Philosophy of Education
Dr. Jeremi W. Edwards
My philosophy of education has evolved significantly through my experiences as both a musician and educator, and it will continue to grow as I refine my teaching practice. At its core, my philosophy is grounded in the belief that music composition is not simply an academic discipline, but a deeply human process—one that transforms emotions, thoughts, and lived experiences into meaningful sonic expression. Because of this, I view teaching not only as the transmission of knowledge, but as the cultivation of awareness: awareness of sound, of self, and of the ever-changing relationship between the two. As an educator in music theory and composition, I begin with the understanding that creativity is inseparable from the emotional, mental, and intellectual state of the student. Composition is often therapeutic, reflective, and deeply personal, and therefore requires an environment that balances structure with freedom. My role is to guide students in developing the technical skills necessary to communicate effectively, while also encouraging them to explore their own artistic identities. This dual responsibility reflects a broader philosophy that has come to define my teaching: a balance between rigor and empathy, tradition and innovation, guidance and independence.
This balance is closely aligned with the concept of yin and yang, which I first encountered through C. Victor Fung’s A Way of Music Education: Classic Chinese Wisdoms. Fung’s integration of philosophical traditions such as the Yijing, Confucianism, and Daoism resonated deeply with my own teaching experiences. In my classroom, the teacher-student relationship exists as a dynamic and reciprocal exchange. I provide structure, knowledge, and direction, while students contribute creativity, perspective, and insight. This relationship is not hierarchical, but interactive—each informing and shaping the other. I have come to recognize that my own growth as an educator is inseparable from my students’ willingness to engage, question, and create.
Over time, this philosophy has become more tangible through my pedagogical practice. I have intentionally designed my courses to reflect this balance by integrating personalized learning, collaborative engagement, and technological innovation. Recognizing that students enter the classroom with diverse musical backgrounds and varying levels of preparation, I employ strategies that allow for both individualized growth and collective learning. At the beginning of each semester, I ask students to complete a survey identifying their musical interests, prior experiences, and personal goals. This information shapes my instructional approach, allowing me to tailor examples, assignments, and projects in ways that are both relevant and challenging.
Personalized learning in my classroom extends beyond simple differentiation. Through the use of blended learning models, adaptive exercises, and targeted practice modules, students are able to progress at their own pace while still engaging with shared course objectives. For example, students struggling with harmonic concepts such as secondary dominants or part writing can access additional guided exercises and receive immediate feedback, while more advanced students are encouraged to expand their work through composition and analysis projects. This approach ensures that all students are supported while maintaining a high standard of achievement.
At the same time, I emphasize project-based and collaborative learning as a means of deepening understanding. Composition projects, group analysis assignments, and peer-led discussions require students to apply theoretical concepts in meaningful ways. In one recurring project, students create original compositions inspired by Louisiana folklore, integrating cultural context with theoretical knowledge. These projects not only reinforce course material, but also connect students to their environment and to one another, fostering a sense of ownership and engagement in their work.
Collaboration is further reinforced through structured peer teaching strategies, such as the jigsaw method, where students become experts on specific topics and share their knowledge with their peers. This approach transforms the classroom into an active learning environment in which students are responsible not only for their own understanding, but also for contributing to the learning of others. Similarly, I incorporate open-ended questioning and discussion-based analysis, encouraging students to explore multiple interpretations and develop their own analytical perspectives. In doing so, I aim to move students beyond the search for a single “correct” answer and toward a deeper understanding of musical possibility.
A significant evolution in my teaching has been the integration of technology and artificial intelligence as tools for learning and exploration. Rather than viewing technology as a supplement, I incorporate it as an active component of the learning process. AI-assisted exercises in figured bass and part writing allow students to experiment with harmonic solutions and receive immediate feedback, creating opportunities for iterative learning and discovery. Using interactive tools such as digital notation software and classroom display technology, I am able to analyse student work in real time, compare multiple solutions, and facilitate more dynamic and efficient classroom discussions. These tools have not only increased student engagement but have also led to measurable improvements in student success, particularly in areas that traditionally present challenges.
The concept of change, which Fung highlights as central to both music and education, has become increasingly important in my teaching philosophy. Music itself is an art of change—of shifting harmonies, evolving textures, and developing ideas—and learning music requires an awareness of these transformations.
In the classroom, I emphasize this concept by helping students recognize and articulate change, whether it be the difference between major and minor modalities, the function of harmonic progressions, or the development of thematic material. At a broader level, I encourage students to embrace change in their own learning, understanding that growth often requires discomfort, experimentation, and persistence.
This perspective has also shaped how I approach curriculum design. I strive to create flexible and inclusive learning environments that accommodate different learning styles and encourage active participation. This includes rearranging classroom spaces to support collaboration, integrating culturally diverse musical examples, and incorporating multiple forms of assessment such as written analysis, oral presentations, and creative projects. By doing so, I aim to create a learning environment that is both structured and adaptable, allowing students to engage with the material in ways that are meaningful to them.
Equally important to my philosophy is the belief that teaching extends beyond the classroom. My work as a composer directly informs my teaching, providing students with real-world examples of how theoretical concepts are applied in professional practice. Sharing my own compositions and creative process allows students to see the relevance of their studies and to envision themselves as active participants in the musical community. Additionally, my involvement in community ensembles and outreach initiatives reinforces the connection between academic study and public engagement, demonstrating the broader impact of music education.
Ultimately, my goal as an educator is to help students discover their own artistic voice while equipping them with the skills and knowledge necessary to succeed. I challenge students to step outside of their comfort zones, explore unfamiliar musical ideas, and engage critically with the world around them. At the same time, I strive to create a supportive environment in which they feel valued, heard, and capable of growth.
Music composition is unique in its ability to give voice to the intangible, to transform thought and emotion into something that can be shared and experienced. As educators, we have the responsibility not only to teach the mechanics of this process, but to nurture the individuals who engage in it. By fostering curiosity, encouraging creativity, and embracing the dynamic relationship between teacher and student, we contribute to the development of musicians who are not only technically proficient, but also thoughtful, expressive, and engaged.
The students we teach today will shape the future of music and education. It is our responsibility to guide them with intention, to challenge them with purpose, and to support them with empathy. Through this balance—this continual interplay of structure and freedom, tradition and innovation, teaching and learning—I aim to create an educational experience that is transformative, enduring, and deeply meaningful.
