First published in 1983, _Gender, Class and Education_ is a collection of papers that formed presentations at the Westhill Sociology of Education Conference in January 1982, and is the fifth such collection to emerge from the annual conference. The conference theme, ‘Race, Class and Gender’, was not only chosen because of its topicality, but also to provide a framework for debate between educational researchers and teachers. The papers focus on the reproduction of gender relations (...) through education and provide important insights into how this process works, how it is resisted in schools and colleges, and the possibilities for radical intervention. This volume includes three teaching bibliographies on gender and education which were not presented at the conference, but were compiled specially for the book. (shrink)

Conference environments enable diverse roles for academics. However, conferences are hardly entered into by participants as equals. Academics enter into and experience professional environments differently according to culture, gender, race, ethnicity, class, and more. This paper considers from a philosophical perspective entering and initiating culturally into academic conferences as a woman. It discusses theories of gender and emotional labor and emotional management, focusing on Arlie Hochschild’s foundational work, and affect in gendered social relations, considering Sara Ahmed’s theorization (...) of the feminist killjoy and the affect alien. It applies these lenses to explore problematic experiences of women initiates at conferences. The paper proceeds with a theoretical discussion of gender, emotional labor, and affect. Then the paper discusses women academics’ experiences generally and at conferences, including educational research conferences, with reference to relevant higher education research as well as anecdotal evidence, relating these experiences to the theories. It thus aims to tie together theoretical insights, higher education scholarship, and ordinary real-life experiences of gendered social relations in conference activities. (shrink)

Conference environments enable diverse roles for academics. However, conferences are hardly entered into by participants as equals. Academics enter into and experience professional environments differently according to culture, gender, race, ethnicity, class, and more. This paper considers from a philosophical perspective entering and initiating culturally into academic conferences as a woman. It discusses theories of gender and emotional labor and emotional management, focusing on Arlie Hochschild’s foundational work, and affect in gendered social relations, considering Sara Ahmed’s theorization (...) of the feminist killjoy and the affect alien. It applies these lenses to explore problematic experiences of women initiates at conferences. The paper proceeds with a theoretical discussion of gender, emotional labor, and affect. Then the paper discusses women academics’ experiences generally and at conferences, including educational research conferences, with reference to relevant higher education researc... (shrink)

This book gathers case studies presented at the International Conference on Responsible Research and Innovation in Science, Innovation and Society. It highlights European initiatives and projects in various domains and contexts, each of which explores how to create guidelines and good practices for Responsible Research and Innovation and how to promote them among citizens, industry stakeholders, policy and decision makers, research funders and educational institutions to foster their adoption as a potential benchmark in establishing RRI processes. Further, the book (...) discusses gender and ethical issues, which are highly relevant for RRI initiatives in connection with representativeness, risks and in some cases, minority rights. (shrink)

Abstract:Sociologist Max Weber identified Puritan constructions of virtuous time and the sin of sloth as having explanatory power for the origins of Puritan action and capitalist economies. This article expands upon Weber’s thesis to examine how the sin of sloth was reinterpreted to encourage or prohibit psalm singing, singing schools, and later forms of musicking. In particular, the article examines how the sin of sloth has always been a complex construction of virtue, emotion, time, and gender. An examination of (...) musicking through the sin of sloth illuminates the impact of virtue ethics, gender, and time. Arguments for and against musicking are often grounded in notions of virtuous time, gender, emotion, and imagined depravity. (shrink)

This is the first book to focus on the role of education in relation to music and gender. Invoking a concept of musical patriarchy and a theory of the social construction of musical meaning, Lucy Green shows how women's musical practices and gendered musical meanings have been reproduced, hand-in-hand, through history. Dr. Green views the contemporary school music classroom as a microcosm of the wider society, and reveals the participation of music education in the (...) continued production and reproduction of gendered musical practices and meanings. (shrink)

Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju biti (...) odgovorni za poučavanje o istinskoj prirodi umjetnosti; umjetnost ne može biti jednaka estetskom iskustvu; društvo se mora reorganizirati u društvo bazirano na vokaciji, što je analogno Platonovu mišljenju.Philosophy of Art in the thinking of Anande Kentish Coomaraswamy is connected with traditional philosophy. Aesthetics in modern sense has nothing to do with traditional philosophy of art which basic principle is “The artist is not special kind of man” but “Every man is special kind of artist”. Coomaraswamy wants to redefine contemporary approach to art. Contemporary artist does not create in accordance with Eternal Truth.art is not iconography of transcendental forms but real picture of disoriented mentality. In order to redefine approach to art basic language of art must be changed; educators and curators must have responsibility to teach about true nature of art; art can not be equal with esthetic experience; society must be reorganized into one that is based on vocation in analogy with Plato’s thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Tale of Two ConferencesProfessional Discourse, Music Education, and JusticeEric ShiehThis is an exploration of misunderstandings. Beginning with my own.It is 3:15pm at the Pearson International Airport, Toronto. I am leaving the musica ficta/Lived Realities conference on "Engagements and Exclusions in Music, Education, and the Arts" held at the University of Toronto, January 2008, and this is what I write: "I am thinking about (...) what I am going to take from this conference and I think ultimately it may be a profound sense of disappointment. I do not feel anymore that I am part of a larger community that will support me, or that there is a web of people engaged in justice-oriented practice …."Explicitly addressing issues of equity and social justice in music education, the conference shared similar themes and a similar participant base with a conference held at Teachers College, New York City, in October 2006, titled the "International Conference on Music Education, Equity, and Social Justice," the first of its kind. Yet where I left the Toronto conference with a sense of disappointment, I found myself writing after the New York conference: "Don't forget—the [End Page 203] feeling of urgency … of wanting to engage again in philosophy, and wanting to read again and renew faith with the project of change."The difference that provoked these polar reactions, I contend here, is in part a difference in the research presented at the two conferences—a differing orientation toward issues of social justice as well as toward the music education profession itself. I also argue, however, that the researchers share more similarities than the discourses surrounding the conferences allow and in part the differences perceived are a by-product of professional structures that serve to polarize discourse—structures that are foregrounded in these two conferences. My intent here, then, is not to valorize the NYC conference or disparage the Toronto conference based on my reactions but to read these reactions as problematic, where euphoria can be reactionary and resistance productive, with the understanding that they are heavily limited by my identification as a young, unestablished music practitioner. I begin first by unpacking those reactions through a reading of the differences between the two conferences. Ultimately, I seek the implications of these differences and similarities for research and practice at the intersection of social justice and music education, and argue that my initial reactions are symptomatic of a wider and potentially harmful approach to this work.Justice, Positively and Negatively ConceivedI wish to begin explicating the differences between the two conferences at an oddly revealing detail: the inscriptions featured on the covers of the respective conference booklets and, in the case of the Toronto conference, replicated on the website and call for papers. The NYC conference features a lengthy and hopeful quote by Maxine Greene, worth reproducing in full: "Because it is only through the projection of a better social order that we can perceive the gaps in what exists and try to transform and repair…. This can happen in classrooms, in corridors, in schoolyards, in the streets around."1 Contrast this with the authorless four-word mantra of the Toronto Conference: "Charity is Not Justice," represented as a photograph of graffiti on what looks to be a construction site. The difference is stark: the Greene quote indicates that the NYC conference might seek to project a better social order from which action might arise. The Toronto conference, on the other hand, forcefully declares the project of justice in the negative: it is not charity.It is worth taking a moment to put these two inscriptions in dialogue. There is a way, certainly, that Greene in this quote allows for—and perhaps encourages—charitable work. If a person, for example, believes that a better world includes feeding the homeless, he or she might be moved to open a soup kitchen. Insofar as this is an act of charity (and most people would agree that it is), the mantra of the Toronto conference rejects it outright. Furthermore, the use of a [End Page 204] photograph of presumably authentic graffiti lays claim to a kind of streetwise, oppressed authority that throws a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:中国音乐教育与国际音乐教育 [Chinese Music Education and International Music Education] by Jianhua GuanMengchen LuJianhua Guan, 中国音乐教育与国际音乐教育 [Chinese Music Education and International Music Education] (Nanjing: Nanjing Normal University Press, 2013)In Chinese Music Education and International Music Education, Jianhua Guan examined Chinese music education and curriculum in relation to other countries’ music education through the lenses (...) of internationalization. Written in Chinese, there were three sections with several chapters in each and one appendix that documented interviews with American music educators such as Bennett Reimer.In the first section entitled, “On the Philosophy and Culture of Music Education,” Guan pointed out that global cultural development in the twenty-first century has influenced Chinese music education. He wrote richly on a diverse array of topics, including globalization, music education based on Chinese culture, music education during the Space Age, Chinese music education in institutions of higher learning, philosophy of music education, and the internationalization of music education. He concluded the first section by introducing the ideas of Chinese music educator Dan Zhaoyi, Chinese musicologist Wang Guangqi, American postmodern cultural and music education, and Reimer’s philosophy of music education. [End Page 194]The second section, “Music Education Curriculum and Teaching,” began by examining challenges faced by the twenty-first century Chinese music classroom. Subsequently, he discussed how teaching approaches in Chinese music education have changed in the twenty-first century, how traditional Chinese music may be taught in the Chinese classroom, and music as part of a multidisciplinary curriculum in secondary education. This was followed by a survey of thirty years of Chinese music education, music education in American universities (such as Wesleyan University), and the Suzuki mother tongue approach to music education. Throughout this section, Guan’s writings were interspersed with chapters translated from writings by Canadian, American, and Japanese scholars, such as in the chapter on “How Music Help Students’ Cognitive Development.” There was also a translation of an introduction to the Indian concept of Guru-Shisya Parampara.In the final section, entitled “On International Multicultural Music Education,” Guan discussed diverse approaches to music education in various parts of the world. Furthermore, he noted the writings of scholars such as Bruno Nettl and Alan Merriam, as well as James Albert Banks, Ram Mahalingam, and Cameron McCarthy. To create awareness of the international music education community, he covered important organizations such as the International Society for Music Education (ISME) as well as the United Nations Educational, Scientific and Cultural Organization (UNESCO). Discussing issues closer to China, he compared the issue of race in China with that of the United States, noting that racial problems are less pronounced in China due to its non-immigrant population. He concluded by writing about Chinese approaches to multicultural music education, making references in particular to two important conferences in China. Following the third section of the book, Guan presented interview transcripts with music educators such as Bennet Reimer.There is much to recommend about Guan’s work. First, he argued that philosophy of music education should be undergirded by culture, a position which he coined “music cultural philosophy” (yinyue wenhua zhexue 音樂文化哲學).1 For him, as the twenty-first century is one that is marked by globalization and multicultural development, musical traditions from different cultures, languages, ethnicities, and religions should not be neglected. Meanwhile, the establishment of the International Society for Music Education (ISME) creates an environment to better understand the inter-relationships between diverse cultures within music education.2 Guan argued for the importance of embracing diverse musical traditions for now and the future, navigating music education in China toward a multicultural philosophy. As music is related to history, culture, and human behavior, it is crucial for us to connect our cultures to others through music and contribute to societal development. In emphasizing the role of culture, Guan [End Page 195] contributed richly to philosophy of music education in China, which has in recent years been influenced by major philosophies from the West. He encouraged China to look within itself to shape its own philosophical thinking.Second, Guan appealed for China to have its own music education system, one which places traditional Chinese music and Chinese culture at its core, so as to free China from... (shrink)

Community-level legal and policy innovations or “experiments” can be important levers to improve health. States and localities are empowered through the 10th Amendment of the United States Constitution to use their police powers to protect the health and welfare of the public. Many legal and policy tools are available, including: the power to tax and spend; regulation; mandated education or disclosure of information, modifying the environment — whether built or natural ; and indirect regulation. These legal and policy interventions (...) can be targeted to specific needs at the community level and are often relatively low-cost, but high impact interventions. As every community is different, effective laws and policies will vary. This freedom allows states and localities to, as Justice Louis Brandeis argued, truly serve as “laboratories of democracy.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 130-140 [Access article in PDF] Western Classical Music and General Education Estelle R. Jorgensen Indiana University Thinking about transforming music, I address issues relating to the role of musicians in higher education and Western classical music in general education. I am concerned about this music because it is marginalized in general education (...) and the civic spaces of public life. Where once it held a privileged place, it seems now to have acquired (in some quarters at least) a negative connotation as a bastion of elitism and privilege. Instead, popular musics (with a nod to musics of other cultures) have pride of place in much elementary and secondary music education and in many university and college offerings designed for students whose principal fields of study lie outside music. An all-too-common musical illiteracy or, at best, elementary level of musical literacy and aurality renders Western classical music inaccessible to the general public just as the pervasiveness of popular music renders it inaudible and invisible. Bridges to past, less accessible, and esoteric traditions are also too few or in disrepair. Julian Johnson laments the diminished stature of Western classical music and argues for its values in today's world. 1Music teachers of all stripes urgently need to address this marginalization of Western classical music as a matter of public policy. If caring for and fostering [End Page 130] diversity in the natural world is a good, then it is reasonable to expect that fostering diversity in the cultural world is likewise a good. If preventing the extinction of natural species is a matter of public policy, then surely preventing the extinction of musics among other cultural traditions is at least as important. Social transformation has within it the seeds of conservation, or the preserving of past traditions, just as it also suggests profound and ongoing planned and unintended change. When any music such as Western classical music is sidelined, music education policy makers need to ask, Is this multi-cultural, multi-ethnic, multi-faceted music important to keep, foster, and change? What does it have to contribute in the present world? Is it being cared for sufficiently? If it needs to change, how ought it be changed? What principles can be helpful to music teachers in caring for, fostering, and changing it? These are compelling public policy questions for our time. A Quarrel and Its Aftermath In 1963, participants in the Yale Seminar asked some of these very difficult questions of music education policy makers. MENC leaders took exception to the seminar and its conclusions; although some outstanding music teachers were participants, the organization had not been invited and the seminar was not its idea. 2 Instead of addressing directly some of the important criticisms of school music education and music teacher education raised in the seminar, the MENC mounted its own rival Tanglewood Symposium in 1967. Participants in this symposium faulted music in higher education for its failure to admit "talented and capable high school music students [to] the privilege of advanced study," the "[c]ompartmentalization and lack of communication between various segments of the music field," its lack of relation to "the musical heritage of American culture," and its failure to ensure arts courses in general education. 3 The symposium contributed to a populist stance focused on the myriad vernacular traditions of the world, thereby diminishing the role and presence of Western classical music and highlighting popular and vernacular musics at MENC conferences and in the elementary and secondary schools in the United States. Subsequent attempts to renew the Western classical tradition and raise the musical expectations of teachers and their students in the nation's schools exemplified in the Juilliard Repertory, Manhattanville Music Curriculum Project, and Comprehensive Musicianship Program seem not to have made a lasting impact. And the differing criticisms and visions of the Yale Seminar and Tanglewood Symposium have yet to be critically engaged.Summarizing criticisms made of school music repertoire in the report of the Yale Seminar to the Office of Education, U.S. Department of Health, Education, and... (shrink)

Gender inequalities in education – in terms of systematic variations in access to educational institutions, in competencies, school marks, and educational certificates along the axis of gender – have tremendously changed over the course of the 20 th century. Although this does not apply to all stages and areas of the educational career, it is particularly obvious looking at upper secondary education. Before the major boost of educational expansion in the 1960s, women’s participation in upper secondary (...) general education, and their chances to successfully finish this educational pathway, have been lower than men’s. However, towards the end of the 20 th century, women were outperforming men in many European countries and beyond. The international contributions to this book attempt to shed light on the mechanisms behind gender inequalities and the changes made to reduce this inequality. Topics explored by the contributors include gender in science education in the UK; women’s education in Luxembourg in the 19 th and 20 th century; the ‘gender gap’ debates and their rhetoric in the UK and Finland; sociological perspectives on the gender-equality discourse in Finland; changing gender differences in West Germany in the 20 th century; the interplay of subjective well-being and educational attainment in Switzerland; and a psychological perspective on gender identities, gender-related perceptions, students’ motivation, intelligence, personality, and the interaction between student and teacher gender. This book was originally published as a special issue of _Educational Research. _. (shrink)

Inspired by the life and works of GrammyAward® winning artist, Lil Nas X, we explore ways a young Black queer musician has enacted emancipatory utopias to disrupt dominant cultural modes of being—offering unapologetic expressions and expansions of race, gender, and sexual identity. In this paper, we draw upon José Esteban Muñoz and Ytasha Womak to consider how utopian thinking through the lenses of queer futurity and Afrofuturism provides a way to dismantle the hegemonic and proleptic trappings of music (...) education and contemplate how music learners and teachers might enact emancipatory utopias relevant to their own historically lived experiences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 130-140 [Access article in PDF] Western Classical Music and General Education Estelle R. Jorgensen Indiana University Thinking about transforming music, I address issues relating to the role of musicians in higher education and Western classical music in general education. I am concerned about this music because it is marginalized in general education (...) and the civic spaces of public life. Where once it held a privileged place, it seems now to have acquired (in some quarters at least) a negative connotation as a bastion of elitism and privilege. Instead, popular musics (with a nod to musics of other cultures) have pride of place in much elementary and secondary music education and in many university and college offerings designed for students whose principal fields of study lie outside music. An all-too-common musical illiteracy or, at best, elementary level of musical literacy and aurality renders Western classical music inaccessible to the general public just as the pervasiveness of popular music renders it inaudible and invisible. Bridges to past, less accessible, and esoteric traditions are also too few or in disrepair. Julian Johnson laments the diminished stature of Western classical music and argues for its values in today's world. 1Music teachers of all stripes urgently need to address this marginalization of Western classical music as a matter of public policy. If caring for and fostering [End Page 130] diversity in the natural world is a good, then it is reasonable to expect that fostering diversity in the cultural world is likewise a good. If preventing the extinction of natural species is a matter of public policy, then surely preventing the extinction of musics among other cultural traditions is at least as important. Social transformation has within it the seeds of conservation, or the preserving of past traditions, just as it also suggests profound and ongoing planned and unintended change. When any music such as Western classical music is sidelined, music education policy makers need to ask, Is this multi-cultural, multi-ethnic, multi-faceted music important to keep, foster, and change? What does it have to contribute in the present world? Is it being cared for sufficiently? If it needs to change, how ought it be changed? What principles can be helpful to music teachers in caring for, fostering, and changing it? These are compelling public policy questions for our time. A Quarrel and Its Aftermath In 1963, participants in the Yale Seminar asked some of these very difficult questions of music education policy makers. MENC leaders took exception to the seminar and its conclusions; although some outstanding music teachers were participants, the organization had not been invited and the seminar was not its idea. 2 Instead of addressing directly some of the important criticisms of school music education and music teacher education raised in the seminar, the MENC mounted its own rival Tanglewood Symposium in 1967. Participants in this symposium faulted music in higher education for its failure to admit "talented and capable high school music students [to] the privilege of advanced study," the "[c]ompartmentalization and lack of communication between various segments of the music field," its lack of relation to "the musical heritage of American culture," and its failure to ensure arts courses in general education. 3 The symposium contributed to a populist stance focused on the myriad vernacular traditions of the world, thereby diminishing the role and presence of Western classical music and highlighting popular and vernacular musics at MENC conferences and in the elementary and secondary schools in the United States. Subsequent attempts to renew the Western classical tradition and raise the musical expectations of teachers and their students in the nation's schools exemplified in the Juilliard Repertory, Manhattanville Music Curriculum Project, and Comprehensive Musicianship Program seem not to have made a lasting impact. And the differing criticisms and visions of the Yale Seminar and Tanglewood Symposium have yet to be critically engaged.Summarizing criticisms made of school music repertoire in the report of the Yale Seminar to the Office of Education, U.S. Department of Health, Education, and... (shrink)

This article seeks to understand the social and cultural factors that led to the introduction of music and art education in public schools, a process that began in the middle decades of the nineteenth century. Based on archival material, including institutional catalogues, school board reports, magazine articles, and tracts, I demonstrate that music and art held varied meanings in this period, one of the most important of which was denominational competition. One major element in a nationwide promotion (...) of the arts in the mid-nineteenth century was the revitalized Protestant contest for religious adherents in the wake of Catholic immigration. A second important, and often overlooked, aspect of music and art education was its vocational implications. Although some historians have relegated women's study of music and art to the reproduction of elite status, a significant aspect of these studies was vocational. In a world in which limited occupations were open to women, skill in music and art expanded women's options and, for some, made financial independence possible. In addition, although many of the factors involved in the rise of music and art education?such as nationalism, refinement, and health?were nongendered and applied to both women and men, the repercussions of these programs were quite gendered and may add to our understanding of the process by which the teaching force was feminized. (shrink)

Current research has focused on gender as a conditioning factor in students’ study choices, highlighting the existence of gender stereotypes associated with these choice. The general objective of this article is to analyse if there are differences based on sex in the choice of musical instruments in music conservatories. The methodology used is quantitative. We have analysed the data on enrolment in the different instrumental specialities of two public music conservatories in Seville (Spain) at the three (...) levels of music education: Basic, Professional and Higher Music Education. This article contrasts if there are instrumental specialities that are mostly chosen by one or the other sex, and to check if this sexual segregation has been produced by chance or can be explained by other causes. This investigation was carried out for a total of 4120 students from two different conservatories. The main conclusions of the study were the existence of feminized and masculinized instrumental families, and the relationship between the variables “students’ sex” and “instrumental families and musical specialities” was significant with a medium effect size. This research confirms that men and women choose the instruments that have traditionally been associated with their male or female roles respectively. (shrink)

Rokeya Sakhawat Hossain was a pioneering feminist writer, educationist and activist in colonial Bengal, who not only sought to emancipate women from the deeply entrenched values of Indian social and cultural patriarchy through her darkly satirical and provocative writings, but also actively pursued her idea of empowering women through education by setting up a school for Muslim girls. This article will investigate Rokeya’s feminist ideology and her educational programmes undertaken for the betterment of Indian women, especially Bengali Muslim women. (...) I intend to argue that although born into an orthodox family and brought up in strict purdah without any formal education, Rokeya had that rare foresight and courage to challenge the social status quo of her time and ridicule many of the outmoded gender practices in her writings, and even turn gender relations upside down by creating a Ladyland in her utopian narrative Sultana’s Dream, in which men are confined to indoors while women run the state. Moreover, she was practical enough to reify her vision by taking steps to eradicate women’s ignorance and invigorate their sense of self, by setting up a school in Calcutta and by running programmes to educate slum women through the association for Muslim women, Anjuman-i-Khwateen-i-Islam, which she founded in 1916—all at a time when Indian Muslim women were expected to live in confinement in the zenana and any attempt to educate them was seen as blasphemous. (shrink)

Doctoral programs at U.S. universities play a critical role in the development of human resources both in the United States and abroad. This volume reports the results of an extensive study of U.S. research-doctorate programs in five broad fields: physical sciences and mathematics, engineering, social and behavioral sciences, biological sciences, and the humanities. Research-Doctorate Programs in the United States documents changes that have taken place in the size, structure, and quality of doctoral education since the widely used 1982 editions. (...) This update provides selected information on nearly 4,000 doctoral programs in 41 subdisciplines at 274 doctorate-granting institutions. This volume also reports the results of the National Survey of Graduate Faculty, which polled a sample of faculty for their views on the scholarly quality of program faculty and the effectiveness of doctoral programs in preparing research scholars/scientists. This much-anticipated update of such an essential reference will be useful to education administrators, university faculty, and students seeking authoritative information on doctoral programs. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Thinking Musically, and: Teaching Music GloballyJames AckmanBonnie C. Wade, Thinking Musically ( Oxford University Press: New York, 2004)and Patricia Shehan Campbell, Teaching Music Globally ( Oxford University Press: New York, 2004).Thinking Musically and Teaching Music Globally, the first two volumes in The Global Music Series, for which Wade and Shehan are general editors, offer concisely stated themes that permeate their texts and the authors' (...) extensive use of cross-referencing provides music educators at all levels the resources to achieve their educational and musical goals.Thinking Musically begins with Bonnie Wade's statement of the purposes of the book, which are to offer "a basis for the contrast and comparison of diverse 'musics,'" "provide a set of unifying topics that recur in multiple case studies," and "frame and complement a series of cases studies in The Global Music Series."1 Wade states unequivocally that Thinking Musically is ultimately a study of musical practices and ideas from around the world and that at its core, Thinking Musically "is a teaching book."2 A unifying theme throughout the volume is the view of how people constantly make music meaningful in their lives, including how music functions within a social group or particular society.3Thinking Musically includes a fifty-nine track CD containing musical examples that are designed for inclusion in the lessons and projects outlined in the [End Page 81] series. These provide aural illustrations of the topics discussed in each chapter. Activities include musical examples chosen by students which relate to the topic. The first chapter, "Thinking About Music," is based upon the concept of furthering students' awareness of musics beyond their everyday comfort level. Wade states that music is a process and not simply a method of organized sounds or compositions,4 and discusses music in terms of sound, values, and aesthetics.A striking aspect of this chapter is Wade's in-depth discussion of the contextual meaning of music within various cultures. Using such exotic examples as Central Javanese gamelan and a Navajo work song,5 she explores the rich variety of aural experiences available to students. The suggested activities exhibit Wade's understanding of educational philosophy and her awareness of what educators require in structuring appropriate musical experiences for their students.In Chapter 2, "Thinking About Instruments," Wade examines the roles of musical within a particular society and the topic of cultural diffusion.6 A succession of examples of instruments and musicians emphasizes her point that music has historically been interwoven with culture and society. Suggested activities include identifying extra musical links with instruments7 as a method of increasing students' awareness of music in daily life events, "the nature of the musical roles (of) musicians," and the meaning of musical terms (for example, soloist, accompanist) within the context of culture. Examples are drawn from the familiar, such as "New Orleans front-line," and the exotic, a North Indian singer.8Chapters 3–5 ("Thinking About Time," "Thinking About Pitch," and "Thinking About Structure") are devoted to the basic elements of music. Musical time is explored through its origins and function within specific cultures. Again, Wade uses an assortment of musical examples drawn from throughout the world in order to emphasize her points.Both the strongest and weakest aspects of the author's presentation style are on display in these three chapters. Wade has included an abundance of detailed suggested activities pertaining to various rhythmic concepts, such as Southeast Asian colotomic structure and Korean changdan, replete with detailed charts for presenting the material. Yet the amount of detail included borders on minutiae and the resulting format risks information overload for both teacher and student. A separate activities booklet might help reduce some of the clutter and also allow teachers to select more easily the concepts and activities they would like to use for a particular class session or unit.In chapter 6, "Thinking about Issues," Wade examines some arguably contentious topics that impact contemporary music education, including acculturation, gender, and "global versus local,"9 where her pithy assertions are eloquently presented. Student activities are designed to demonstrate the interconnectedness of musics among nations and communities as well as authenticity in their own cultures.10... (shrink)

This volume presents the proceedings from the Eleventh Brazilian Logic Conference on Mathematical Logic held by the Brazilian Logic Society in Salvador, Bahia, Brazil. The conference and the volume are dedicated to the memory of professor Mario Tourasse Teixeira, an educator and researcher who contributed to the formation of several generations of Brazilian logicians. Contributions were made from leading Brazilian logicians and their Latin-American and European colleagues. All papers were selected by a careful refereeing processs and were revised (...) and updated by their authors for publication in this volume. There are three sections: Advances in Logic, Advances in Theoretical Computer Science, and Advances in Philosophical Logic. Well-known specialists present original research on several aspects of model theory, proof theory, algebraic logic, category theory, connections between logic and computer science, and topics of philosophical logic of current interest. Topics interweave proof-theoretical, semantical, foundational, and philosophical aspects with algorithmic and algebraic views, offering lively high-level research results. (shrink)

Jane Martin’s latest book, Gender and Education in England since 1770: a social and cultural history is a significant contribution to the field. It tackles key questions, offers critical interpreta...

The quality of doctoral-level chemistry (N=145), computer science (N=58), geoscience (N=91), mathematics (N=115), physics (N=123), and statistics/biostatistics (N=64) programs at United States universities was assessed, using 16 measures. These measures focused on variables related to: program size; characteristics of graduates; reputational factors (scholarly quality of faculty, effectiveness of programs in educating research scholars/scientists, improvement in program quality during the last 5 years); university library size; research support; and publication records. Chapter I discusses prior attempts to assess quality in graduate (...) class='Hi'>education, development of the study plans, and the selection of disciplines and programs to be evaluated. Chapter II discusses the methodology used, focusing on each of the assessment measures. Chapters III to VIII present, respectively, findings from the analyses of the chemistry, computer science, geoscience, mathematics, physics, and statistics/biostatistics programs. Chapter IX includes a summary of results, correlations among measures, several additional analyses, and suggestions for future studies. Among the findings reported are those indicating that mathematics programs had, on the average, the largest number of faculty (N=33) in December 1980 followed closely by physics (N=28) and chemistry (N=23), and that 80 percent of computer science students had job commitments by graduation. (Survey instruments and supporting documentation are included in appendices.) (JN). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Disturbances and Dislocations: Understanding Teaching and Learning Experiences in Indigenous Australian Women’s Music and DanceSarah H. WattsElizabeth Mackinlay. Disturbances and Dislocations: Understanding Teaching and Learning Experiences in Indigenous Australian Women’s Music and Dance (Bern: Peter Lang, 2007).Elizabeth Mackinlay, a lecturer in the Aboriginal and Torres Strait Islander Studies Unit at the University of Queensland, documents her unique pedagogical approaches and ways of thinking about the teaching (...) and learning of music and dance in her book, Disturbances and Dislocations: Understanding Teaching and Learning Experiences in Indigenous Australian Women’s Music and Dance. A university-level anthropology course dealing with the music and dance traditions of Australia’s Yanyuwa women was the setting for this “ethnographic case study” (p. 17). Through this course, Mackinlay sought to help students connect Indigenous Australian performance practices to social and political issues while fostering awareness of gender issues and learning processes within Indigenous Australian music and dance performance contexts. These objectives were met through a distinctive approach—by disposing of the strict lecture class format and bringing the field into the classroom. Disturbances and Dislocations documents the experiences of Mackinlay, her students, and several Yanyuwa women who come together as part of the course to engage in hands-on, authentic music and dance exchanges that bring the Yanyuwa women’s voices to the fore. [End Page 90]From the very beginning of the book, Mackinlay highlights her unique point of view as author of this work. She is a “white, middle class, educated woman” (p. 15) researching the experiences of and teaching university-level courses relating to Indigenous Australian and Torres Strait Islander peoples, a cultural background that is not her own. She is a political, educational, and ethnic outsider to the groups of peoples she studies. The wife of an Aboriginal man and mother to Aboriginal children, she is afforded links to the Yanyuwa people that provide her with a measure of status as a family member within the community. The dichotomy of being at once an insider and an outsider in the Yanyuwa community lends a fascinating level of complexity to Mackinlay’s exploration and analysis of the presence and impact of Yanyuwa culture-bearers in her classroom. The warmth, honesty, and openness with which she addresses her unique role in this learning exchange is engaging to the reader, and allows her personal situation to add humanity and life to the words on the page.The eight-chapter book commences with an introductory section that reflects upon her personal experiences in engaging in scholarship relating to Indigenous Australian issues. Additionally, the reader is introduced to the site of the ethnography, her classroom, in which her personal and professional lives intertwine. The next chapter further establishes the context of the ethnography by discussing a pilot project that laid foundations for the main study presented in the book. In this 1999 pilot project, a group of Mackinlay’s students, largely white women, participated in hands-on music and dance workshops under the guidance of Mackinlay and several Yanyuwa women. Student responses from this pilot project indicated that they felt awkward at times, but valued the time spent with the Yanyuwa guests and wished for more of these types of class sessions. Mackinlay determined that this cultural exchange could be even richer if more class time could be dedicated to it, an important observation for her own work, and also for others who seek to furnish cultural encounters for students.The fourth chapter delves into a theoretical discussion of the meanings of the inclusion of the study of Aboriginal and Torres Strait Islander peoples in contemporary classroom settings. Issues of political positioning, representation of Indigenous voices, identity, and “speaking from and of in-between spaces” (p. 64) as one with a foothold in both white and Indigenous worlds are all addressed, engaging the reader in Mackinaly’s own complex journey of coming to terms with her own teaching and scholarly pursuits. It is refreshing to the reader that Mackinlay acknowledges her unique viewpoint as facilitator of this course and this research study. While she is an authority in this realm, she highlights her own backgrounds and biases, her individual lens... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Pictures of Music Education by Estelle R. JorgensenPaul WoodfordEstelle R. Jorgensen, Pictures of Music Education. Indiana University Press, 2011Estelle Jorgensen has long been a mainstay of the philosophy of the music education community, having served as founding chair of the Philosophy of Music Education Special Research Interest Group of the National Association of Music Educators (formerly the Music (...) Educators National Conference) and founding co-chair of the International Society for the Philosophy of Music Education along with Frede V. Nielsen whose work is the focus of this special issue. She remains editor of the Philosophy of Music Education Review, one of the premiere professional journals in the field of music education, and general editor of the Indiana University Press book series Counterpoints: Music and Education, which has published several of her books, including the current one, Pictures of Music Education (2011), that is the subject of this review. Over the course of her career, she has also contributed many chapters to other leading professional books and to the success of international symposia as host and frequent keynote speaker. One could easily continue to enumerate Jorgensen’s many contributions to the profession, but owing to lack of space it will suffice to simply observe that the field of music education would not be what it is today had it not been for her leadership, mentorship, and commitment to building a community of scholars. It is thus a pleasure to have been invited to review the aforementioned book, which [End Page 209] ventures into “the ground between metaphor and model,” the tension between the figurative and literal, to define music education as fundamentally imaginative and open-ended.1Among the advantages of conceiving of the nature of music education as involving a dialectical tension between various metaphors and derived models, Jorgensen recounts, is that the former, because figurative, evocative, and overlapping, allow for the kinds and degrees of ambiguity and slippage that are necessary for the exercise of imagination leading to more open and productive conversation about ideas. Models, on the other hand, are by definition more literal and thus more subject to direct criticism because intended to represent reality in ways that can be empirically tested through application to practice. Indeed, models make systematic assessment and critique of ideas possible. As Jorgensen continues, models serve to simplify “difficult ideas in terms that can be readily grasped, studied, and tested,” which is particularly important to the credibility of the music teaching profession in the eyes of today’s politicians and the public.2 Nevertheless, and for the obvious reason that what Jorgensen refers to as metaphoric models are derived from metaphors and thus bear some similarity, their boundaries can be “fuzzy.”3 As already suggested, it is here, in the fertile ground between metaphor and model, that Jorgensen thinks the most creative and productive thinking about music education philosophy and practice can occur as scholars and teachers recognize and grapple with, and perhaps celebrate, the various tensions and paradoxes found therein. This approach is intended by her as an alternative to the either/or grand narratives that have in the past stifled conversation by reducing philosophy, research, and pedagogy to a search for “the ‘one’ … true or best way, or ‘high road’ to music education.”4 Jorgensen’s own purpose is more modest, and potentially more liberating, which is to open “other fruitful avenues for understanding the ways in which people come to know music.”5The book consists of fourteen chapters in all, each one, with the exception of the introductory and concluding ones, dedicated to a specific metaphor and its chosen derived model that has been “systematically teased out” before being analyzed for its potential strengths and weaknesses when applied to music education.6 Owing to limited space, it is not practical here to address all of the metaphors and models that Jorgensen presents for the reader’s consideration, but it behooves me to provide a short list in order to facilitate discussion of the overall aims of the book. They are: boutique and consumption; village and community; artist and apprenticeship; revolutionary and transgression; factory and production; garden and growth; therapist and healing; court and... (shrink)

The quality of doctoral-level biochemistry (N=139), botany (N=83), cellular/molecular biology (N=89), microbiology (N=134), physiology (N=101), and zoology (N=70) programs at United States universities was assessed, using 16 measures. These measures focused on variables related to: (1) program size; (2) characteristics of graduates; (3) reputational factors (scholarly quality of faculty, effectiveness of programs in educating research scholars/scientists, improvement in program quality during the last 5 years); (4) university library size; (5) research support; and (6) publication records. Chapter I discusses prior attempts (...) to assess quality in graduate education, development of the study plans, and the selection of disciplines and programs to be evaluated. Chapter II discusses the methodology used, focusing on each of the assessment measures. Chapters III to VIII present, respectively, findings from the analyses of the biochemistry, botany, cellular/molecular biology, microbiology, physiology, and zoology programs. Chapter IX includes a summary of results, correlations among measures, several additional analyses, and suggestions for future studies. Among the findings reported are those indicating that cellular/molecular biology programs had, on the average, the largest number of faculty and that students in cellular/molecular biology, biology, biochemistry, microbiology, and physiology received a relatively high fraction of financial support. (Survey instruments and supporting documentation are included in appendices.) (JN). (shrink)

“4E” approaches in cognitive science see mind as embodied, embedded, enacted, and extended. They observe that we routinely “offload” part of our thinking onto body and world. Recently, 4E theorists have turned to music cognition: from work on music perception and musical emotions, to improvisation and music education. I continue this trend. I argue that music — like other tools and technologies — is a beyond-the-head resource that affords offloading. And via this offloading, music (...) can (at least potentially) scaffold various forms of thought, experience, and behavior. To develop this idea, I consider the “material” and “worldmaking” character of music, and I apply these considerations to two cases studies: music as a tool for religious worship, and music as a weapon for torture. (shrink)

More and more these days it is asked whether aesthetics is still possible. A question that, given the context and phrasing, seems to direct us towards its answer. Conferences and meetings, books and journal specials examine the issue of aesthetics, talk about rediscovery or return of aesthetics. Well known philosophers and aestheticians underscore the need to reconsider the foundations of aesthetics and set new directions for aesthetics today (Berleant, 2004) or attempt to expand aesthetics beyond aesthetics–like Welsch, for example who (...) tries to extend aesthetics beyond art to society and the life-world (Welsch, 1997). Others underline the need to revisit the aesthetic experience (Shusterman, 1999; Iseminger, 2002, Fenner, 1996) and examine the relevance or irrelevance of the aesthetic with art (Carroll, 2001). It seems that it is strongly recommended to turn to aesthetics on the condition however to carefully re-approach the meaning and import of the term in the present situation. The aesthetic that Passmore condemned as “dreary”(Passmore, 1954), the one Sparshott considered a formless conception, vague and loose in application (Sparshott, 1982), the same that Danto emphatically argues that has nothing to do with the definition of art or arts in general (Danto, 1981) returns to claim its rightful place in the fields of philosophy and critical theory (Levine, 1994, Michaud, 1999), as well as artistic creation. And one cannot but wonder: what does this return mean? What was the degree of aesthetics decline that we need to discuss about recovery or for new implementations of aesthetics? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Editorial Reflections on Philosophizing in Music EducationEstelle R. Jorgensen and Iris M. YobIn this article, we reflect on issues that go to the heart of teaching and scholarship in the philosophy of music education. After thirty years of editing Philosophy of Music Education Review, it is a good time to take stock of the philosophical work that has been and is being published and (...) of challenges that remain.Over the years, there has been a growing quality of philosophical articles published in the journal, due in significant part to the efforts of reviewers and the willingness of writers to work with their suggestions. Authors regularly express appreciation for the informed, critical, and constructive reviews their work receives. An exemplary body of philosophical scholarship in music education has been published over this time and PMER is regarded as a premier journal internationally devoted exclusively to the philosophy of music education. In thirty volumes of uninterrupted publication, we have sought to be responsive to important issues in music education. Our writers have engaged relevant subjects of interest to our readers, citations of articles remain strong, and articles are included in [End Page 109] university and college course reading lists. PMER is available in print and online via subscription; it has a wide digital exposure in search engines and leading indexes, and our readership continues to grow.Despite this progress, although the number of submissions has increased, their quality has sometimes been uneven. Our pedagogical commitment to foster philosophical writing and the philosophical inexperience of some writers has significantly impacted the work required to bring submissions to publication standard. Submissions sometimes evidence a lack of attention to formulating a tight argument, citing relevant sources, and polishing and editing the manuscript. The published style guidelines are too often ignored, creating a poor first impression with reviewers and editors. Writers are occasionally in a hurry to publish and less willing to entertain multiple revisions of their articles required to produce work of lasting value. The growing number of music education journals that publish philosophical work, while opening more fora, in some cases perversely result in ideologically driven, polemical, and philosophically uninformed articles in the name of philosophy. This is a good moment to reconsider the importance of philosophical fundamentals that should undergird our philosophizing in music education and what these mean for our academic responsibilities. To this end, we suggest several principles that need to be central to our philosophizing in music education. These principles also have broader implications for the expectations of scholarship in music education generally.WRITING PHILOSOPHYLike other subject areas in the academy, philosophy has its own intellectual structure, a canon of significant writings, its own interpretative methods, and its distinctive role and purpose. A philosophical paper in music education reads differently from papers in the history of music education, methods of teaching music, sociology of music education, empirical research in music education, multi-cultural, gender, and ethnic studies, music education curriculum building and policy making, and so on. And yet, the boundaries between these disciplines, which are artificial constructions when human knowledge is considered wholistically anyway, are somewhat porous with concepts and ideas and claims seeming to move easily from one discipline to another.To help distinguish between philosophy and other areas of study and research, it may be helpful to consider philosophy as a second-order activity. That is, first-order activity examines the raw data of research and experience and attempts to make sense of them. Using inference, pattern-seeking, deduction, hypotheses, statistical analysis, and so on, these activities result in claims, interpretations, and theories that give meaning to what we see, hear, and feel. [End Page 110]The second-order activity takes a step away from these first-order activities. It does not concern itself so much with raw data or with creating theories about them, but critically analyzes the claims and inferences that are made in regard to them. Where first-order disciplines analyze inputs from observation and experimentation, second-order disciplines analyze these analyses—that is, they function as meta-analyses. Philosophers do not need laboratories or fieldwork (which makes applications for grants to support philosophical research difficult to secure!). They need libraries... (shrink)

Summary A total of 1068 secondary school pupils completed a questionnaire concerned with enjoyment of school, enjoyment of subjects and what they attributed academic success to. Gender differences were shown in the overall enjoyment of school (girls expressing greater enjoyment). Girls also reported liking friends, teachers, outings and lessons more than boys, while boys reported liking sports and school clubs more. Enjoyment of school subjects reflected traditional sex stereotyping: girls reported more liking than did boys for English, French, German, (...) history, drama, music and home economics while boys reported more liking for science. craft and design technology, physical education and information technology. Some gender differences were shown in rating factors contributing to academic success (girls rating hard work and teachers? liking for you as more important than boys, and boys rating cleverness, talent and luck as more important than girls) but attributions with respect to academic success varied more with age than with gender. (shrink)

Explores a provocative alternative vision of education based on an analysis of the feminist educational thought of Jane Roland Martin. Emergent thinking on gender, knowledge, and caring is highlighted, with particular attention to gender-sensitive education and cultural wealth and the implications they hold for the school curriculum.

In lieu of an abstract, here is a brief excerpt of the content:Response to Lauren Kapalka Richerme, "The Diversity Bargain and the Discourse Dance of Equitable and Best," Philosophy of Music Education Review 27, no. 2 (Fall, 2019)Nasim NiknafsI was asked to write a response to Lauren Richerme's convincing research on why and how one should distinguish between "equitable educational practices"1 and what she calls following Ellen Berry the "diversity bargain" where equity as the second-best option has always (...) taken a hit from the more dashing diversity. If I may metaphorically put this conversation into a romantic comedy, equity is always the wingperson of color to diversity as the main protagonist; by the end of the show it is the main protagonist who survives the hardship and reaches salvation, be it a long-lost love, an oasis of sorts, or making it to the finish line. The rest of the cast have the function of complementing and highlighting the main actor but never substituting for it; or they are as Homi Bhabha would say, "almost the same but not quite."2 For the sake of filling in the blank of let's-add-more-color-into-it, the genuine conversation over the nuances of equitable practices gets undermined and diffused of its poignancy. And this is what Richerme is arguing against: let us not forget that a more significant challenge than a mere technicolor presence is at play. In that, my response to Richerme's essay would [End Page 215] not be so much of a response but a grand nod, a body gesture, an embedded signal of approval between two human beings born and raised in two different parts of planet earth who after years of diverse and perhaps un-equitable educational access ended up in the same room at the same time. Thus, my nod to Richerme also originated from personal experiences and intimate familiarities with unequitable educational access. Yes, people of color can be assets to their institutions and their corresponding fields who add to the diversity of knowledge creation practices, but it is not people of color's project or responsibility to act as the trophy to alleviate the unhappy conscience of educational malpractice or give a helping hand to the main protagonists for whom the scenario has already been written. Undoubtedly, they can take on that role if they want to, but it is only contingent upon where their desires lie not where they should lie.I strongly agree with Richerme's claim that music classrooms and I would add any classroom and learning environment should be a place and space for "sharing stories and insights"3 to not only learn about the content material whatever it may be but to learn to empathize with one another, understand positive and negative human behaviors toward humans and their environment, and act against discriminatory practices, racial, ethnic, religious, and gender prejudices, and to the point of Richerme's essay, unequitable practices that are insistent in today's political climate on a global scale.At this very juncture I diverge not from Richerme's fine thesis and argumentation, but from the larger issue of the premise of her arguments grounded on Thomas Green's educational framework.4 Green argues that the "rank order of political arguments that can be mustered in support of the [educational] system … [is] roughly as follows": (1) the fundamental or compelling interests of the state; (2) the aggregate of individual or parental interests; (3) societal interests; and (4) educational goods for their own sake."5 Following Green's framework Richerme analyzes contemporary music education initiatives in relation to the differing political strengths of each group of stakeholders: the state, parents, society, and educational goods for their own sake.There is a sense of mistrust in the local and national government implied by Green's framework, reminding one of the cumulative mistrust of the elite by U.S. citizens. Years of neglect, condescension, and lack of attention to the real and tangible needs of people amalgamated into what today one sees as white nationalism, plutocracy, and protectionism across borders. Green wrote his book, Predicting the Behavior of the Educational System, in 1980; historically the world order was increasingly metamorphosing and establishing itself... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A View on the Future of an International Philosophy of Music Education:A Plea for a Comparative StrategyFrede V. NielsenIn the preface to the revised edition of my book, Almen musikdidaktik (The General Didaktik of Music) published in 1998, I wrote that the bibliography had been supplemented with a great deal of music education literature that had been published since the first edition of the (...) book came out in 1994. I drew attention in particular to, among other things, the journal Philosophy of Music Education Review, which began in 1993. I found that publication of this journal was significant and interesting not least because it continuously supplemented the approach to a theoretical and philosophic music pedagogical reflection with new English language literature. At the same time, it provided an opportunity to ask what sort of concepts and phenomena 'the philosophy of music education' and 'the philosophy of music teaching and learning' really are and what sort of functions they can have in relation to practice-oriented music education, including the education of music teachers. Therefore, the publication of PMER was a great step forward. But, like all such steps, it also revealed interesting issues and raised new questions. [End Page 7]In the Scandinavian countries too the research-based and theory-oriented music education literature has grown considerably since the early 1990s. This is the result of local initiatives in individual countries as well as Nordic cooperation in the form of the Nordic Network for Research in Music Education, which was formalized and institutionalized in 1992. The publication of the network's yearbooks, Nordic Research in Music Education–Yearbook, since 1995 is noteworthy in this context. In our part of the world this was another step forward, but one that also raised some challenging questions. In particular it gave rise to the question: What is the structure of the object of study for music education as a science and how can this object of study be delimited appropriately in relation to other disciplines? I think we have moved further toward giving reflected and well-founded answers to these questions, even though the answers are not unambiguous and may create problems in relation to the institutional affiliations of music pedagogy as a theoretical and scientific discipline.My first encounter with the initiators of the PME symposia took place in 2003 when I attended PME-5 in Lake Forest near Chicago. Even though there were participants from a number of different countries, including the Scandinavian countries (but none, for example, from Germany), it was clear that the event was dominated by North Americans. I contributed with a paper that was based on German and Nordic didactic (didactological) theory, which apparently was quite unfamiliar to most of the conference participants. To me this was a reminder of how important it is that a society that calls itself "international" should strive to embrace and include various traditions from several different points of view if it is to live up to the designation "international."The International Society for the Philosophy of Music Education (ISPME) was formally founded at the symposium in Lake Forest. For the past two years I have enjoyed the honor of being the society's co-chair together with Estelle Jorgensen. As those of you who attended the symposium in 2003 know, I accepted this task only after some hesitation and with some reservations. Since then I have had the opportunity to consider and experience what the task entails.I mentioned that my impression of PME-5 in Lake Forest was that it was dominated by North Americans. This was no wonder, since PME-5 took place in that part of the world. Moreover, the initiative behind the PME symposia originally came from the USA and Canada. Nonetheless, it gave impetus to a broader international orientation when the ISPME was founded two years ago.I come from a Scandinavian country. Scandinavia is a small language area situated in the northernmost region of Europe and has historically been very dependent on external cultural impulses. For centuries these have not least come from continental Europe and this is also true of the fields of education, philosophy, and music culture. The French and... (shrink)

This article documents experiences of Glasgow Improvisers Orchestra’s virtual, synchronous improvisation sessions during COVID-19 pandemic via interviews with 29 participants. Sessions included an international, gender balanced, and cross generational group of over 70 musicians all of whom were living under conditions of social distancing. All sessions were recorded using Zoom software. After 3 months of twice weekly improvisation sessions, 29 interviews with participants were undertaken, recorded, transcribed, and analyzed. Key themes include how the sessions provided opportunities for artistic development, (...) enhanced mood, reduced feelings of isolation, and sustained and developed community. Particular attention is placed upon how improvisation as a universal, real time, social, and collaborative process facilitates interaction, allowing the technological affordances of software (latencies, sound quality, and gallery/speaker view) and hardware (laptop, tablet, instruments, microphones, headphones, and objects in room) to become emergent properties of artistic collaborations. The extent to which this process affects new perceptual and conceptual breakthroughs for practitioners is discussed as is the crucial and innovative relationship between audio and visual elements. Analysis of edited films of the sessions highlight artistic and theoretical and conceptual issues discussed. Emphasis is given to how the domestic environment merges with technologies to createThe Theatre of Home. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Paul Woodford, “A Liberal Versus Performance-Based Music Education?”Peter R. WebsterA study of the history of music teaching and learning in North America will likely reveal very few examples of extended and well-argued professional discourse. By "discourse" I mean a continuous expression or exchange of ideas designed to present contrasting views on important issues in the music teaching profession. Often our annual conventions are (...) filled with presentations that address a single perspective in research, pedagogy, or theory. "Special theme" issues of magazines are rarely devoted to contrasting points of view about music teaching and learning. Conferences are organized to promote single views on a subject, often speaking to a partisan audience that expects to be neither challenged to think in a contrary way nor encouraged to develop alternative perspectives.Of course there are some rare and wonderful exceptions. During my course on measurement and assessment in music, I frequently ask my students to read [End Page 208] the exchange in the pages of the Music Educators Journal during the late 1930s between James Mursell and Carl Seashore as they debated approaches to music aptitude testing.1 I recall the great exchange at the 1994 meeting of the Music Educators National Conference between Bennett Reimer and Edwin Gordon on the subject of music learning.2 In past eras, there have been notable "point-counterpoint" exchanges in the pages of the Bulletin of the Council of Research in Music Education,3 as well as interesting perspectives on completed doctoral dissertations that spawned some debate. More recently, contributions in Philosophy of Music Education Review have been notable, particularly given the recent upturn in published work and interest in music education philosophy that this very Symposium exemplifies. The formation of the MayDay group in recent years is no small example of this trend.4 I am sure that I have missed other examples. However, compare these few instances with the millions of pages that are written in our field and the hours of papers presented and conference sessions held and the examples of real discourse pale in comparison to the body of professional exchange.In his paper, especially in the early pages, Paul Woodford makes this point forcefully and effectively. He challenges us to consider just how few examples there are of real discourse within the profession. I enjoyed enormously the case made for liberal education as not defined by the teaching of a canon of great books or art works as an end but as a thoughtful discussion of ideas in light of con-temporary circumstance. The paper reminds us that the idea of criticism in our field need not be a negative concept in this current age of post-modern thought, but a positive mark of a maturing profession.I was sympathetic to Woodford's example of multiculturalism running the risk of becoming an absolutism to be imposed on children. I feel the same way at times about other trends in our field such as the rise of technology as a kind of end-experience or the encouragement of popular music in classrooms simply because it is such a dominant part of children's lives. Each of these aspects of modern music education is worthy of careful debate by intellectuals in our field in much more sophisticated ways then we see today. Woodford would have us believe that this is a major professional failure, and I tend to agree.Not to belabor this point too much, but what about the National Standards? How often do you see an article published in Music Educators Journal that actually takes issue with any aspect of the standards? Where is the national debate about the content, extension, redefinition, refocusing, and development of these standards? Are they so good that they are not the subject of at least some national debate?At core here, for me, is the notion that discourse involving critical comment leads not to a sense of competition for superiority but real understanding of complex [End Page 209] issues. Very little that is worth discussing is black and white, and nearly always there are levels of complex gray. Many of us learn this from our days on the high... (shrink)

In this book, the author argues that what constitutes music in various societies is culturally based, not the result of some universal aspect of human physical and psychological make-up. This is true not only in non-Western music cultures, but in the West as well. Contrary to popular belief among musicians and the general public, the basis of Western music and acoustics is not scientific, but superstitious. Pythagorean mathematics as it relates to harmonics does not work, a fact (...) that mathematicians and scientists have known for years and this has important implications, for it means that Western musical aesthetics and educational programmes in music are not rooted in the laws of physics, as is often maintained, but in a belief system that is an arbitrary product of human imagination. (shrink)

OBJECTIVE: To examine the long-term effects of an innovative curriculum on medical house officers' (HOs') knowledge, confidence, and attitudes regarding medical ethics. DESIGN: Long term cohort study. The two-year curriculum, implemented by a single physician ethicist with assistance from other faculty, was fully integrated into the programme. It consisted of monthly sessions: ethics morning report alternating with didactic conferences. The content included topics such as ethics vocabulary and principles, withdrawing life support, informed consent, and justice. Identical content was offered simultaneously (...) at the largest affiliated community hospital. SETTING: A multi-hospital university training programme from July, 1992 to June, 1994. PARTICIPANTS: Thirty-nine HOs responded in 92. Thirty HOs from the same cohort responded in 94 (response rates = 83% v 71%; P = 0.19). RESULTS: The curriculum was well received, with 96% of HOs finding the sessions stimulating. Previously validated scales of knowledge and confidence were administered at baseline and at follow-up. The average knowledge score improved 14% (P < 0.001). Confidence also improved, rising from 3.3 to 3.8 on a 5-point Likert scale (P < 0.001). These findings were independent of age, gender, religion, and prior education. The only attitudinal change was an increase in the proportion of residents who thought that ethics should be a required part of residency training (57% v 80%, P = 0.05). CONCLUSION: This curriculum appears practical, popular, and effective. It should be readily transferable to other institutions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 24.1 (2004) 241-243 [Access article in PDF] International Conference on Religion and Globalization Ruben Habito Perkins School of Theology The International Conference on Religion and Globalization, with over two hundred participants from thirty-one countries, was hosted by Payap University and its Institute for the Study of Religion and Culture in Chiang Mai, Thailand, from 27 July to 2 August 2003, with the Society for Buddhist-Christian (...) Studies among the several cosponsoring organizations. Other sponsoring and cosponsoring organizations included the United Board for Christian Higher Education in Asia, the International Network of Engaged Buddhists, the Christian Conference of Asia, and the Museum of World Religions. Prof. John Butt, convener of the conference and director of the Institute for the Study of Religion and Culture, with other officials of Payap University, welcomed the delegates at the opening ceremonies on 27 July in a program that included musical and cultural presentations from the riches of the northern Thai heritage.Plenary speakers included Dharma Master Hsin Tao, founder of the Museum of World Religions based in Taipei, Taiwan, who spoke on "Education for Interreligious Understanding in a Global Age." Donald Swearer, of Swarthmore College and Harvard University, spoke on "Religious Identity and Globalization," with a provocative subtitle: "Would Jesus, Buddha, or Mohammed Drive an SUV?" He addressed sociological aspects of religious living in a globalized age, with particular reference to Thai society. Phra Paisan Wisalo, a noted Thai forest monk and ecological activist, spoke on the "Reform of the Thai Sangha in the Light of Global Realities." Dr. Wesley Ariarajah, a Methodist theologian from Sri Lanka who has worked for many years with the World Council of Churches, spoke on "Religious Diversity and Interfaith Relations in a Global Age."The Venerable Dhammananda (formerly known as Dr. Chatsumarn Kabilsingh) was scheduled to give a plenary address on "Women's Experience in Theravada Buddhism," but could not attend due to the untimely death of her beloved mother, the Ven.Voramai Kabilsingh, one of the pioneering twentieth-century bhiksuni s in Thailand. Mae Chee Vimuttiya delivered an address titled "The Tripitaka Answer to the Extremes in the Modern World." Episcopal Bishop John Shelby Spong (ret.) presented an address titled "Transcending the Limits of Religion in Search of the Wonder [End Page 241] of God," and spoke of challenges to Christian faith and life in a postmodern society. Muslim scholar and activist Chandra Muzaffar described the challenges to and prospects for the religions in the wake of the globalizing process in a plenary address titled "Religion and Society in a Global Age." Dr. Muzaffar's presentation succeeded in highlighting key issues faced by those sincerely looking for ways in which religious traditions and communities can contribute to global healing, rather than continue to be part of the problem that divides the human family. Michael von Brueck gave the final plenary address, titled "An Ethics of Justice in a Cross-Cultural Context," suggesting pathways for a hopeful future.In addition to the plenary addresses, there were twelve plenary panels covering various topics. These included "Education for Global Awareness," chaired by Ruben Habito; "Religion and Media in a Global Age," chaired by Louis Gabaude; "Interfaith Dialogue in a Global Age: Personal Testimonies," chaired by Donald Swearer with members from the Interreligious Group for Theological Encounters, better known as the Cobb-Abe group; "Religion and the Globalization of War," chaired by Nancy Martin; "The Shadow of Religion: Killing People and Making Peace," chaired by John Butt; "Women and Spirituality," chaired by Roshan Dhunjibhoy; "The Transformation of Religious Traditions through Global Interreligious Encounter," chaired by JosephRunzo;"Islam,Social Justice,andGlobalization," chairedby Chandra Muzaffar; "Pluralism, Human Rights, and Buddhism," chaired by Michael von Brueck; "Students of Subaltern and Superpower States: Intercultural Communicative Competence via Information Technology," chaired by Daniel Wessner; "Globalization and ReligiousVocation," chaired by Herbert Swanson; and "Contemporary Exemplars of Interreligious Bridge-Building: Thomas Merton and Bede Griffiths," chaired by Douglas Conlan. In addition to the plenary sessions, individual paper sessions were held in three concurrent groups, with more than sixty topics presented by scholars and religious leaders throughout the entire... (shrink)

Ruth M Jonathan; Education, Gender and the Nature/Culture Controversy, Journal of Philosophy of Education, Volume 17, Issue 1, 30 May 2006, Pages 5–20, https://.

In lieu of an abstract, here is a brief excerpt of the content:In DialogueResponse to Roger Mantie, “Bands and/as Music Education: Antinomies and the Struggle for Legitimacy,” Philosophy of Music Education Review 20, no 1 (Spring 2012): 63–81Panagiotis A. KanellopoulosRoger Mantie’s paper “Bands and/as Music Education: Antinomies and the Struggle for Legitimacy,”1 looks at the educational band-world through a perspective informed, in his words, by “three concepts flowing from the work of Michel Foucault: power, (...) truth, and discourse.” This is an ambitious intention, and to my mind, it has to be carried through with courage, and by that I mean addressing the full consequences of the project at hand.Mantie argues that there is a break between the traditional musical practices of “American wind bands” and the contemporary institutionalization of banding that has induced the creation of the “pedagogical band world” within contemporary school and university contexts. Whereas the former aimed to promote music “of the people and for the people,” institutionalized music education band [End Page 191] practices sought to solve “the problem of their educational legitimacy in adopting the presentation of ‘art music’ as their raison d’etre.” Whereas, in the “old band world” what mattered most was “the here and now celebration of immanent time, space, and place,” contemporary approaches to band as a means for music education celebrate “the timeless and unassailable qualities of the music itself.” This break entailed the creation of “a schizophrenic creature that suffers a continual crisis of identity.”On IdealizationOne of the core issues that emerge out of Mantie’s text relates to a not uncommon tendency to regard a non-institutionalized form of musical practice as constituting the “true” instantiation of this very musical practice, as opposed to the subsequent contaminated version that is the inevitable result of institutionalization.2 Such an approach seems to me quite at odds with Foucault’s nominalism, with his emphasis on problematization and eventalization or eventialization [évènementialisation]—“the bringing to light of ‘ruptures of evidence,’”3 which is rooted in methodological individualism.4 For Foucault, eventalization entails a “breach of self evidence.... It means making visible a singularity at places where there is a temptation to invoke a historical constant, an immediate anthropological trait, or an obviousness which imposes itself uniformly on all.”5 Edward Said has noted Foucault’s “predilection for the analysis of discontinuous but actual spaces,”6 in other words, his tendency to adopt a spatial instead of temporal perspective, preferring to talk about places, fields, loci, topical institutions, events, their singularity and their discontinuities and fragmentations, instead of unified processes of temporal developments.Mantie’s text tends to take as granted issues that should be regarded as loci of problematization. In his account, “the American wind band” (and despite his cautious comment in a footnote) is regarded as a bounded cultural phenomenon that constitutes an enactment of democracy, based on openness, inclusiveness, informality, and plurality, elements that have, it is suggested, vanished from its contemporary pedagogical incarnations. One of the most important strengths of a Foucauldian approach is that it does not help us to easily take sides. Taking as an unquestionable fact that traditional band practices were an instance of practicing democracy masks active processes of exclusion, operating on the basis of racial and gender oppression and discrimination. A Foucauldian perspective might be important for developing multiple local micro-historical accounts of traditional wind band practices, emphasizing not only what these practices forefront (thus contrasting it with contemporary practices) but, most importantly, what they exclude or silence.7Instead of claiming that “bands were simply appropriated by schools,” an argument [End Page 192] that implies a uniform passage from an original form of the band world to its educational distortion, the aim could be “to fragment what was thought unified, and show the heterogeneity of consistency,”8 directing our attention to the microphysics of power/knowledge relationships as they emerge in different (educational or other) contexts and in the passage from older to more recent practices. A Foucauldian view of the relationships between old and contemporary band practices, as well as the position of the latter within larger music education discourses would not lead to a process of discovering “uncontaminated... (shrink)