Pub Date : 2021-01-01DOI: 10.2979/philmusieducrevi.29.1.bm
{"title":"Back Matter","authors":"","doi":"10.2979/philmusieducrevi.29.1.bm","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.29.1.bm","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"1 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69202316","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 : 2020-10-31DOI: 10.2979/philmusieducrevi.28.2.02
Estelle R. Jorgensen
Abstract:In this article, I transpose the word "love" for "be" in Hamlet's existential question in his soliloquy concerning life and death penned by William Shakespeare, "To be or not to be: That is the question." Thinking through the ethical imperatives of love and its ancillary values of friendship, desire, and devotion in Western classical music and music education, I sketch critically the role of love in this musical tradition and its transmission and transformation. I then trace some of the implications of this analysis for musical education.
{"title":"To Love or Not to Love (Western Classical Music): That is the Question (For Music Educators)","authors":"Estelle R. Jorgensen","doi":"10.2979/philmusieducrevi.28.2.02","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.28.2.02","url":null,"abstract":"Abstract:In this article, I transpose the word \"love\" for \"be\" in Hamlet's existential question in his soliloquy concerning life and death penned by William Shakespeare, \"To be or not to be: That is the question.\" Thinking through the ethical imperatives of love and its ancillary values of friendship, desire, and devotion in Western classical music and music education, I sketch critically the role of love in this musical tradition and its transmission and transformation. I then trace some of the implications of this analysis for musical education.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"28 1","pages":"128 - 144"},"PeriodicalIF":1.0,"publicationDate":"2020-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45063144","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 : 2020-10-31DOI: 10.2979/philmusieducrevi.28.2.07
Wiebe Koopal, J. Vlieghe, Thomas De Baets
Abstract:In this paper we reconceptualize general music education as a "classical music education," departing from speculative reflection on the notion of conducting. We constitute this notion as an interpretative axis connecting, on the one hand, a different perspective on what classical music might mean in the context of general education, and, on the other hand, a more dynamic, techno-ecological concept of both music and education. This paper develops these connections by thinking along with a concrete specimen of classical music in the strict sense, Mahler's First Symphony, in order to show exactly how thinking about such works may actually take on an aspect that is classical in a more properly general educational sense. Beyond a dichotomy between aesthetical and praxial appraisals of the classical musical work, with their exclusive emphases on intelligible form and socio-critical praxis respectively, our idea of classical music education implies a dynamic (re)conducting of the works. Through practices of (re)conducting, music education can treat works, not as static monuments of eternal beauty or instances of socio-historical criticality, but as catalysts of self-differentiating, transhuman musical experiences—of playing, listening, composing, and thinking—in which human, instrumental, and other techno-ecological agencies mutually transform each other.
{"title":"Mahler is a DJ: Reconducting Classical Music Education","authors":"Wiebe Koopal, J. Vlieghe, Thomas De Baets","doi":"10.2979/philmusieducrevi.28.2.07","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.28.2.07","url":null,"abstract":"Abstract:In this paper we reconceptualize general music education as a \"classical music education,\" departing from speculative reflection on the notion of conducting. We constitute this notion as an interpretative axis connecting, on the one hand, a different perspective on what classical music might mean in the context of general education, and, on the other hand, a more dynamic, techno-ecological concept of both music and education. This paper develops these connections by thinking along with a concrete specimen of classical music in the strict sense, Mahler's First Symphony, in order to show exactly how thinking about such works may actually take on an aspect that is classical in a more properly general educational sense. Beyond a dichotomy between aesthetical and praxial appraisals of the classical musical work, with their exclusive emphases on intelligible form and socio-critical praxis respectively, our idea of classical music education implies a dynamic (re)conducting of the works. Through practices of (re)conducting, music education can treat works, not as static monuments of eternal beauty or instances of socio-historical criticality, but as catalysts of self-differentiating, transhuman musical experiences—of playing, listening, composing, and thinking—in which human, instrumental, and other techno-ecological agencies mutually transform each other.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"28 1","pages":"220 - 238"},"PeriodicalIF":1.0,"publicationDate":"2020-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48775199","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 : 2020-10-31DOI: 10.2979/philmusieducrevi.28.2.05
Henrik Holm
Abstract:With these reflections, I will address some selected features of philosophical thinking and elucidate how they may relate to classical music. Is there a relationship between the experience gained from philosophical thinking and the experience gained from listening to classical music? If there is a kinship between the two, it may show some of the importance of incorporating classical music in music education. This article is a philosophical essay that does not try to prove a kinship between philosophical thinking and classical music; it is rather the result of a free-thinking process grounded in my experience in both fields. Subjective involvement is a necessary presupposition for being able to say something about the postulated kinship between classical music and philosophical thinking. The essay ends with a suggestion on how to understand what kind of knowledge this potential kinship may represent.
{"title":"\"We Must Learn to Love\": Some Reflections on the Kinship of Philosophical Thinking and Classical Music from an Educational Perspective","authors":"Henrik Holm","doi":"10.2979/philmusieducrevi.28.2.05","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.28.2.05","url":null,"abstract":"Abstract:With these reflections, I will address some selected features of philosophical thinking and elucidate how they may relate to classical music. Is there a relationship between the experience gained from philosophical thinking and the experience gained from listening to classical music? If there is a kinship between the two, it may show some of the importance of incorporating classical music in music education. This article is a philosophical essay that does not try to prove a kinship between philosophical thinking and classical music; it is rather the result of a free-thinking process grounded in my experience in both fields. Subjective involvement is a necessary presupposition for being able to say something about the postulated kinship between classical music and philosophical thinking. The essay ends with a suggestion on how to understand what kind of knowledge this potential kinship may represent.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"28 1","pages":"186 - 198"},"PeriodicalIF":1.0,"publicationDate":"2020-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47478332","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 : 2020-10-31DOI: 10.2979/philmusieducrevi.28.2.06
M. Whale
Abstract:Increasingly, issues of social justice have become the concern of educators. It is clear, however, that these issues are not concerning for everyone. Awareness of social justice exists in critical relationship to society: it is not synonymous with it. In my paper, I argue that the contemporary relationship society has with social justice is not new. A sense of social justice–of equality–existed in critical tension with eighteenth-century conventions, even if the scope of this tension was far more limited than today. Some say classical music mirrors the values of the society of its production. It follows that classical music may mirror the dialectical relationship between convention and critique–that it may not only present conventional sound patterns but also be critical of them. As self-critical, music (all music) nurtures the ability of its participants to think critically. Ironically, then, I suggest that classical music has contributed to people's capacity to critique classical music.
{"title":"Talking Bach in an Age of Social Justice","authors":"M. Whale","doi":"10.2979/philmusieducrevi.28.2.06","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.28.2.06","url":null,"abstract":"Abstract:Increasingly, issues of social justice have become the concern of educators. It is clear, however, that these issues are not concerning for everyone. Awareness of social justice exists in critical relationship to society: it is not synonymous with it. In my paper, I argue that the contemporary relationship society has with social justice is not new. A sense of social justice–of equality–existed in critical tension with eighteenth-century conventions, even if the scope of this tension was far more limited than today. Some say classical music mirrors the values of the society of its production. It follows that classical music may mirror the dialectical relationship between convention and critique–that it may not only present conventional sound patterns but also be critical of them. As self-critical, music (all music) nurtures the ability of its participants to think critically. Ironically, then, I suggest that classical music has contributed to people's capacity to critique classical music.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"28 1","pages":"199 - 219"},"PeriodicalIF":1.0,"publicationDate":"2020-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43513599","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 : 2020-10-31DOI: 10.2979/philmusieducrevi.28.2.03
Deanne Bogdan
Abstract:This essay is an extension of Bogdan's article, "The Shiver-Shimmer Factor: Musical Spirituality, Emotion, and Education" in Philosophy of Music Education Review, which elaborates "shiver" and "shimmer" as two kinds of emotional response to music, with "shiver" defined as a sensate surface aesthetic, considered subordinate to "shimmer," a meditational state aspiring to the condition of musical spirituality. "Incarnating the Shiver-Shimmer Factor" reverses the relationship between "shiver" and "shimmer" by regarding "shiver" as logically prior to "shimmer." Within this context, the roles of both performer and listener are re-imagined through the tradition of Longinian and Romanticist aesthetics, wherein "shiver" is re-conceptualized as grounding musical spirituality, not as instrumental to it. Here the added dimension of what the performer brings to the musical experience is seen as key to creating the possibility of performers and listeners/audience as coequal participants in musical experience within a dialogical sublime based on an ethics of embodied listening.
{"title":"Incarnating the Shiver-Shimmer Factor: Toward a Dialogical Sublime","authors":"Deanne Bogdan","doi":"10.2979/philmusieducrevi.28.2.03","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.28.2.03","url":null,"abstract":"Abstract:This essay is an extension of Bogdan's article, \"The Shiver-Shimmer Factor: Musical Spirituality, Emotion, and Education\" in Philosophy of Music Education Review, which elaborates \"shiver\" and \"shimmer\" as two kinds of emotional response to music, with \"shiver\" defined as a sensate surface aesthetic, considered subordinate to \"shimmer,\" a meditational state aspiring to the condition of musical spirituality. \"Incarnating the Shiver-Shimmer Factor\" reverses the relationship between \"shiver\" and \"shimmer\" by regarding \"shiver\" as logically prior to \"shimmer.\" Within this context, the roles of both performer and listener are re-imagined through the tradition of Longinian and Romanticist aesthetics, wherein \"shiver\" is re-conceptualized as grounding musical spirituality, not as instrumental to it. Here the added dimension of what the performer brings to the musical experience is seen as key to creating the possibility of performers and listeners/audience as coequal participants in musical experience within a dialogical sublime based on an ethics of embodied listening.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"28 1","pages":"145 - 167"},"PeriodicalIF":1.0,"publicationDate":"2020-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44037536","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 : 2020-10-31DOI: 10.2979/philmusieducrevi.28.2.04
Øivind Varkøy, Hanne Rinholm
Abstract:This essay reflects on the values of slowness and resistance as fundamental ideas directly opposed to modern culture's ideals of effectiveness and smoothness and discusses how music from the Western classical music tradition can offer such values in music education. At the same time, how we listen to music is highlighted as equally important as what we listen to. Values like slowness and resistance are seen as important critical ideas, not only in the bubble of aesthetics, music, and music education, but also in general discussions of consumeristic modern culture, characterized by unsustainable ideas of constant action and economic growth. Slowness and resistance in musical experience is argued to be important in forming the future of music education for sustainable development. The Korean-born German philosopher of art and cultural theorist Byung-Chul Han's discussion of the concept of beauty, is central for the ongoing reflections in the essay. Martin Heidegger's aesthetics of unveiling, and Hannah Arendt's concept of vita contemplativa, as well as music of the Estonian composer Arvo Pärt and the Icelandic singer Björk, are also involved in the discussion.
{"title":"Focusing on Slowness and Resistance: A Contribution to Sustainable Development in Music Education","authors":"Øivind Varkøy, Hanne Rinholm","doi":"10.2979/philmusieducrevi.28.2.04","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.28.2.04","url":null,"abstract":"Abstract:This essay reflects on the values of slowness and resistance as fundamental ideas directly opposed to modern culture's ideals of effectiveness and smoothness and discusses how music from the Western classical music tradition can offer such values in music education. At the same time, how we listen to music is highlighted as equally important as what we listen to. Values like slowness and resistance are seen as important critical ideas, not only in the bubble of aesthetics, music, and music education, but also in general discussions of consumeristic modern culture, characterized by unsustainable ideas of constant action and economic growth. Slowness and resistance in musical experience is argued to be important in forming the future of music education for sustainable development. The Korean-born German philosopher of art and cultural theorist Byung-Chul Han's discussion of the concept of beauty, is central for the ongoing reflections in the essay. Martin Heidegger's aesthetics of unveiling, and Hannah Arendt's concept of vita contemplativa, as well as music of the Estonian composer Arvo Pärt and the Icelandic singer Björk, are also involved in the discussion.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"28 1","pages":"168 - 185"},"PeriodicalIF":1.0,"publicationDate":"2020-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42959910","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 : 2020-10-31DOI: 10.2979/philmusieducrevi.28.2.08
Alexandra Kertz-Welzel
Abstract:Classical music has often been a chosen enemy in discourses about music in general and music education in particular. It has been blamed for being an elitist culture and perpetuating inequality in societies. This and many more rather one-sided arguments dominate the discourse about classical music. But are they really true? Should classical music therefore be eliminated from the music education curriculum? This paper analyzes selected aspects of the ongoing criticism of classical music in music education from a philosophical and sociological perspective. It identifies, questions, and addresses significant arguments. The main thesis of this paper is that it might be time to deconstruct the discourses surrounding classical music, as particularly dominated by Anglo-American education, toward understanding classical music in music education from a global point of view, recognizing it as one musical culture among many others.
{"title":"\"Kim Had the Same Idea as Haydn\": International Perspectives on Classical Music and Music Education","authors":"Alexandra Kertz-Welzel","doi":"10.2979/philmusieducrevi.28.2.08","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.28.2.08","url":null,"abstract":"Abstract:Classical music has often been a chosen enemy in discourses about music in general and music education in particular. It has been blamed for being an elitist culture and perpetuating inequality in societies. This and many more rather one-sided arguments dominate the discourse about classical music. But are they really true? Should classical music therefore be eliminated from the music education curriculum? This paper analyzes selected aspects of the ongoing criticism of classical music in music education from a philosophical and sociological perspective. It identifies, questions, and addresses significant arguments. The main thesis of this paper is that it might be time to deconstruct the discourses surrounding classical music, as particularly dominated by Anglo-American education, toward understanding classical music in music education from a global point of view, recognizing it as one musical culture among many others.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"28 1","pages":"239 - 256"},"PeriodicalIF":1.0,"publicationDate":"2020-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42496172","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 : 2020-04-21DOI: 10.2979/philmusieducrevi.28.1.04
Juliet Hess
Abstract:In Red Skin, White Masks: Rejecting the Colonial Politics of Recognition, Glen Coulthard argues that since 1969, colonial power relations in Canada have shifted from an unconcealed structure of domination to a mode of colonial governance that operates through state recognition and accommodation. He instead looks to identify a type of recognition based on self-affirmation and self-recognition rather than state acceptance. Following Coulthard, I examine movements created to affirm oppressed groups in the context of anti-Semitism and anti-Blackness in the mid-twentieth century and explore possible limitations of such movements, including the erasure or elision of complex intersections of identity. I then draw upon self-compassion, a mental health and wellness approach, as a potential framework for the affirmative politics Coulthard theorizes. Subsequently, I consider whether such a framework offers a mechanism to provide the self-affirmation and recognition that Coulthard identifies as vital to resisting oppression. I ultimately explore how understanding music as cultural production in music education might engender this affirmative politics to facilitate rich affirmation and validation of students and educators to musically imagine different possible futures.
{"title":"Towards a (Self-)Compassionate Music Education: Affirmative Politics, Self-Compassion, and Anti-Oppression","authors":"Juliet Hess","doi":"10.2979/philmusieducrevi.28.1.04","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.28.1.04","url":null,"abstract":"Abstract:In Red Skin, White Masks: Rejecting the Colonial Politics of Recognition, Glen Coulthard argues that since 1969, colonial power relations in Canada have shifted from an unconcealed structure of domination to a mode of colonial governance that operates through state recognition and accommodation. He instead looks to identify a type of recognition based on self-affirmation and self-recognition rather than state acceptance. Following Coulthard, I examine movements created to affirm oppressed groups in the context of anti-Semitism and anti-Blackness in the mid-twentieth century and explore possible limitations of such movements, including the erasure or elision of complex intersections of identity. I then draw upon self-compassion, a mental health and wellness approach, as a potential framework for the affirmative politics Coulthard theorizes. Subsequently, I consider whether such a framework offers a mechanism to provide the self-affirmation and recognition that Coulthard identifies as vital to resisting oppression. I ultimately explore how understanding music as cultural production in music education might engender this affirmative politics to facilitate rich affirmation and validation of students and educators to musically imagine different possible futures.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"28 1","pages":"47 - 68"},"PeriodicalIF":1.0,"publicationDate":"2020-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47395574","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 : 2020-04-21DOI: 10.2979/philmusieducrevi.28.1.06
J. P. Louth
Abstract:For decades, education has been inundated with neoliberal policies described as enabling its structures to adjust to a global knowledge economy. Located at the intersection of such "reform" language and classical liberal economic theory is a troubling paradox–the idea that knowledge should be centrally concentrated in order to "liberalize" education along free market lines. This essay considers implications of centralized knowledge for music education in light of this contradiction and the rhetoric that obscures it. To raise awareness of this paradox, I briefly summarize some of the literature on neoliberalism and state intervention before examining the ideas of an individual skeptical of central knowledge planning despite his pivotal role in the birth of modern educational "reform": Peter Drucker. The ideological collapsing of Drucker's nuanced views by neoliberal interests stands in stark contrast with what could be a less instrumental argument for the development of problem-solving skills for lifelong benefit. Finally, I ask whether we reinforce this contradiction if we champion music's curricular legitimacy and relevance, yet fail to teach students to think musically for themselves as evidenced by prescriptive instructional methods or participation in standardizing musical knowledge through failure to resist the totalizing ideology of the audit culture.
{"title":"Emphasis and Suggestion versus Musical Taxidermy: Neoliberal Contradictions, Music Education, and the Knowledge Economy","authors":"J. P. Louth","doi":"10.2979/philmusieducrevi.28.1.06","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.28.1.06","url":null,"abstract":"Abstract:For decades, education has been inundated with neoliberal policies described as enabling its structures to adjust to a global knowledge economy. Located at the intersection of such \"reform\" language and classical liberal economic theory is a troubling paradox–the idea that knowledge should be centrally concentrated in order to \"liberalize\" education along free market lines. This essay considers implications of centralized knowledge for music education in light of this contradiction and the rhetoric that obscures it. To raise awareness of this paradox, I briefly summarize some of the literature on neoliberalism and state intervention before examining the ideas of an individual skeptical of central knowledge planning despite his pivotal role in the birth of modern educational \"reform\": Peter Drucker. The ideological collapsing of Drucker's nuanced views by neoliberal interests stands in stark contrast with what could be a less instrumental argument for the development of problem-solving skills for lifelong benefit. Finally, I ask whether we reinforce this contradiction if we champion music's curricular legitimacy and relevance, yet fail to teach students to think musically for themselves as evidenced by prescriptive instructional methods or participation in standardizing musical knowledge through failure to resist the totalizing ideology of the audit culture.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"28 1","pages":"107 - 88"},"PeriodicalIF":1.0,"publicationDate":"2020-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46441532","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}
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