Teaching Philosophy

Music plays an integral part of our lives. Despite this, walking into a music classroom can be one of the most nerve-racking experiences for those who have not been ‘classically’ trained, or for those whose confidence in their musical abilities wavers. Having my own personal experiences with self-inadequacy in the music classroom, I strive to make the learning experience of music welcoming, judgment-free, and open to all no matter what level of training they have had or lack thereof. The deep understanding of music that comes along with academic coursework benefits all levels of music listeners and students of all different disciplines. It engages critical aural comprehension as well as writing skills, offering a breath of knowledge from creativity to mathematical precision, and from cognitive perceptions to historical and social contextual considerations. All students are welcomed in the music classroom and are encouraged to learn, explore, question, and grow.

I always envisioned myself as an educator in some capacity, but never a music educator. Originally attending college for the STEM fields, I pursued music coursework out of sheer curiosity. But that is the beauty of the liberal arts education system: exploring classes and fields inquisitively for the sake of trying something new, and discovering ideas and concepts you did not previously know. While many of the classes I may teach are specifically geared towards music students, I encourage other students to take the entry level courses. I make sure these classes are specifically geared towards those curious minds seeking to better understand the music and sounds they are not sure why they enjoy so much.

This mindset is not only applicable to the classroom setting, but also one I hope students take with them outside the classroom and apply to their day-to-day lives. I hope they continue to explore and indulge in their curiosity, constantly questioning the world around them. In addition, the discipline and creativity of a music education are both valuable skills applicable to any job market or discipline. The ingenuity of music composition, the critical analytics of music theory, the humanity within the history, and the dedication to practice the same thing over and over again shapes a well-rounded individual equipped for success in any aspect of the world.

My teaching style is largely interactive. I believe fostering discussions is a more useful educational strategy then classical lecture pedagogy. Opening a dialogue not only between the student and professor, but also between the students themselves fosters an open learning environment. The students receive a deeper understanding of the topic by being able to discuss the material in conversation. Furthermore, I like to include aspects of students’ own musical interests and passions. While understanding the music theory mechanisms and historical contexts of the standard music cannon is important, it is equally as important to allow students to apply those same theories to the music they are passionate about. Students realize works of the past are related to contemporary genres working with music of personal interest.

An educator must be flexible to different types of learning and to students who learn at varying speeds. I aim to be as available outside the classroom as within it; I believe the learning process is a continuous one and does not stop at the classroom door. Through office hours, review sessions, and additional tutoring, I provide the necessary support for my students in order to be conducive to their success both in and out of the classroom. I also acknowledge different learning personalities aligned with Gardner’s theory of multiple intelligences, and aspire to include all levels of learning personalities— not only the strictly musical ones. To name a few examples: viewing scores, MIDI files, and DAW worksheets could aid a spatial learner; studying lyrical elements could aid a linguistic learner; and group presentations may aid the interpersonal learner. Above all, however, I strongly believe that in studying music we still need to tie in the aural aspect of the art and not just study it in the abstract. For this I try to always provide audio examples as well as various techniques for students who may not be able to play the music being studied.

In regards to supporting creative minds, I believe it is critical that educators stay objective in terms of their musical opinions and tastes. Whether it is fostering a student’s compositional techniques, or supporting a student’s scholarly research activities, it is not up to the educator to push their own musical agenda onto their students. I make sure my personal taste does not interfere with my abilities to cultivate skill, technique, and knowledge in students. Every individual has their own musical voice and interests, and it is the educator’s responsibility to foster and promote growth within their student’s own personal voice. It is our duty to introduce students to music of the past, the different techniques used, and wealth of knowledge one can learn from studying music. With this, students can go on to make their own informed decisions with a much deeper understanding of their choices.

My high school music theory teacher said on the first day of class: “I hope everyone is ready to view music differently, because after this class you will never listen to music the same way again.” This class shifted how I listen to music, and the theory still positively affects me today. I hope to be able to inspire that same level of curiosity and knowledge to my students, to transform them from passive listeners to active listeners, and to question the theoretical, analytical, historical, and human aspects of music.

-Carle Jordan Wirshba