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Music learning theory
The field of music education contains a number of learning theories that specify how students learn music based on behavioral and cognitive psychology.〔Laurie Taetle and Robert Cutietta, ''Learning Theories as Roots of Current Musical Practice and Research'', 279. ()〕
==Classical Learning Theory==
While formal music education has roots going at least as far back as the Hebrews in Egypt〔Michael L. Mark and Charles L. Gary, ''A History of American Music Education, Third Edition'' (2007: New York: Rowman & Littlefield Education), 5.〕 or the ancient Greeks,〔Michael L. Mark and Charles L. Gary, ''A History of American Music Education, Third Edition'' (2007: New York: Rowman & Littlefield Education), 9.〕 challenges arose as music became more specialized and technically complex after the 5th century BCE in Ancient Greece and as the development of notation shifted music education from training in singing to training in music reading.〔Michael L. Mark and Charles L. Gary, ''A History of American Music Education, Third Edition'' (2007: New York: Rowman & Littlefield Education), 24-25.〕 Educators and theorists such as Odo of Cluny and Guido d'Arezzo in the 10th and 11th centuries explored methods to teach these new developing notational practices.〔 Academic interest in music education lessened by the Renaissance as universities abandoned music as a part of their curriculum in the mid 16th century,〔Michael L. Mark and Charles L. Gary, ''A History of American Music Education, Third Edition'' (2007: New York: Rowman & Littlefield Education), 29-30.〕 while the Protestant Reformation later brought some changes to music education, Martin Luther among other individuals suggesting that music, poetry, and history be added to standard education curriculum.〔Michael L. Mark and Charles L. Gary, ''A History of American Music Education, Third Edition'' (2007: New York: Rowman & Littlefield Education), 32.〕 In the 17th century, John Amos Comenius recommended music education for religious purposes and designed a methodology to do so, as Richard Mulcaster encouraged universal education including singing and playing as standard curriculum.〔Michael L. Mark and Charles L. Gary, ''A History of American Music Education, Third Edition'' (2007: New York: Rowman & Littlefield Education), 34-36.〕 By the 19th century the conservatory model became more common outside of Italy alongside a number of choir schools which provided education as well as practical music experience.〔Michael L. Mark and Charles L. Gary, ''A History of American Music Education, Third Edition'' (2007: New York: Rowman & Littlefield Education), 38.〕
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