evolution of Protest Music in the United States.” Harvard Political Review, 14 Mar. 2016, harvardpolitics.com/covers/songs-of-war-the-evolution-of-protest-music-in-the-united-states/. Accessed 22 Jan. 2018.

Kar, Anita. “Early Music Lessons Boost Brain Development.” McGill University, 12 Feb. 2013, http://www.mcgill.ca/channels-contribute/channels/news/early-music-lessons-boost-brain-development-224936. Accessed 17 Jan. 2018.

“Music Education and Academic Achievement.” National Association for Music Education, nafme.org/advocacy/what-to-know/music-education-and-academic-achievement/. Accessed 17 Mar. 2018.

National Endowment for the Arts. http://www.arts.gov/. Accessed 9 Mar. 2018.

Palisca, Claude V. “Music: Music in Renaissance Culture.” Encyclopedia of the Renaissance, edited by Paul  F. Grendler, 2000. World History in Context, link.galegroup.com/apps/doc/BT2354500354/WHIC?u=oakton_e&xid=74a6979d. Accessed 21 Jan. 2018.

Sachs, Matthew, et al. Increased Engagement of the Cognitive Control Network Associated with Music Training in Children During an fMRI Stroop Task. 30 Oct. 2017. Public Library of Science, journals.plos.org/plosone/article?id=10.1371/journal.pone.0187254. Accessed 16 Jan. 2018.

U.S. Department of Education. Arts Education in Public Elementary and Secondary Schools: 1999–2000 and 2009–10. By B. Parsad and M. Spiegelman, Institute of Education Sciences, Apr. 2012. National Center for Education Statistics, nces.ed.gov/pubs2012/2012014rev.pdf. Accessed 17 Mar. 2018.White-Schwoch, Travis, et al. “Older Adults Benefit from Music Training Early in Life: Biological Evidence for Long-Term Training-Driven Plasticity.” The Journal of Neuroscience, vol. 33, no. 45, 6 Nov. 2013, pp. 17667-74, doi:10.1523/JNEUROSCI.2560-13.2013. Accessed 21 Jan. 2018.