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Journal articles on the topic 'Philosophy of music education'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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1

Reimer, Bennett. "A Philosophy of Music Education." Journal of Aesthetics and Art Criticism 49, no. 3 (1991): 279. http://dx.doi.org/10.2307/431496.

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2

McCarthy, Marie, and J. Scott Goble. "Music Education Philosophy: Changing Times." Music Educators Journal 89, no. 1 (September 2002): 19–26. http://dx.doi.org/10.2307/3399880.

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3

LeBlanc, Albert. "Music Matters: A New Philosophy of Music Education." Music Educators Journal 82, no. 4 (January 1996): 61–62. http://dx.doi.org/10.2307/3398921.

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4

Fiske, Harold E., and David J. Elliott. "Music Matters: A New Philosophy of Music Education." Notes 53, no. 3 (March 1997): 770. http://dx.doi.org/10.2307/899720.

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5

Sarrazin, Natalie, and David J. Elliott. "Music Matters: A New Philosophy of Music Education." Ethnomusicology 40, no. 3 (1996): 517. http://dx.doi.org/10.2307/852476.

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6

Gauthier, Delores, and John Lychner. "Music Matters: A New Philosophy of Music Education." Journal of Music Teacher Education 5, no. 2 (June 1996): 30–32. http://dx.doi.org/10.1177/105708379600500206.

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7

Gonzol, David J. "Otto Rudolph Ortmann, Music Philosophy, and Music Education." Philosophy of Music Education Review 12, no. 2 (2004): 160–80. http://dx.doi.org/10.1353/pme.2005.0006.

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8

Richerme, Lauren Kapalka. "Measuring Music Education." Journal of Research in Music Education 64, no. 3 (August 3, 2016): 274–93. http://dx.doi.org/10.1177/0022429416659250.

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Despite substantial attention to measurement and assessment in contemporary education and music education policy and practice, the process of measurement has gone largely undiscussed in music education philosophy. Using the work of physicist and philosopher Karen Barad, in this philosophical inquiry, I investigated the nature of measurement in music education while concurrently exploring the assumptions underlying documents related to the proposed music Model Cornerstone Assessments. First, Barad’s concepts of reflection and diffraction reveal the false assumption that measurement captures rather than alters and produces musical experiences. Second, measurement apparatuses are explained as boundary-making practices. Third, the limits of measurement apparatuses are explored through Barad’s assertions about experimental inclusions and exclusions and Lyotard’s concept of the differend, and these limits are used to problematize the ambitious, value-laden discourse of documents related to the music Model Cornerstone Assessments. Finally, through Barad’s concept of intra-action, measurement is reinterpreted as a process through which “teacher” and “student” emerge. Music education policymakers, teachers, and students might adopt language emphasizing the intra-active nature of measurement and empower themselves to critique and reimagine existing measurement apparatuses and their measurement and assessment practices.
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9

Elliott, David J. "Modernity, Postmodernity and Music Education Philosophy." Research Studies in Music Education 17, no. 1 (December 2001): 32–41. http://dx.doi.org/10.1177/1321103x010170010401.

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10

Oehrle, Elizabeth. "Challenges in Music Education Facing the New South Africa." British Journal of Music Education 15, no. 2 (July 1998): 149–54. http://dx.doi.org/10.1017/s0265051700009293.

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South Africa is undergoing dynamic changes affecting all aspects of life, and legacies of the previous regime have a bearing on these changes. Music educators informal institutions face many challenges. Music-making in the informal sector is extensive, ongoing and relevant. Today, one of the greatest challenges for music educators in the formal sector is to realise the importance and value of developing a philosophy and process of music education that emanates and evolves from musics and musical practices existing in southern Africa.
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11

Reimer, Bennett. "Should there be a universal philosophy of music education?" International Journal of Music Education os-29, no. 1 (May 1997): 4–21. http://dx.doi.org/10.1177/025576149702900103.

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The four themes of the Conference focus on the universal dimension of music, claiming that music speaks universally to all generations, times, cultures, and nations. if that is the case, it should also be the case that a universal philosophy of music education – a coherent system of beliefs about the nature and value of music and its role in education and in life, applicable to all generations, times, cultures, and nations – should exist or can exist or does exist. However, no such universal philosophy has been articulated and has been recognized by the world's music educators to be universally acceptable. In fact, many would claim that a universally persuasive philosophy is unlikely if not undesirable. Lacking such a philosophy, claims for the universality of music have no firm foundation. Yet the intuition that there is, indeed, a universal dimension of music and of music education remains persuasive or at least attractive. Is it possible to identify universally accepted values of music and the teaching and learning of music? Would it be useful for the international community of music educators if attempts were made to do so? This paper will argue that it would be extremely useful to make such an attempt, and will suggest some of the strategies by which the attempt might prove fruitful.
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12

Humphreys, Jere T. "Book Review: Music Matters: A New Philosophy of Music Education." Bulletin of Historical Research in Music Education 17, no. 2 (January 1996): 153–59. http://dx.doi.org/10.1177/153660069601700205.

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13

Jorgensen, Estelle R. "REFLECTIONS ON FUTURES FOR MUSIC EDUCATION PHILOSOPHY." Philosophy of Music Education Review 14, no. 1 (April 2006): 15–22. http://dx.doi.org/10.2979/pme.2006.14.1.15.

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14

Allsup, Randall Everett, Estelle R. Jorgensen, Patrick K. Schmidt, and Julia Eklund Koza. "SYMPOSIUM: PHILOSOPHY, MUSIC EDUCATION, AND WORLD ENGAGEMENT." Philosophy of Music Education Review 15, no. 2 (October 2007): 143–44. http://dx.doi.org/10.2979/pme.2007.15.2.143.

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15

Richmond, John W. "Ethics and the Philosophy of Music Education." Journal of Aesthetic Education 30, no. 3 (1996): 3. http://dx.doi.org/10.2307/3333319.

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16

Jorgensen, Estelle Ruth. "Reflections on Futures for Music Education Philosophy." Philosophy of Music Education Review 14, no. 1 (2006): 15–22. http://dx.doi.org/10.1353/pme.2006.0001.

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17

Oehrle, Elizabeth. "Education Through Music: Towards A South African Approach." British Journal of Music Education 10, no. 3 (November 1993): 255–61. http://dx.doi.org/10.1017/s0265051700001790.

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Music making in Africa has been, and is, an essential aspect of living. The philosophy and process of music making in South African schools bares no relevance to this idea. The present situation is that South African music educators are propagating western music education methods, while so-called ‘western’ music educators are turning to Africa to find answers to their perplexing problems. This paradoxical situation highlights the importance of evolving a philosophy and process of intercultural education through music for South Africa which draws upon research into music making in Africa.
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18

Thibeault, Matthew D. "Dewey’s Musical Allergy and the Philosophy of Music Education." Journal of Research in Music Education 68, no. 1 (January 15, 2020): 31–52. http://dx.doi.org/10.1177/0022429419896792.

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This historical study explores John Dewey’s ideas regarding music and music education through primary sources (his published writings, correspondence, and transcriptions of class lectures) and secondary sources (biographies and related scholarly literature). Dewey’s belief that he was unmusical is presented, including via a consideration of his novel conception of rhythm absent musical examples. Despite this belief, this study posits a case for a musical Dewey. This is presented through examples in his work that, while scattered, demonstrate several themes: that music is rooted in ritual and social experience, that it is embodied with regard both to creation and perception, and that it has important connections to everyday life. Dewey’s dislike of jazz is interpreted as a resistance to commercialized and commoditized mass culture. The progressive music program at the University of Chicago’s Laboratory School that Dewey established exemplifies his commitment to music education, and new research connects that progressive program to Hull House and Jane Addams through the shared employment of music teacher Eleanor Smith. The discussion considers how Dewey’s musical ideas complement his painterly aesthetics and also calls for a resistance to unmusicality as a conception, instead turning toward music as innate to all humans.
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19

Elliott, David. "Rethinking Music: First Steps to a New Philosophy of Music Education." International Journal of Music Education os-24, no. 1 (November 1994): 9–20. http://dx.doi.org/10.1177/025576149402400102.

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20

Hendricks. "The Philosophy of Shinichi Suzuki: “Music Education as Love Education”." Philosophy of Music Education Review 19, no. 2 (2011): 136. http://dx.doi.org/10.2979/philmusieducrevi.19.2.136.

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21

COOPER, DAVID E. "MUSIC, EDUCATION, AND THE EMOTIONS." Journal of Chinese Philosophy 36, no. 4 (December 2009): 642–52. http://dx.doi.org/10.1111/j.1540-6253.2009.01547.x.

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22

Cooper, David E. "Music, Education, and the Emotions." Journal of Chinese Philosophy 36, no. 4 (February 19, 2009): 642–52. http://dx.doi.org/10.1163/15406253-03604013.

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23

Mizzoni, John. "Introduction to a Philosophy of Music." Teaching Philosophy 31, no. 1 (2008): 104–7. http://dx.doi.org/10.5840/teachphil200831111.

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24

Mark, Michael L. "A Philosophy of Music Education: Advancing the Vision." Music Educators Journal 90, no. 1 (September 2003): 63–64. http://dx.doi.org/10.2307/3399979.

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25

Väkevä. "Four Pieces on Comparative Philosophy of Music Education." Philosophy of Music Education Review 21, no. 1 (2013): 5. http://dx.doi.org/10.2979/philmusieducrevi.21.1.5.

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26

Adrian Darnell Barnes. "A Philosophy of Music Education according to Kant." Journal of Aesthetic Education 51, no. 2 (2017): 33. http://dx.doi.org/10.5406/jaesteduc.51.2.0033.

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27

Broomhead, Paul. "The Problem of Music Education Philosophy for Undergraduates." Journal of Music Teacher Education 14, no. 1 (September 2004): 20–26. http://dx.doi.org/10.1177/10570837040140010105.

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28

Shevock, Daniel J. "Satis Coleman—A Spiritual Philosophy for Music Education." Music Educators Journal 102, no. 1 (August 28, 2015): 56–61. http://dx.doi.org/10.1177/0027432115590182.

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29

Park, Seohyung. "A Study of Plato’s Philosophy of Music Education." Korean Music Education Society 50, no. 2 (May 31, 2021): 197–220. http://dx.doi.org/10.30775/kmes.50.2.197.

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30

Jorgensen, Estelle R. "What philosophy can bring to music education: musicianship as a case in point." British Journal of Music Education 20, no. 2 (July 2003): 197–214. http://dx.doi.org/10.1017/s0265051703005382.

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My response to the question ‘What can philosophy bring to music education?’ is to offer a case in point. Three important tasks that philosophers can fulfil – clarifying ideas, interrogating commonplaces, and suggesting applications to practice – are illustrated through an analysis of musicianship. Doing philosophy is inseparable from the content of philosophy, and how the idea of musicianship is clarified, interrogated, and applied is of central interest to music education, as is the task of music education philosophy itself. The article highlights the crucial importance of teachers as participants in this work.
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31

Powell, Bryan. "Community music interventions, popular music education and eudaimonia." International Journal of Community Music 00, no. 00 (February 24, 2021): 1–23. http://dx.doi.org/10.1386/ijcm_00031_1.

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The fields of community music and popular music education have expanded rapidly over the past few decades. While there are many similarities between these two fields, there are aspects that set these two areas of practice apart. This article seeks to explore the intersections of community music interventions and popular music education to explain how they are similar and in which ways they are unique. This discussion centres on examinations of facilitation, ownership of music, training and certification, inclusivity, life-long music making, amateur engagement, informal learning and non-formal education, and social concerns. The Greek philosophy of eudaimonism, understood as ‘human flourishing’ is then used to explore the opportunities for human fulfilment through popular music education and community music approaches.
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32

Temmerman, Nita. "The Philosophical Foundations of Music Education: The Case of Primary Music Education in Australia." British Journal of Music Education 8, no. 2 (July 1991): 149–59. http://dx.doi.org/10.1017/s0265051700008251.

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Primary music education programme development and implementation is founded on philosophical beliefs about the purpose of music education.Primary classroom teachers who ultimately have responsibility for development and implementation of the music education programme formulate their philosophical beliefs about the purpose of music education based on a multitude of variables. Whilst their own past music experiences and education assume significance in the formation of a music education philosophy, the primary music curriculum documents provided by education authorities constitute an important source for teachers' current philosophical opinion about the purpose of music education.Two philosophical arguments have thus far formed the basis of the purpose of music education in the history of the western world, namely, the intrinsic and extrinsic arguments. Primary music curriculum documents have also been based on one (or perhaps both), of these philosophical views about the purpose of music education.In this article a discussion of the philosophical foundations of music education, with special reference to primary music education in Australia, is presented. Five primary music curriculum documents will be looked at, and commentary given about the current philosophical status of Australian primary music education and the implications for programme development and implementation.
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33

COX, GORDON, and STEPHANIE PITTS. "SPECIAL ISSUE: PERSPECTIVES ON MUSIC EDUCATION." British Journal of Music Education 20, no. 2 (July 2003): 119–20. http://dx.doi.org/10.1017/s0265051703009112.

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Music education is an eclectic field of study, and those concerned with questions of musical learning and teaching draw upon a variety of disciplines including psychology, sociology, history, philosophy, ethnomusicology, and music therapy. For this Special Issue, we have asked leading scholars within these disciplines to share insights on how their research area might contribute to a greater understanding of the learning and teaching of music. Our aim and theirs is to communicate recent developments in the disciplines to music educators, and hopefully to stimulate in the pages of BJME a dialogue with colleagues in related fields of interest.
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34

Jorgensen, Estelle R. "Roots and Development of the International Society for the Philosophy of Music Education (1985–2015)." Journal of Historical Research in Music Education 39, no. 1 (April 7, 2017): 25–50. http://dx.doi.org/10.1177/1536600617703724.

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This history traces the roots and development of the International Society for the Philosophy of Music Education (1985–2015). Taking a cross-disciplinary approach to historiography based on autobiographical reflection grounded in documentary evidence, it focuses on the people, events, and contributions of the society and the symposia out of which it grew and with which it was associated. Among the themes in this account are the American roots of the symposia, their growing internationalization and institutionalization, the founding of the Philosophy of Music Education Review and the International Society for the Philosophy of Music Education, evolving symposia structures, a democratic process of governance, the mentoring of philosophers and leaders in the community, and initiatives to strengthen the philosophical preparation of doctoral students in music education.
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35

Jorgensen, Estelle R. "What are the roles of philosophy in music education?" Research Studies in Music Education 17, no. 1 (December 2001): 19–31. http://dx.doi.org/10.1177/1321103x010170010301.

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36

Ligoya, Alinane Mildred. "Music education in Malawi: the need for a philosophy." Journal of Musical Arts in Africa 8, no. 1 (December 2011): 101–11. http://dx.doi.org/10.2989/18121004.2011.652356.

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37

Hansen, Forest. "A Philosophy of Music Education: Advancing the Vision (review)." Philosophy of Music Education Review 11, no. 2 (2003): 200–202. http://dx.doi.org/10.1353/pme.2003.0010.

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38

Trollinger, Valerie L. "A Reconception of Performance Study in Music Education Philosophy." Philosophy of Music Education Review 14, no. 2 (2006): 193–208. http://dx.doi.org/10.1353/pme.2007.0010.

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39

Trivedi, Saam, and Stephen Davies. "Themes in the Philosophy of Music." Journal of Aesthetic Education 37, no. 3 (2003): 108. http://dx.doi.org/10.2307/3527308.

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40

Shcherbakova, Anna I., and Irina А. Korsakova. "Philosophy. Pedagogy. Music. Origin and Development of the Scientific School." Musical Art and Education 8, no. 3 (2020): 50–64. http://dx.doi.org/10.31862//2309-1428-2020-8-3-50-64.

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The scientific school “Methodology of pedagogy of music education” is a significant phenomenon in the pedagogy of music education. It was happened in the depths of the Department of methodology and methods of music education of the Moscow Pedagogical State University, headed by a talented scientist, a great teacher-musician, amazing person who gave his whole life to the education of future music teachers – Eduard B. Abdullin. Today, followers of this scientific school work in many parts of the world, continuing the ideas laid down by its founder. One of the conceptual positions of the School is the unity of philosophy, theory, and practice in the work of a teacher-musician, the attitude to music as a carrier of value, the most important “tool” for personality formation, and the source of student creative potential development. The philosophical level of the musical and pedagogical process is a key component of the worldview training of the future teacher-musician in all forms and at all levels of education at the University: in lecture and seminar-practical work, individual communication between the teacher and the student as a collective subject of the musical and creative process, in project and other extracurricular work. Philosophical understanding of music and music education is possible in three aspects: ontological, epistemological, and axiological. The unity of these facets of understanding the musical and pedagogical reality allows us to approach the study of the phenomenon in question from the position of a holistic, systematic, multi-level approach, which determines the research essence of the concept of Eduard B. Abdullin’s scientific school.
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41

Bocking, Grant. "Opting into Music – A Philosophy for the Upper School." British Journal of Music Education 2, no. 2 (July 1985): 159–66. http://dx.doi.org/10.1017/s0265051700004769.

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Compulsory classroom music in Upper Schools is often not only ineffective but occasionally counterproductive. The enthusiastic young musician may be deterred from pursuing and enjoying the subject on account of the apathy or hostility of his or her contemporaries.By permitting the motivated children to choose to study music, in other words to ‘opt in’, their interest and general musical education is greatly enriched. They are being taught in the company of like-minded enthusiasts.Extra-curricular activities, which the author regards as a pinnacle of music making in the Upper School, receive enhanced status because of the standing of the subject in the school at classroom level.
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42

Karlsen, Sidsel. "BoomTown Music Education and the need for authenticity – informal learning put into practice in Swedish post-compulsory music education." British Journal of Music Education 27, no. 1 (January 26, 2010): 35–46. http://dx.doi.org/10.1017/s0265051709990180.

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The article reports on a 2-year higher education music programme for young rock musicians in Sweden called BoomTown Music Education. The pedagogical philosophy behind this programme is developed from the findings of two Swedish music education researchers, and the programme exemplifies how knowledge about popular musicians' learning strategies in informal contexts can be utilised when designing post-compulsory music education. The aim of the article is to problematise the BoomTown environment in relation to its informality and authenticity. In addition to a description of the programme, the author's experiences from visiting this education programme are laid out in order to provide the ground for such a problematisation.
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43

LAURAND, VALERY. "LES EFFETS ÈTHIQUES DE LA MUSIQUE : LA LECTURE PROBLÈMATIQUE DE DIOGÈNE DE BABYLONE PAR PHILODÈME DE GADARA." Méthexis 27, no. 1 (March 30, 2014): 197–214. http://dx.doi.org/10.1163/24680974-90000639.

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This paper deals with the place Diogenus of Babylon grants music within the realm of ethical education and training, as reported in Philodemus of Gadara’s (partisan) testimony in his De Musica, wherein it is stated that music encourages men to cultivate virtue and strengthen it. By exploring the controversy between Epicureanism and Stoicism, this paper aims to understand how, according to Stoic thought, cognitive sense-perception (ἐπɩστημoνKὴ σἲσθησɩᴤ) could have an ethical outcome, the sensory experience thus proving its expertise within the field of ethics, and succeeding in changing man's varying states of pleasure and pain. In fact, music like poetry turns out to be the resounding image of rationality that holds direct sway over the rational soul.
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44

Ellis, Phil, and Rosemary Dowsett. "Microelectronics in Special Education." British Journal of Music Education 4, no. 1 (March 1987): 17–24. http://dx.doi.org/10.1017/s0265051700005702.

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The place of music in the general school curriculum has undergone considerable change in the last few years. During the 1970s, the Schools Council Project ‘Music in the Secondary School Curriculum’ identified a number of approaches, all having a common philosophy – to engage all children in practical musical activity of an expressive, aesthetic nature. More recently, the HMI document ‘Curriculum Matters 4 – Music from 5 to 16’ has brought many of the ideals of this project into sharp focus, with its emphasis on composing, performing and listening as practical, integrated activities. The aims of music education, as stated in this document, highlight the changing direction of music in the curriculum; and the new GCSE should reflect this, so becoming a more relevant examination for a broader cross-section of pupils than has hitherto been possible.With this changing emphasis in mainstream education, it is worth considering if any developments are possible in terms of general music activities for children with special needs. Is it possible for them to experience a more practical music curriculum; to engage in the process of composition and have heightened listening experiences as a result? Here microelectronics can make a significant contribution, just as it is beginning to do in mainstream education. By using some of the new technologies, pupils with a variety of handicaps are able to explore, create and perform a wide range of music.
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45

Alperson, Philip. "What Should One Expect from a Philosophy of Music Education?" Journal of Aesthetic Education 25, no. 3 (1991): 215. http://dx.doi.org/10.2307/3333004.

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46

Knieter, Gerard L. "Teaching and Learning Philosophy in the Music Education Doctoral Program." Journal of Aesthetic Education 25, no. 3 (1991): 259. http://dx.doi.org/10.2307/3333006.

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47

Peterson, Amber Dahlén. "The Impact of Neuroscience on Music Education Advocacy and Philosophy." Arts Education Policy Review 112, no. 4 (August 2011): 206–13. http://dx.doi.org/10.1080/10632913.2011.592475.

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48

Bergman, Mark Elliot. "Remixing the Classroom: Toward an Open Philosophy of Music Education." Music Reference Services Quarterly 20, no. 3-4 (October 2, 2017): 231–32. http://dx.doi.org/10.1080/10588167.2017.1377532.

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49

Stanley, Ann Marie. "Remixing the classroom: toward an open philosophy of music education." Music Education Research 21, no. 2 (October 22, 2018): 212–14. http://dx.doi.org/10.1080/14613808.2018.1536399.

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50

Gray, Lori F. "Media Review: The Oxford Handbook of Philosophy in Music Education." Journal of Historical Research in Music Education 36, no. 1 (October 2014): 79–82. http://dx.doi.org/10.1177/153660061403600106.

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