Why Music?

Symposium 43 answer, because I believe that is the appropriate posture to be taken in a time of multiplicityofstronglyargued and defensible beliefs. Three ofthose I invited responded-Wayne Bowman, Tony Palmer, and Tom Regelski-witii excellent suggestions, critiques, and alternatives. I thoroughly enjoyed my lengthy correspondence with them and I incorporated their ideas as much as I was able. The result ofthis representation of philosophers other than myselfwas a more solid paper and for this I am deeply beholden to mem. It was ajoy to share and debate ideas withprofessionals of their sterling caliber, a pleasure not available to me until only fairly recently. Writing the paper was difficult for me, being so aware of the various interests in and concerns about it. I struggledto simplify it, going over it word by word in a numberofrevisions and polishings, trying hard to express my ideas authentically but accessibly. It is so much easier when simplywritingapaperonechooses to write, whether at the level of Philosophy of Music Education Review orMusicEducatorsJournal, or whatever, rather than one that felt like it was occurring in a fish bowl. The intensity of the effort was wearing and I was glad when the deadline came andI had to call it quits and submit it. Each ofthe authors was assigned a session at the MENC national convention (Washington D.C., March, 2000) to present his/her paper. I decided instead to invite the three philosophers who had responded to me to present their views, so as to make available a variety ofalternatives to my own, given the many ways the question of music's values canbe answered. I ampleasedthat their voices will be heard again in this issue of PMER. From such sharing of viewpoints about our fundamental issues we all emergewiser, more broadly based, and more able to provide useful philosophical guidance to our profession. Why Music? Anthony J. Palmer The question, "Why do humans value music ?" is stimulating and ofmore than philosophical importance. The answer lies at the deepest recesses ofhuman existence and should affect the way music is viewed as a subject for study in the public schools. Yet, the question is not easily answered. I've been studying the matter since I started teaching some forty years ago and I'm barely at a stage where I have a small inkling. Perhaps that is myshortcoming. Nevertheless, I'll try to give my view now, realizing that it can be no more than some conjectures, a postulation or two, some guessing that is hopefully cogent and intelligent, and perhaps even an insight that may be further realized in the process of writing this answer. The extrinsic values of music are sufficiently knownto engender little argument. We all know ofthe self-esteem, self-discipline, and other personal qualities that engagement in music can offer, although these remain to be shown as an exclusive property of musical study. Moreover, the new craze ofmusic affecting intelligence has yet to be proved as a cause, rather than a simple correlation, despite commercial advertisements and other vested endorsements ofthe idea. Musical activities also help to establish community bonds. Witiiout a marching band, a parade is more like an airless balloon. Without taps, a veteran's observance has less meaning. Religious events take on greater significance when text is sung rather than spoken. In many cultures, the sung word has power that the spoken word lacks. Music serves well in advertising, in setting a context conducive for social intercourse, in marshaling troops to go into battle, and in pacifying schizophrenics. Without musical support, movies and omer projects would be less effective in delivering the emotional impact of the visual scene. In education, we need to take into account all the ways that music has been used throughout the history of humankind if the student is to realize its importance to me individual and the 44 Philosophy of Music Education Review culture. Conversely, students should engage in music in listening, understanding, relating to music as a member of a group or sub-group, performing, and creating simply for the joy of musical participation, however one might participate in a musical process. Creativity, after all, is not without considerable merit. There are deeper reasons...