Music Education, Aesthetics, and the Measure of Academic Achievement
Author(s)
Karl Madden,
David Orenstein,
Alexei Oulanov,
Yelena Novitskaya,
Ida Bazan,
Thomas Ostrowski,
Min Hyung Ahn
ABSTRACT
Grades and test scores are the traditional measurement of academic achievement. Quantitative improvements on standardized scores in Math/Science/Language are highly-coveted outcomes for meeting accreditation standards required for institutional program funding. Music and the Fine Arts, difficult to assess by traditional academic achievement measurement, and often devalued as so-called “luxury” subjects, struggle for necessary funding. Showing measureable collateral value to other academic subjects—such as math—in order to justify music program funding is dubious. To objectify the purpose of music education in terms of its influence on other subjects is to overlook aesthetic value. The scholarly literature recognizes an historical tendency to correlate music activities and aptitude to other subjects (and to intelligence in general), but quantitative cause-effect claims are not supported scientifically. Music participation from childhood helps build productive, well-socialized, excellent people, but to quantitatively trace the cause to music itself remains unproven. To recognize the benefits of music and the arts by aesthetic merit involves practical, holistic views of education not based on quantifiable test scoring.
Grades and test scores are the traditional measurement of academic achievement. Quantitative improvements on standardized scores in Math/Science/Language are highly-coveted outcomes for meeting accreditation standards required for institutional program funding. Music and the Fine Arts, difficult to assess by traditional academic achievement measurement, and often devalued as so-called “luxury” subjects, struggle for necessary funding. Showing measureable collateral value to other academic subjects—such as math—in order to justify music program funding is dubious. To objectify the purpose of music education in terms of its influence on other subjects is to overlook aesthetic value. The scholarly literature recognizes an historical tendency to correlate music activities and aptitude to other subjects (and to intelligence in general), but quantitative cause-effect claims are not supported scientifically. Music participation from childhood helps build productive, well-socialized, excellent people, but to quantitatively trace the cause to music itself remains unproven. To recognize the benefits of music and the arts by aesthetic merit involves practical, holistic views of education not based on quantifiable test scoring.
Cite this paper
Madden, K. , Orenstein, D. , Oulanov, A. , Novitskaya, Y. , Bazan, I. , Ostrowski, T. and Ahn, M. (2014) Music Education, Aesthetics, and the Measure of Academic Achievement. Creative Education, 5, 1740-1744. doi: 10.4236/ce.2014.519194.
Madden, K. , Orenstein, D. , Oulanov, A. , Novitskaya, Y. , Bazan, I. , Ostrowski, T. and Ahn, M. (2014) Music Education, Aesthetics, and the Measure of Academic Achievement. Creative Education, 5, 1740-1744. doi: 10.4236/ce.2014.519194.
References
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http://dx.doi.org/10.1037/a0031624 [2] Brattico, E., & Jacobsen, T. (2009). Subjective Appraisal of Music. Annals of the New York Academy of Sciences, 1169, 308-317.
http://dx.doi.org/10.1111/j.1749-6632.2009.04843.x [3] Catterall, J. S., Chapleau, R., & Iwanaga, J. (1999). Involvement in the Arts and Human Development: General Involvement and Intensive Involvement in Music and Theatre Arts. In E. B. Fiske (Ed.), Champions of Change: The Impact of the Arts on Learning (pp. 1-18). Washington DC: Arts Education Partnership and President’s Committee on the Arts and Humanities.
http://artsedge.kennedy-center.org/champions/pdfs/ChampsReport.pdf [4] Cuesta, J. (2011). Music To My Ears: The (Many) Socioeconomic Benefits of Music Training Programmes. Applied Economics Letters, 18, 915-918.
http://dx.doi.org/10.1080/13504851.2010.517187 [5] Hodges, D. A. & O’Connell, D. S. (2005).The Impact of Music Education on Academic Achievement. In M. Luehrsen (Ed.), Sounds of Learning: the Impact of Music Education (pp. 21-33). International Foundation for Music Research.
http://performingarts.uncg.edu/mri/research-areas/_files/solproject_final.pdf [6] Meyer, L. B. (2001). Music and Emotion: Distinctions and Uncertainties. In P. N. Juslin and J. Sloboda (Eds.), Music and Emotion Series in Affective Science (pp. 341-360). New York: Oxford University Press. [7] Morrison, S. (1994). Music Students and Academic Growth. Music Educators Journal, 81, 33-37.
http://dx.doi.org/10.2307/3398812 [8] Pannese, A. (2012). A Gray Matter of Taste: Sound Perception, Music Cognition, and Baumgarten’s Aesthetics. Studies in History & Philosophy of Biological &Biomedical Sciences, 43, 594-601.
http://dx.doi.org/10.1016/j.shpsc.2012.03.001 [9] Patel, A. D. (2008). Music, Language, and the Brain. New York: Oxford University Press. [10] Salimpoor, V. N., & Zatorre, R. J. (2013). Neural Interactions that Give Rise to Musical Pleasure. Psychology of Aesthetics, Creativity, and the Arts, 7, 62-75.
http://dx.doi.org/10.1037/a0031819 [11] Schäfer, T., & Sedlmeier, P. (2010). What Makes Us Like Music? Determinants of Music Preference. Psychology of Aesthetics, Creativity, and the Arts, 4.4, 223-234.
http://dx.doi.org/10.1037/a0018374 [12] Schellenberg, E. G., &Weiss, M. W. (2013). Music and Cognitive Abilities. In D. Deutsch (Ed.), The Psychology of Music (3rd Ed., pp. 499-550). Amsterdam: Elsevier.
http://dx.doi.org/10.1016/B978-0-12-381460-9.00012-2 [13] Schellenberg, E. G. (2006). Exposure to Music: The Truth about the Consequences. In G. McPherson (Ed.), The Child as Musician: A Handbook of Musical Development (pp. 111-134). Oxford, UK: Oxford University Press.
http://dx.doi.org/10.1093/acprof:oso/9780198530329.003.0006 [14] Southgate, D. E., & Roscigno, V. J. (2009). The Impact of Music on Childhood and Adolescent Achievement. Social Science Quarterly, 90, 4-21.
http://dx.doi.org/10.1111/j.1540-6237.2009.00598.x [15] Vaughn, K. (2000). Music and Mathematics: Modest Support for the Oft-Claimed Relationship. The Journal of Aesthetic Education, 34, 149.
http://dx.doi.org/10.2307/3333641
[1] Brattico, E., & Pearce, M. (2013). The Neuroaesthetics of Music. Psychology of Aesthetics, Creativity, and the Arts, 7, 48-61.
http://dx.doi.org/10.1037/a0031624 [2] Brattico, E., & Jacobsen, T. (2009). Subjective Appraisal of Music. Annals of the New York Academy of Sciences, 1169, 308-317.
http://dx.doi.org/10.1111/j.1749-6632.2009.04843.x [3] Catterall, J. S., Chapleau, R., & Iwanaga, J. (1999). Involvement in the Arts and Human Development: General Involvement and Intensive Involvement in Music and Theatre Arts. In E. B. Fiske (Ed.), Champions of Change: The Impact of the Arts on Learning (pp. 1-18). Washington DC: Arts Education Partnership and President’s Committee on the Arts and Humanities.
http://artsedge.kennedy-center.org/champions/pdfs/ChampsReport.pdf [4] Cuesta, J. (2011). Music To My Ears: The (Many) Socioeconomic Benefits of Music Training Programmes. Applied Economics Letters, 18, 915-918.
http://dx.doi.org/10.1080/13504851.2010.517187 [5] Hodges, D. A. & O’Connell, D. S. (2005).The Impact of Music Education on Academic Achievement. In M. Luehrsen (Ed.), Sounds of Learning: the Impact of Music Education (pp. 21-33). International Foundation for Music Research.
http://performingarts.uncg.edu/mri/research-areas/_files/solproject_final.pdf [6] Meyer, L. B. (2001). Music and Emotion: Distinctions and Uncertainties. In P. N. Juslin and J. Sloboda (Eds.), Music and Emotion Series in Affective Science (pp. 341-360). New York: Oxford University Press. [7] Morrison, S. (1994). Music Students and Academic Growth. Music Educators Journal, 81, 33-37.
http://dx.doi.org/10.2307/3398812 [8] Pannese, A. (2012). A Gray Matter of Taste: Sound Perception, Music Cognition, and Baumgarten’s Aesthetics. Studies in History & Philosophy of Biological &Biomedical Sciences, 43, 594-601.
http://dx.doi.org/10.1016/j.shpsc.2012.03.001 [9] Patel, A. D. (2008). Music, Language, and the Brain. New York: Oxford University Press. [10] Salimpoor, V. N., & Zatorre, R. J. (2013). Neural Interactions that Give Rise to Musical Pleasure. Psychology of Aesthetics, Creativity, and the Arts, 7, 62-75.
http://dx.doi.org/10.1037/a0031819 [11] Schäfer, T., & Sedlmeier, P. (2010). What Makes Us Like Music? Determinants of Music Preference. Psychology of Aesthetics, Creativity, and the Arts, 4.4, 223-234.
http://dx.doi.org/10.1037/a0018374 [12] Schellenberg, E. G., &Weiss, M. W. (2013). Music and Cognitive Abilities. In D. Deutsch (Ed.), The Psychology of Music (3rd Ed., pp. 499-550). Amsterdam: Elsevier.
http://dx.doi.org/10.1016/B978-0-12-381460-9.00012-2 [13] Schellenberg, E. G. (2006). Exposure to Music: The Truth about the Consequences. In G. McPherson (Ed.), The Child as Musician: A Handbook of Musical Development (pp. 111-134). Oxford, UK: Oxford University Press.
http://dx.doi.org/10.1093/acprof:oso/9780198530329.003.0006 [14] Southgate, D. E., & Roscigno, V. J. (2009). The Impact of Music on Childhood and Adolescent Achievement. Social Science Quarterly, 90, 4-21.
http://dx.doi.org/10.1111/j.1540-6237.2009.00598.x [15] Vaughn, K. (2000). Music and Mathematics: Modest Support for the Oft-Claimed Relationship. The Journal of Aesthetic Education, 34, 149.
http://dx.doi.org/10.2307/3333641