Pub Date : 2020-04-21DOI: 10.2979/philmusieducrevi.28.1.05
Leonard Tan
Abstract:In this paper, I offer my reading of John Dewey's Art as Experience and propose implications for music education based on Dewey's ideas. Three principal questions guide my task: What are some key ideas in Dewey's theory of art? How does Dewey's theory of art fit within his larger theory of experience? What are the implications of Dewey's ideas for music education? As I shall show, art for Dewey is rooted in nature, civilizes humans, serves as social glue, and has an important role in society throughout most of human history. Modern life, however, separates art and life; there is a need to restore the continuity between art and the ordinary processes of living, a task that Dewey undertakes by positing the notion of art as experience. Dewey's ideas support an expanded curriculum in music education, one in which popular music may be included alongside Western classical music and music from diverse cultures. However, artistic and educational discernment are needed, which necessitates the need for music educators to be sufficiently steeped in varied musical traditions and styles.
{"title":"Reading John Dewey's Art as Experience for Music Education","authors":"Leonard Tan","doi":"10.2979/philmusieducrevi.28.1.05","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.28.1.05","url":null,"abstract":"Abstract:In this paper, I offer my reading of John Dewey's Art as Experience and propose implications for music education based on Dewey's ideas. Three principal questions guide my task: What are some key ideas in Dewey's theory of art? How does Dewey's theory of art fit within his larger theory of experience? What are the implications of Dewey's ideas for music education? As I shall show, art for Dewey is rooted in nature, civilizes humans, serves as social glue, and has an important role in society throughout most of human history. Modern life, however, separates art and life; there is a need to restore the continuity between art and the ordinary processes of living, a task that Dewey undertakes by positing the notion of art as experience. Dewey's ideas support an expanded curriculum in music education, one in which popular music may be included alongside Western classical music and music from diverse cultures. However, artistic and educational discernment are needed, which necessitates the need for music educators to be sufficiently steeped in varied musical traditions and styles.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"28 1","pages":"69 - 87"},"PeriodicalIF":1.0,"publicationDate":"2020-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43460534","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.28.1.02
Deborah Bradley
Abstract:In this paper, I explore the question: What would it mean for history to be understood as the history of trauma? First implied by Sigmund Freud (2003/1920) in "Beyond the Pleasure Principle," and later taken up the Cathy Caruth (1991, 1993, 1996), the question has broad implications for music education. The nature of trauma as an enigma, as something experienced but not fully grasped in consciousness that returns to "haunt" its survivors through repetitive phenomena such as flashbacks, nightmares, and unexplainable reactions to sights, sounds, smells, and other stimuli, has been documented to affect not only individuals who have experienced violent events but entire cultures that have experienced trauma such as war, natural disaster, genocide, colonialism, racism, and other forms of trauma that are passed down through generations. Trauma as an enigma raises a variety of paradoxes emerging from its relationship to history and to pedagogy, including the relationship of trauma to cultural understanding. My exploration is guided by the question: If history may be understood as the history of trauma, how does the nature of trauma as incomprehensible complicate our concerns for cultural or cross-cultural understanding in music education?
{"title":"We are All Haunted: Cultural Understanding and the Paradox of Trauma","authors":"Deborah Bradley","doi":"10.2979/philmusieducrevi.28.1.02","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.28.1.02","url":null,"abstract":"Abstract:In this paper, I explore the question: What would it mean for history to be understood as the history of trauma? First implied by Sigmund Freud (2003/1920) in \"Beyond the Pleasure Principle,\" and later taken up the Cathy Caruth (1991, 1993, 1996), the question has broad implications for music education. The nature of trauma as an enigma, as something experienced but not fully grasped in consciousness that returns to \"haunt\" its survivors through repetitive phenomena such as flashbacks, nightmares, and unexplainable reactions to sights, sounds, smells, and other stimuli, has been documented to affect not only individuals who have experienced violent events but entire cultures that have experienced trauma such as war, natural disaster, genocide, colonialism, racism, and other forms of trauma that are passed down through generations. Trauma as an enigma raises a variety of paradoxes emerging from its relationship to history and to pedagogy, including the relationship of trauma to cultural understanding. My exploration is guided by the question: If history may be understood as the history of trauma, how does the nature of trauma as incomprehensible complicate our concerns for cultural or cross-cultural understanding in music education?","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"28 1","pages":"23 - 4"},"PeriodicalIF":1.0,"publicationDate":"2020-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42696793","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}
{"title":"The Challenge of History","authors":"B. Rainbow","doi":"10.2307/j.ctvp2n4cv","DOIUrl":"https://doi.org/10.2307/j.ctvp2n4cv","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"3 1","pages":"43-51"},"PeriodicalIF":1.0,"publicationDate":"2020-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49121156","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 : 2020-04-01DOI: 10.2979/philmusieducrevi.28.1.07
Panagiotis A. Kanellopoulos
{"title":"Paul Woodford, Music Education in an Age of Virtuality and Post-Truth (New York: Routledge, 2018)","authors":"Panagiotis A. Kanellopoulos","doi":"10.2979/philmusieducrevi.28.1.07","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.28.1.07","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"1 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49157357","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 : 2020-03-01DOI: 10.2979/philmusieducrevi.28.1.03
W. Churchill, C. Bernard
Abstract:How might identity and identity politics inform music teachers' practices and assumptions about disability? In this article, we engage in a critical discussion about how music educators might respond to disability. This article is presented in three parts as a collaborative dialogue between the two authors, using the landscape of identity politics to frame the discussion. In the first part, Warren Churchill discusses Tobin Siebers' theorizing of "the ideology of ability" as it relates to music education's dominant response to disability. Building on his idea of "complex embodiment," Siebers lays out a justification for disabled individuals to actively engage in identity politics for self-advocacy. Churchill connects Siebers' ideology to Joseph Abramo's epistemology of sound. In the second part, Cara Faith Bernard makes a counter-argument against deploying identity politics in the music classroom, drawing upon Gayatri Chakravorty Spivak's notion of strategic essentialism to examine its potential risks with regards to music education curricula, in which essentialism may lead to establishing detrimental "best practices" for students. Thereafter, in Part Three, the authors join together to make sense of these seemingly contradictory philosophical outlooks on identity politics, in the hope of furthering conversation about music education's ongoing response to disability.
{"title":"Disability and the Ideology of Ability: How Might Music Educators Respond?","authors":"W. Churchill, C. Bernard","doi":"10.2979/philmusieducrevi.28.1.03","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.28.1.03","url":null,"abstract":"Abstract:How might identity and identity politics inform music teachers' practices and assumptions about disability? In this article, we engage in a critical discussion about how music educators might respond to disability. This article is presented in three parts as a collaborative dialogue between the two authors, using the landscape of identity politics to frame the discussion. In the first part, Warren Churchill discusses Tobin Siebers' theorizing of \"the ideology of ability\" as it relates to music education's dominant response to disability. Building on his idea of \"complex embodiment,\" Siebers lays out a justification for disabled individuals to actively engage in identity politics for self-advocacy. Churchill connects Siebers' ideology to Joseph Abramo's epistemology of sound. In the second part, Cara Faith Bernard makes a counter-argument against deploying identity politics in the music classroom, drawing upon Gayatri Chakravorty Spivak's notion of strategic essentialism to examine its potential risks with regards to music education curricula, in which essentialism may lead to establishing detrimental \"best practices\" for students. Thereafter, in Part Three, the authors join together to make sense of these seemingly contradictory philosophical outlooks on identity politics, in the hope of furthering conversation about music education's ongoing response to disability.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"28 1","pages":"24 - 46"},"PeriodicalIF":1.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42391282","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 : 2020-01-01DOI: 10.2979/philmusieducrevi.28.1.bm
{"title":"Back Matter","authors":"","doi":"10.2979/philmusieducrevi.28.1.bm","DOIUrl":"https://doi.org/10.2979/philmusieducrevi.28.1.bm","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"1 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69202726","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 : 2019-12-31DOI: 10.1515/9783110627411-003
{"title":"First Chapter: The Art of the Muses","authors":"","doi":"10.1515/9783110627411-003","DOIUrl":"https://doi.org/10.1515/9783110627411-003","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"17 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90722683","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 : 2019-12-31DOI: 10.1515/9783110627411-006
{"title":"Fourth Chapter: Dissonances","authors":"","doi":"10.1515/9783110627411-006","DOIUrl":"https://doi.org/10.1515/9783110627411-006","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"PC-24 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84848937","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 : 2019-12-31DOI: 10.1515/9783110627411-004
{"title":"Second Chapter: Harmony and Disenchantment","authors":"","doi":"10.1515/9783110627411-004","DOIUrl":"https://doi.org/10.1515/9783110627411-004","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"27 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73949771","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 : 2019-12-31DOI: 10.1515/9783110627411-005
{"title":"Third Chapter: The Century of Music","authors":"","doi":"10.1515/9783110627411-005","DOIUrl":"https://doi.org/10.1515/9783110627411-005","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"151 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74153209","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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