Pub Date : 2023-09-01DOI: 10.2979/pme.2023.a909308
David Lines, Daniela Bartels
Abstract: Music education is a social act oriented around interactions between people in public spaces. These spaces provide opportunities for what Hannah Arendt calls natality, which we interpret as new and unexpected actions that arise in a shared space. Drawing from a range of ideas and experiences of Arendt, bell hooks, Joan Baez, Martha Nussbaum, and music education philosophers and practitioners, we argue that it is important for music educators to make room for this space by becoming more critically aware of their emotions. Opening up to the unexpected in human interactions can at times be difficult and elicit fear. It also calls for a civic love. Cultivating this kind of love includes recognizing that our emotions and matters of the heart are instruments of power that can support or hinder others from becoming actors in their own right. As agents within music education, we can strive to realize this by developing a critical pedagogic consciousness and reflecting on the unexpected and emotional spaces of interaction.
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Pub Date : 2023-09-01DOI: 10.2979/pme.2023.a909311
Mengchen Lu
{"title":"中国音乐教育与国际音乐教育 [Chinese Music Education and International Music Education] by Jianhua Guan (review)","authors":"Mengchen Lu","doi":"10.2979/pme.2023.a909311","DOIUrl":"https://doi.org/10.2979/pme.2023.a909311","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"95 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135736929","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.2979/pme.2023.a909309
Lierin Buelens, Joris Vlieghe, Thomas De Baets, Wiebe Sieds Koopal
Abstract: In this paper we discuss the musical work of classical composer Benjamin Britten as a lasting legacy for public music education. Our starting point is the contemporary urgency to rethink both public music education in general, and the public-educational significance of Western classical music in particular, in the face of the dual threats posed by anti-educational tendencies of “functionalization” and “hobbyfication.” Relating this situation to concerns already voiced by Britten in his time, we consider in what ways aspects of Britten’s musical work can be shown to reveal a highly original, post-critical answer to these threats. While his pedagogical musings remain riddled with ambiguities, which readily invite critical deconstruction, our paper argues for the more affirmative option of reconceptualizing these ambiguities as constitutive tensions of a public-educational love for (classical) music. To gauge the practical implications of such a post-critical music-educational love, we analyze the concrete case of the Aldeburgh Festival , perhaps Britten’s most full-fledged effort to reclaim music as a public affair. Thinking about this case, we reflect on how Britten’s legacy could lastingly impinge on the publicness of Western classical music, as well as on ongoing and future practices of public music education in general.
{"title":"The Public-Educational Musings of Benjamin Britten: Toward A Post-Critical Love For Classical Music","authors":"Lierin Buelens, Joris Vlieghe, Thomas De Baets, Wiebe Sieds Koopal","doi":"10.2979/pme.2023.a909309","DOIUrl":"https://doi.org/10.2979/pme.2023.a909309","url":null,"abstract":"Abstract: In this paper we discuss the musical work of classical composer Benjamin Britten as a lasting legacy for public music education. Our starting point is the contemporary urgency to rethink both public music education in general, and the public-educational significance of Western classical music in particular, in the face of the dual threats posed by anti-educational tendencies of “functionalization” and “hobbyfication.” Relating this situation to concerns already voiced by Britten in his time, we consider in what ways aspects of Britten’s musical work can be shown to reveal a highly original, post-critical answer to these threats. While his pedagogical musings remain riddled with ambiguities, which readily invite critical deconstruction, our paper argues for the more affirmative option of reconceptualizing these ambiguities as constitutive tensions of a public-educational love for (classical) music. To gauge the practical implications of such a post-critical music-educational love, we analyze the concrete case of the Aldeburgh Festival , perhaps Britten’s most full-fledged effort to reclaim music as a public affair. Thinking about this case, we reflect on how Britten’s legacy could lastingly impinge on the publicness of Western classical music, as well as on ongoing and future practices of public music education in general.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.2979/pme.2023.a909305
Estelle R. Jorgensen, Iris M. Yob
{"title":"Editorial Reflections on Philosophizing in Music Education","authors":"Estelle R. Jorgensen, Iris M. Yob","doi":"10.2979/pme.2023.a909305","DOIUrl":"https://doi.org/10.2979/pme.2023.a909305","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135737173","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.2979/pme.2023.a909310
Beatrice McNamara
{"title":"Musik–Vielfalt–Integration–Inklusion: Musikdidaktik für die eine Schule [Music–Diversity–Inclusion–Integration: A New Philosophy of Music Education for an Inclusive School] by Irmgard Merkt (review)","authors":"Beatrice McNamara","doi":"10.2979/pme.2023.a909310","DOIUrl":"https://doi.org/10.2979/pme.2023.a909310","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"135 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135737165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.2979/pme.2023.a909307
J. Paul Louth, Lauren Kapalka Richerme
Abstract: When novice music educators abandon their expressed dedication to forward-looking ideas like equity, epistemological distinctions between belief and knowledge, or lack of such distinctions, may influence such action. Political philosopher Russell Hardin argued that it makes sense for people to hold false, conflicting, and even extreme beliefs. Drawing on his work, we consider how social influences may encourage music educators to adopt a view of knowledge as the acquisition of information that is useful rather than truthful in the sense of being falsifiable and supported by evidence. First, we examine how teachers’ everyday socialization may cause them to abandon practices associated with “music for all,” an ill-defined ideal—officially adopted by the (US) National Association for Music Education—that we problematize here. Second, we consider the effects of broader polarization on socialized epistemology, including amplifying effects of technology, which may contribute to an in-group versus out-group mentality. Third, we investigate how advocacy related endeavors as well as bounded social circles in both K-12 music education and collegiate music teacher education may further solidify extreme beliefs within the profession. Finally, we consider implications for practice, including providing tools for more inclusive and open-minded advocacy efforts and some version of profession-wide “music for all” that focuses on socialization and recognition.
{"title":"Music for All or Partisan Advocacy? Exploring Socialized Epistemologies","authors":"J. Paul Louth, Lauren Kapalka Richerme","doi":"10.2979/pme.2023.a909307","DOIUrl":"https://doi.org/10.2979/pme.2023.a909307","url":null,"abstract":"Abstract: When novice music educators abandon their expressed dedication to forward-looking ideas like equity, epistemological distinctions between belief and knowledge, or lack of such distinctions, may influence such action. Political philosopher Russell Hardin argued that it makes sense for people to hold false, conflicting, and even extreme beliefs. Drawing on his work, we consider how social influences may encourage music educators to adopt a view of knowledge as the acquisition of information that is useful rather than truthful in the sense of being falsifiable and supported by evidence. First, we examine how teachers’ everyday socialization may cause them to abandon practices associated with “music for all,” an ill-defined ideal—officially adopted by the (US) National Association for Music Education—that we problematize here. Second, we consider the effects of broader polarization on socialized epistemology, including amplifying effects of technology, which may contribute to an in-group versus out-group mentality. Third, we investigate how advocacy related endeavors as well as bounded social circles in both K-12 music education and collegiate music teacher education may further solidify extreme beliefs within the profession. Finally, we consider implications for practice, including providing tools for more inclusive and open-minded advocacy efforts and some version of profession-wide “music for all” that focuses on socialization and recognition.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135737153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.2979/pme.2023.a909306
Stuart Chapman Hill
Abstract: Popular songs are ubiquitous in the lives of school-age children, but the construction of traditional school music curricula does not always provide an adequate framework for studying them. In particular, the salience of words qua lyrics is an inescapable feature of popular songs, and recognizing the musical properties of those lyrics opens for study an important dimension of the real-world music that students of all ages engage so readily. Rather than treating song lyrics as separate from the music, I here attempt to establish that lyrics can be treated as musical entities, as demonstrated in scholarship from popular music theorists and musicologists that highlights the musical properties of song lyrics and the musicianship of those who write them. Then, I argue that existing school curricula could do more to give lyrics their musical due, which would not only enhance the teaching and learning of popular songwriting itself, but also may expand notions of what counts as music more broadly, with benefits for school music curricula overall, perhaps especially in the domains of choral and general music.
{"title":"Words and Music: Considering the Musicianship of Lyric Writing","authors":"Stuart Chapman Hill","doi":"10.2979/pme.2023.a909306","DOIUrl":"https://doi.org/10.2979/pme.2023.a909306","url":null,"abstract":"Abstract: Popular songs are ubiquitous in the lives of school-age children, but the construction of traditional school music curricula does not always provide an adequate framework for studying them. In particular, the salience of words qua lyrics is an inescapable feature of popular songs, and recognizing the musical properties of those lyrics opens for study an important dimension of the real-world music that students of all ages engage so readily. Rather than treating song lyrics as separate from the music, I here attempt to establish that lyrics can be treated as musical entities, as demonstrated in scholarship from popular music theorists and musicologists that highlights the musical properties of song lyrics and the musicianship of those who write them. Then, I argue that existing school curricula could do more to give lyrics their musical due, which would not only enhance the teaching and learning of popular songwriting itself, but also may expand notions of what counts as music more broadly, with benefits for school music curricula overall, perhaps especially in the domains of choral and general music.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"501 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.2979/pme.2023.a885190
Tessa MacLean
Abstract: Philosophical descriptions of democratic music education frequently rely on “inclusion” and “participation” as the defining features of democratically oriented music programs. Democratic epistemic considerations, such as regulatory ideals of musical quality and excellence, however, are less commonly cited, if not actively avoided. This paper addresses several primary reasons for the paucity of epistemic considerations in democratic music education and problematizes current concerns about epistemic judgements from a democratic perspective. Drawing on Miranda Fricker’s influential concept of epistemic injustice, this paper argues that democratic dialogue that respects values of diversity and inclusion cannot legitimately ignore epistemic dimensions because doing so occludes the epistemic dimensions of cultural, racial, and gender diversity in music education classrooms.
{"title":"Including the Epistemic in Democratic Music Pedagogy","authors":"Tessa MacLean","doi":"10.2979/pme.2023.a885190","DOIUrl":"https://doi.org/10.2979/pme.2023.a885190","url":null,"abstract":"Abstract: Philosophical descriptions of democratic music education frequently rely on “inclusion” and “participation” as the defining features of democratically oriented music programs. Democratic epistemic considerations, such as regulatory ideals of musical quality and excellence, however, are less commonly cited, if not actively avoided. This paper addresses several primary reasons for the paucity of epistemic considerations in democratic music education and problematizes current concerns about epistemic judgements from a democratic perspective. Drawing on Miranda Fricker’s influential concept of epistemic injustice, this paper argues that democratic dialogue that respects values of diversity and inclusion cannot legitimately ignore epistemic dimensions because doing so occludes the epistemic dimensions of cultural, racial, and gender diversity in music education classrooms.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.2979/pme.2023.a885189
Aditi Gopinathan, Leonard Tan
Abstract: Extending a nascent line of Asian philosophical research in music education, we mine Indian philosophies of music and education. Three key questions guide our project: What are Vedic philosophies of music? What are Vedic philosophies of education? Taken together, what insights can we draw for contemporary music education writ large? To address our questions, we analyze key passages from the Upanishads and synthesize ideas from these texts. A quartet of inter-related ideas emerge from our analysis: the guru , the shishya, vidya , and moksha . In brief, the guru (teacher) is revered as one would god, for it is the teacher who leads the shishya (student) toward vidya (knowledge) and through that toward moksha (liberation of the soul), which can also be attained via making music, such as the singing of Om (the absolute sound). In addition to proffering insights for contemporary music education, particularly in terms of how the ancient Vedic guru-shishya parampara adds nuance to contemporary discussions on the master-apprentice model of music education, we imagine how music education philosophy might look like if it were to be sung.
{"title":"“Om”: Singing Vedic Philosophy for Music Education","authors":"Aditi Gopinathan, Leonard Tan","doi":"10.2979/pme.2023.a885189","DOIUrl":"https://doi.org/10.2979/pme.2023.a885189","url":null,"abstract":"Abstract: Extending a nascent line of Asian philosophical research in music education, we mine Indian philosophies of music and education. Three key questions guide our project: What are Vedic philosophies of music? What are Vedic philosophies of education? Taken together, what insights can we draw for contemporary music education writ large? To address our questions, we analyze key passages from the Upanishads and synthesize ideas from these texts. A quartet of inter-related ideas emerge from our analysis: the guru , the shishya, vidya , and moksha . In brief, the guru (teacher) is revered as one would god, for it is the teacher who leads the shishya (student) toward vidya (knowledge) and through that toward moksha (liberation of the soul), which can also be attained via making music, such as the singing of Om (the absolute sound). In addition to proffering insights for contemporary music education, particularly in terms of how the ancient Vedic guru-shishya parampara adds nuance to contemporary discussions on the master-apprentice model of music education, we imagine how music education philosophy might look like if it were to be sung.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.2979/pme.2023.a885195
Graça Mota
Reviewed by: Rethinking Music Education and Social Change by Alexandra Kertz-Welzel Graça Mota Alexandra Kertz-Welzel, Rethinking Music Education and Social Change (Oxford: Oxford University Press, 2022) I began to read this book shortly after the invasion of Ukraine by the Russian troops. Amidst this most terrible and brutal context, reading and re-reading the book that Alexandra Kertz-Welzel offers was both a blessing and an intense exercise of food for thought. A blessing as it drives our minds through a complex but nonetheless rewarding journey into the meanders of critical and ideal visions. An exercise of food for thought as she turns to the arts, philosophy, sociology, and political theory to construct an interdisciplinary, sustained story. While rethinking “the goals of music education in view of social change,”1 the introduction describes the purpose of the study and presents the author’s chosen theoretical pillars: Levitas’s concept of utopia, Georgina Born’s four planes of music’s sociality, David Hesmondalgh’s defense of aesthetic experience, and Martha Nussbaum’s concept of human flourishing. Furthermore, Kertz-Welzel aims to answer the question of what social change is in general but also, concerning music education, to critically consider the contribution that music education can make to social change. She proposes to redefine “the general goals of music education regarding its social and musical intentions, reuniting two dimensions which have been defined as opposite, but are in fact complementary regarding [End Page 99] politically and socially responsive music education and esthetic music education.”2 I will get back later to this last intention in the context of the author’s approach to the redefinition of music education. For now, I will begin with her proposed definition of music education as utopian theory and practice, in the context of the chosen title for this book. Rethinking Music Education and Social Change is a very appealing title not only because rethinking music education is a most pressing issue within the community of music educators but also because social change, in relationship with music, has been the object of research in numerous projects, claiming the transformative power of music. This is a theme I have been very much involved with, being the co-founder of the research platform, Social Impact of Making Music (SIMM),3 that aims to systematically investigate the possible social impacts of learning and playing music. Having said that, I found myself confronted with a book that sets in the middle of its focus to thoroughly investigate the concept of utopia in its multiple facets based on a complete discussion of its theoretical basis. In that context, the fact that the title of the book does not include utopia seemed to me rather puzzling, and I intend to come back to this at the end of this review. The author presents a comprehensive and updated review of the literature, its complexities and ambivalences in
亚历山德拉·克茨-韦尔策尔，《重新思考音乐教育和社会变革》(牛津:牛津大学出版社，2022年)我在俄罗斯军队入侵乌克兰后不久开始阅读这本书。在这种最可怕、最残酷的背景下，反复阅读亚历山德拉·科茨-韦泽尔的这本书既是一种祝福，也是一种强烈的思想食粮。这是一种祝福，因为它驱使我们的思想通过一段复杂但却有益的旅程，进入批判性和理想愿景的曲折中。当她转向艺术、哲学、社会学和政治理论来构建一个跨学科的、持续的故事时，这是一次发人深省的练习。在重新思考“从社会变革的角度看音乐教育的目标”时，引言描述了研究的目的，并介绍了作者选择的理论支柱:列维塔斯的乌托邦概念，乔治娜·伯恩的音乐社会性的四个层面，大卫·赫斯蒙达尔对审美经验的辩护，以及玛莎·努斯鲍姆的人类繁荣的概念。此外，Kertz-Welzel旨在回答一般意义上的社会变革是什么，同时，关于音乐教育，批判性地考虑音乐教育对社会变革的贡献。她建议重新定义“音乐教育的社会和音乐意图的总体目标，重新统一两个维度，这两个维度被定义为相反，但实际上是互补的，关于[End Page 99]政治和社会反应性音乐教育和审美音乐教育。稍后，我将在作者重新定义音乐教育的方法的背景下回过头来讨论这最后一个意图。现在，我将从她提出的音乐教育作为乌托邦理论和实践的定义开始，在这本书的选定标题的背景下。重新思考音乐教育和社会变革是一个非常吸引人的标题，不仅因为重新思考音乐教育是音乐教育者社区中最紧迫的问题，而且因为与音乐有关的社会变革一直是许多项目的研究对象，声称音乐的变革力量。作为研究平台“音乐创作的社会影响”(Social Impact of Making Music, SIMM)的联合创始人，这是我一直非常关注的一个主题，该平台旨在系统地调查学习和演奏音乐可能产生的社会影响。话虽如此，我发现自己面对的是一本在对乌托邦概念的理论基础进行完整讨论的基础上，从多个方面彻底研究乌托邦概念的书。在这种背景下，这本书的标题不包括乌托邦的事实对我来说似乎相当令人费解，我打算在这篇评论的最后回到这个问题上。作者提出了一个全面的和最新的文献回顾，它的复杂性和矛盾的艺术和社会变化之间的关系，因为它出现和演变的时间。这种方法将社会变革与行动主义联系起来，不要忘记她以COVID-19大流行为例的戏剧性社会变革问题，我们现在可以可悲地加上目前的战争状态。引用Roxane de la sablonnisamre(2017)和她的四种社会变革类型，Kertz-Welzel强调了这样一个事实，即在过去的一百年里，变革的步伐大大加快，“戏剧性的社会变革是对文化认同的威胁。”艺术作为一种政治工具的观念得到了彻底的发展，应该承认，作者在这里以及在本书的其他部分采取了一种勇敢的立场。她不回避批判性或令人不安的问题，其中之一就是艺术的模糊性。在她关于社会区别和身份建构的讨论中，她引用了马克斯·韦伯、乔治·齐美尔和皮埃尔·布迪厄的话，认为文化确实被用作人与人之间歧视的一种方式。她还指出，上流社会通过接触各种艺术体验培养了所谓的高雅品味，而其他人则被剥夺了这些体验，因此无法充分发挥他们的艺术潜力……
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