Mark, M. (Ed.). (1982) Historical Progression of Music Education. New York, NY: Routledge.
The six selected passages from Michael Mark's Music Education Source Readings from Ancient Greece to Today include exerpts from the ancient Greek philosophers Plato and Aristotle, the early European ruler Charlemagne, revolutionary priest and musician Martin Luther, the 16th century French educator and protestant reformer John Calvin, and the progressive 18th century Swiss educator Johann Heinrich Pestalozzi. As the selected passages grow more and more modern, the rhetoric surrounding the purpose of music and music as an educational and social tool changes dramatically. Plato and Aristotle, hundreds of years before Christ, view music education as a way of enlightening and "purgating," or purifying, young members of the upper class as well as adapting musical performances for both the educated upper class and the second class with minds "perverted from the natural state" who are incapable of enjoying music more complex than they. For a long period in Europe, music was thought of primarily as an educational tool for religious purposes, helping to inspire faith and pass on teachings. Later, in the mid-18th century, Pestalozzi worked for access fine arts and fine arts education for common people, as a way of elevating them and advancing social and educational equality through opportunity.
My chief understanding of this collection of readings is that no matter the time period, no matter the focus placed on music and music education during that time period, the undertone was always inelevating the students of the music to be greater. Whether they were to be greater members of the imaginary Plato's Republic, of the Catholic church, or greater in singular merit, a universal theme was that music education improves those who take part in it. Plato, quoting Socrates in the first passage, put it perfectly: "By this means [learning music] they become more civilized, more balanced, and better adjusted in themselves and so more capable in whatever they say or do, for rhythm and harmonious adjustment are essential to the whole of human life." Thus, in order to ensure the proper survival and success of music education in our present world, these ideas must be conveyed by music educators - both explicitly and through demonstrative curricula. For example, a rehearsal lesson surrounding any piece of music could include elements of discussion surrounding how, for the students, different parts of the music relate to their own emotions. In order to continue the honored history of music education, we must continually teach music for its own sake, as well as the sake of our students.
Questions:
To a music history expert: what were the details of the roll-out of Pestalozzi's methods in the United States that were alluded to in his introductory paragraph?
To a Ancient Greek history expert: How can Plato decry art as a potential means of toppling his Republic (not in the Mark selected reading), and in the same text laud music as a way of purifying and uplifting its citizens and the society as a whole? Is this not a gross contradiction?