The Research
Research on the use of music in teaching core subject courses in elementary and secondary education gleans some important and key information based in the science of the adolescent brain. In 2000, Vaughn and Winner conducted a study, which concluded, "students who study the arts in high school have higher SAT scores than those who do not study the arts" (77). However vague this conclusion may be, it did lay the groundwork for more in-depth research on the arts in schools and education. There is sparse scientific research on music in the traditional classroom, but what is out there shows promise and opens the door for more research to be done. It would not be surprising if in the next decade, music incorporation were a highly discussed educational tool. Before questions that arise from existing research can be outlined, a basic understanding of the results of research done is necessary.
An important program that examined arts inclusion with curriculum was the North Carolina A+ School Program from 1995-1999 sponsored by the Kenan Institute for the Arts. The initiative took 25 schools and designed a comprehensive school reform where arts were at the forefront of the math, science, language and social studies teacher’s classrooms. The program was based on Howard Gardner's theory of multiple intelligences and the need for diverse learning opportunities for students. The program specifically implemented the following:
The findings of this elaborate study were that the A+ schools achieved growth in standardized testing of the state of NC compared to other NC schools (Baker, 2013).
Gardner's theory of multiple intelligences comes up in other researcher's endeavors to scientifically examine arts and music in schools. A particularly interesting take on Gardner's theory in the classroom is presented in a discussion between a middle school history teacher in Kentucky, who integrates arts in her classroom, and an educational psychologist. The two discuss the benefits and potential downfalls of using the arts to teach, using the rhetoric of Gardner's theory. The two observed that, "Whatever the area of teaching, different forms are useful in that they give children who learn in different ways a lot of opportunities. Since none of us has a 'pure' learning style, if I learn in a visual way and then repeat the learning process in an audio way, my learning is strengthened. Second, using different forms of representation is useful for interest's sake...last, different forms of representation give students different ways to become involved in their learning" (Groth, 1997).
Researchers and teachers alike seem to observe benefits of using multiple forms of the arts in the classroom, and often base their understandings in Gardner's theory.
So, what about music specifically?
Research shows music has positive correlations with children’s sense of belonging and learning. In 2008, Wilmes, Kohler-Evans and Sumpter’s synthesis of studies revealed that, “Music appeals to emotional, cognitive, and psychomotor elements of the brain, and several studies show a link between music and increased learning. Research indicates that music directly effects pulse rate, blood pressure, the nervous system, and glands of the body. Music can be used for arousal, as a carrier of words, and as a primer for the brain” (27). Music’s physical effects on the body and brain build upon broader research conducted in 2007 by Lynch stating, “When the arts become a vehicle for learning classroom content, the whole child is involved. Children are immersed intellectually, emotionally, physically, and therefore, rigorously, in the learning experience” (37). Lynch’s research further revealed that the arts have supportive implications for learning by allowing for multiple perspectives, creating a safe atmosphere to take risks, demonstrating that learning can be pleasurable, and a natural complement to regular classroom curriculum (36-37). Perhaps Lynch’s research on the arts has applications for the art of music specifically. Further research is still needed in all areas of arts integration, including music. However, we do know that music is a prime and central form of art that people of all ages can relate to in some way. Music not only allows for interpersonal connections, but for people and material to connect, as well.
To look at more narrowed and specific studies of music in the classroom, Integrating Music and Mathematics in the Elementary Classroom by Edelson and Johnson provides some insight on real-life applications of music in the traditional classroom. The work is based on the following, “’Music actively involves students in learning and helps develop important academic skills’ (Rothenberg 1996). By using music to enhance children’s enjoyment and understanding of mathematics concepts and skills, teachers can help children gain access to mathematics through new intelligences (Gardner 1993)” (474). Edelson and Johnson argue musical training or expertise is not required by teachers to successfully integrate it in the classroom. Children can learn to express mathematical ideas like patterns with songs and musical symbols (474). Rhythm instruments, like symbols, can be useful in teaching patterns that students can then transfer to other mediums and use to understand mathematical patterns like the sequence of odd and even numbers (475).
An example of music and sound applied to teaching a variety of core subjects can be found in Integrating Music with Core Subjects (1994). The author, Aaron, suggests integration based on previously established projects for integration in the following ways, “Other core subject topics could be included either with the Wagner project or any Coordinated Sound Composition/Listening Lesson project. These might include science lessons addressing vibration, transmission of sound, amplification, and resonance; math activities relating note value durations to fractions, calculating cycles per second, or using the logarithmic decibel scale; and social studies or arts lessons investigating the structural forms of visual arts works or the artistic trends of the historical time period.” Among other ideas, Aaron presents some noteworthy suggestions and existing projects on music integration.
To provide another specific example, there is value in looking at publications on using music in the social studies. Moats and Poxon present interesting ideas in “I didn’t raise my boy to be a soldier” about the use of sound and music to analyze historical events, cultures, and social trends over history. They discuss using the Library of Congress’ National Jukebox, which was made publicly available in 2011. The website has over 10,000 recordings originally released in the US between 1901 and 1925, and plans to increase its content (291). Moats and Poxon suggest “music can provide a powerful entry point for students to begin investigating difficult topics from the past that may still be controversial in the present” (291). For example, there was a vast increase in American songwriting around World War I, and many of the songs of the time were very influential on public perspective. Listening to songs of the time that were popular can help students perceive public sentiment on World War I, as well as understand how the dynamics of war caused emotion i.e. the draft (291-292). Moats and Poxon provide many interesting case studies that could be used by history teachers in the classroom and center on musical interpretation. Lovorn provides another look at using music to teach the social studies. He writes, “Social studies content is more meaningful to students when they can empathize with the people they study. Such empathy can be fostered via content material that is presented in a relevant, emotional, intimate, and even entertaining manner. Folk music offers this type of creative and constructive approach” (173). Lovorn goes on to say, “Many historic events could not be adequately presented without a variety of perspectives, particularly those of ordinary people” (173).
Music provides children with another outlet to interpret people, things, and society. With resources like the National Jukebox, music can provide this outlet of interpretation for a multitude of time periods and eras. Music and sound can create meaning for students learning when used strategically. You could even incorporate music in student’s analysis of the Star Spangled Banner or the National Anthems of various countries. These musical representations can provide a gateway to critical thinking and higher order learning.
One last piece of research I want to touch on is the use of music in intercultural, bilingual teaching. Paquette and Rieg present research on using music to support English Language Learners that is worth considering. This research builds off of Gardner’s theory, again, and his belief that musical intelligence is the first intelligence that takes form for early learners (228). The research for using music with ELLs is not empirically based as much as theoretically based; primarily looking at examples of real teachers and classrooms (228). In respect to English Language Learners, music can provide a positive approach and attitude to learning, develop speaking skills and automatic responses, provide examples of discourse in informal settings and can span a variety of cultures (228). The article goes on to discuss the benefits of music for ELLs by outlining the links between music and literacy. “Songs may be used for the presentation and/or practice phase of language lessons. They can be used to teach a variety of language skills, such as sentence patterns, vocabulary, pronunciation, rhythm, and parts of speech” (228). Conclusions of Paquette and Rieg are centered on the idea of promoting positive associations with learning and presenting the English language in an interesting and approachable way.
Overall, more empirical research is needed on using music to teach English, language, social studies, history, mathematics, and science. This field is still developing and research is yet to be done to firmly prove the science behind what many teachers and researchers theorize about the benefits of music. The many examples of researchers explaining real teacher and student interactions with music and learning suggest that more research would be warranted and productive to the field of education.
An important program that examined arts inclusion with curriculum was the North Carolina A+ School Program from 1995-1999 sponsored by the Kenan Institute for the Arts. The initiative took 25 schools and designed a comprehensive school reform where arts were at the forefront of the math, science, language and social studies teacher’s classrooms. The program was based on Howard Gardner's theory of multiple intelligences and the need for diverse learning opportunities for students. The program specifically implemented the following:
- increased art instruction via more art specialists and integration of art in the regular classroom
- fostering 2-way arts integration
- curriculum designed for reaching students' multiple intelligences
- emphasizing thematic approach to teaching content
- emphasizing hands-on learning
The findings of this elaborate study were that the A+ schools achieved growth in standardized testing of the state of NC compared to other NC schools (Baker, 2013).
Gardner's theory of multiple intelligences comes up in other researcher's endeavors to scientifically examine arts and music in schools. A particularly interesting take on Gardner's theory in the classroom is presented in a discussion between a middle school history teacher in Kentucky, who integrates arts in her classroom, and an educational psychologist. The two discuss the benefits and potential downfalls of using the arts to teach, using the rhetoric of Gardner's theory. The two observed that, "Whatever the area of teaching, different forms are useful in that they give children who learn in different ways a lot of opportunities. Since none of us has a 'pure' learning style, if I learn in a visual way and then repeat the learning process in an audio way, my learning is strengthened. Second, using different forms of representation is useful for interest's sake...last, different forms of representation give students different ways to become involved in their learning" (Groth, 1997).
Researchers and teachers alike seem to observe benefits of using multiple forms of the arts in the classroom, and often base their understandings in Gardner's theory.
So, what about music specifically?
Research shows music has positive correlations with children’s sense of belonging and learning. In 2008, Wilmes, Kohler-Evans and Sumpter’s synthesis of studies revealed that, “Music appeals to emotional, cognitive, and psychomotor elements of the brain, and several studies show a link between music and increased learning. Research indicates that music directly effects pulse rate, blood pressure, the nervous system, and glands of the body. Music can be used for arousal, as a carrier of words, and as a primer for the brain” (27). Music’s physical effects on the body and brain build upon broader research conducted in 2007 by Lynch stating, “When the arts become a vehicle for learning classroom content, the whole child is involved. Children are immersed intellectually, emotionally, physically, and therefore, rigorously, in the learning experience” (37). Lynch’s research further revealed that the arts have supportive implications for learning by allowing for multiple perspectives, creating a safe atmosphere to take risks, demonstrating that learning can be pleasurable, and a natural complement to regular classroom curriculum (36-37). Perhaps Lynch’s research on the arts has applications for the art of music specifically. Further research is still needed in all areas of arts integration, including music. However, we do know that music is a prime and central form of art that people of all ages can relate to in some way. Music not only allows for interpersonal connections, but for people and material to connect, as well.
To look at more narrowed and specific studies of music in the classroom, Integrating Music and Mathematics in the Elementary Classroom by Edelson and Johnson provides some insight on real-life applications of music in the traditional classroom. The work is based on the following, “’Music actively involves students in learning and helps develop important academic skills’ (Rothenberg 1996). By using music to enhance children’s enjoyment and understanding of mathematics concepts and skills, teachers can help children gain access to mathematics through new intelligences (Gardner 1993)” (474). Edelson and Johnson argue musical training or expertise is not required by teachers to successfully integrate it in the classroom. Children can learn to express mathematical ideas like patterns with songs and musical symbols (474). Rhythm instruments, like symbols, can be useful in teaching patterns that students can then transfer to other mediums and use to understand mathematical patterns like the sequence of odd and even numbers (475).
An example of music and sound applied to teaching a variety of core subjects can be found in Integrating Music with Core Subjects (1994). The author, Aaron, suggests integration based on previously established projects for integration in the following ways, “Other core subject topics could be included either with the Wagner project or any Coordinated Sound Composition/Listening Lesson project. These might include science lessons addressing vibration, transmission of sound, amplification, and resonance; math activities relating note value durations to fractions, calculating cycles per second, or using the logarithmic decibel scale; and social studies or arts lessons investigating the structural forms of visual arts works or the artistic trends of the historical time period.” Among other ideas, Aaron presents some noteworthy suggestions and existing projects on music integration.
To provide another specific example, there is value in looking at publications on using music in the social studies. Moats and Poxon present interesting ideas in “I didn’t raise my boy to be a soldier” about the use of sound and music to analyze historical events, cultures, and social trends over history. They discuss using the Library of Congress’ National Jukebox, which was made publicly available in 2011. The website has over 10,000 recordings originally released in the US between 1901 and 1925, and plans to increase its content (291). Moats and Poxon suggest “music can provide a powerful entry point for students to begin investigating difficult topics from the past that may still be controversial in the present” (291). For example, there was a vast increase in American songwriting around World War I, and many of the songs of the time were very influential on public perspective. Listening to songs of the time that were popular can help students perceive public sentiment on World War I, as well as understand how the dynamics of war caused emotion i.e. the draft (291-292). Moats and Poxon provide many interesting case studies that could be used by history teachers in the classroom and center on musical interpretation. Lovorn provides another look at using music to teach the social studies. He writes, “Social studies content is more meaningful to students when they can empathize with the people they study. Such empathy can be fostered via content material that is presented in a relevant, emotional, intimate, and even entertaining manner. Folk music offers this type of creative and constructive approach” (173). Lovorn goes on to say, “Many historic events could not be adequately presented without a variety of perspectives, particularly those of ordinary people” (173).
Music provides children with another outlet to interpret people, things, and society. With resources like the National Jukebox, music can provide this outlet of interpretation for a multitude of time periods and eras. Music and sound can create meaning for students learning when used strategically. You could even incorporate music in student’s analysis of the Star Spangled Banner or the National Anthems of various countries. These musical representations can provide a gateway to critical thinking and higher order learning.
One last piece of research I want to touch on is the use of music in intercultural, bilingual teaching. Paquette and Rieg present research on using music to support English Language Learners that is worth considering. This research builds off of Gardner’s theory, again, and his belief that musical intelligence is the first intelligence that takes form for early learners (228). The research for using music with ELLs is not empirically based as much as theoretically based; primarily looking at examples of real teachers and classrooms (228). In respect to English Language Learners, music can provide a positive approach and attitude to learning, develop speaking skills and automatic responses, provide examples of discourse in informal settings and can span a variety of cultures (228). The article goes on to discuss the benefits of music for ELLs by outlining the links between music and literacy. “Songs may be used for the presentation and/or practice phase of language lessons. They can be used to teach a variety of language skills, such as sentence patterns, vocabulary, pronunciation, rhythm, and parts of speech” (228). Conclusions of Paquette and Rieg are centered on the idea of promoting positive associations with learning and presenting the English language in an interesting and approachable way.
Overall, more empirical research is needed on using music to teach English, language, social studies, history, mathematics, and science. This field is still developing and research is yet to be done to firmly prove the science behind what many teachers and researchers theorize about the benefits of music. The many examples of researchers explaining real teacher and student interactions with music and learning suggest that more research would be warranted and productive to the field of education.