Coleman’s connection between music education and spirituality have been coded into five themes by researcher Daniel J. Shevock (2015): a distinctive view of God, living simply, wholesome humility, emotions, and silence in nature. Shevock cited Parker Palmer’s definition of spirituality in teaching as “the eternal human yearning to be connected with something larger than our own egos” (2003, p. 377) and likened this definition to Coleman’s own teaching philosophy: “Musical training has extraordinary educational value, but so long as we are interested in music as an accomplishment only, and so long as the motivating power behind musical study is the wish to impress others, we shall never realize its greatest value” (1922, p. 9).

Coleman’s distinctive spiritual philosophy was one of open-mindedness and inclusivity. According to Shevock, Coleman did not define the specific deity she often referenced, and “she was as likely to reference a Native American religion as Martin Luther” (2015, p. 58). Although her own religious beliefs were never classified by a certain sect, “Coleman stipulated that music could be regarded as a way to know God beyond reason” (Shevock, 2015, p. 58). It seems as though Coleman approached the connection between music and spirituality as a way to encourage altruism amongst society, and communicate with the celestial unknown.

The latter four themes of Shevock’s 2015 research into Coleman’s spirituality can be interpreted as not only her sacred values, but guides for her lifestyle and educational practice. Coleman encouraged students pursue interests that brought them happiness but reasoned against an overcrowded schedule of extra-curricular activities, lest the appreciation of their passion (music or otherwise) be hindered. This simplicity can be partnered with the benefits of appreciating silence in nature. Coleman believed that the music of the natural world lived within that silence:

Many people go through life deaf to some of the most beautiful sounds in Nature. They walk in the woods and never hear the soft crunch of their feet on the dry leaves, the whirr of the bird that flies overhead, or even the song which the bird sings when he alights in the tree. They never think to listen to the wind blowing through the branches or notice the musical babble of the stream rushing over the stones. And that delightful little time-beater of the evening, the cricket under the leaves — all this rare music is missed, probably because the traveler was never taught, as a little child, to listen for these things and to love Nature with his ears as well as with his other senses (1939, p. 95).

In regard to the concept of humility, Coleman stated that when the elements of testing and competition are removed from the music education environment, “great talent is usually found in a person of unaffected and humble nature” (1939, p. 31). Shevock connected Coleman’s philosophy of humility with students’ emotions. Due to the power music holds over children’s emotional responses, it is imperative that educators select repertoire that guides students in a positive direction. According to Shevock, Coleman believed that students should be encouraged to find joy in their performance, even if there is no audience. This idea would ideally help curb the potential to “misuse a child’s natural emotions towards music to inculcate a habit of showing off” (2015, p. 59).