This article describes how admissions auditions at schools of music may demonstrate and participate in what critical race theorist, Gloria Ladson-Billings, calls the full social funding of race. Julia Eklund Koza argues that the construction of musical difference, which is an effect of power and is accomplished by the materialization of styles of music, plays a role in the systemic inclusion or exclusion of people whose bodies have already been raced through a similar process of sorting and ordering. (...) Focusing on the equity implications of an access conundrum that is making many public colleges and universities more exclusionary, Koza advocates listening for Whiteness in admissions processes, not to affirm it, but to recognize its institutional presence, understand its technologies, and defund it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Realm Without Angels: MENCs Partnerships with Disney and Other Major Corporations Julia EkIund Koza University of Wisconsin-Madison My interest in partnerships between the MENC: The National Association for Music Educators and major corporations such as Disney dates back to 1996 when I was invited to attend a free premiere screening of the movie Mr. Holland 's Opus.1 Never one to turn down anything free, in January (...) of that year I joined more than twenty-fivethousandmusiceducators, administrators, and friends ofthe arts, who gathered at fiftyone locations across the nation to watch the movie. Sponsored and promoted by theNational Coalition for Music Education, ofwhich MENC is a member, in cooperation with the National AcademyofRecordingArts and Sciences Foundation, the American Music Conference, and Hollywood Pictures (a Disney subsidiary), the promotional screening was the result of an education/business partnership. I did not like the film much even though I agreed with its message that public schools and public school music should be adequately funded, and I was sorry that MENC had entered into a partnership to promote it. Part ofthe problem may have been timing. I had recentlyreturned froma parental leave during whichIhad sufferedseriouspostpartumcomplications and had struggled fornearly a yearwithpoor health. January 1996 found me trying to figure out how I would manage a full-blown academic career, my still fragile health, and a lively child. Ibristledatthevisionsofprofessionalismfostered by Mr. Holland's Opus, recognizing that I would never again have the luxury he did of indulging myselfuninterruptedly in my career; I knew that I might never again be seen as a "real professional " even though I was more exhausted and working harder than I ever had. From my perspective the film's images of teachers, teaching, andprofessionalismwereprofoundlymasculinist; I also knew that a popular film can play a powerful role in shapingpublic imaginaries. Who tends tobenefit fromtheperpetuationoftheseimagesof teachers, teaching, and professionalism, I wondered? Who tends to be harmed? So my first step on this journey was to write a critique of Mr. Holland's Opus. I soon discovered that the film itselfwas but one small part of a much larger story about MENCs deepening involvement in education /business partnerships. One of the main themes of Mr. Holland's Opus is that budget cuts can have devastating effects on music programs. The education/business partnership forged to promote Opus and the manner in which the film was promoted suggested that the corporate world is socially responsible and genuinely concerned both aboutthe quality ofAmerican education and the demise of music education. In no way did they intimate that corporate practices may be at least partially responsible for any declines in the quality ofpublic schooling. I was also aware, however, of a corpus of scholarship suggesting that recent trends toward corporate partnerships and philanthropy are window-dressing at a time when corporations are sneaking out the back door carrying everything else in the store. Critics contend that on the one hand, corporationsengageinmuchpublicizedacts of gift-giving or school partnership, which cost the corporations relatively little (or in the case of Opus, result in considerable financial profit for the corporation), while on the other hand, they chisel away at the financial infrastructure of©Philosophy ofMusic Education Review 10, no. 2 (Fall, 2002): 72-79. Julia Eklund Koza 73 schools with unrelenting demands for special corporate tax cuts, breaks, and incentives. This practice is especially detrimental to the arts because, relegated to the feminized status of "frill," they may be among the first subjects to suffer. Tax breaks are but one example of what critics term "corporate welfare." John Hood, in Policy Review, provides a list ofincentives states use to attract and keep corporations. In addition to tax abatements and tax credits, Hood mentions land giveaways, releases from infrastructure costs, the issuanceoftax-exemptdevelopmentbonds, offers to promote products, and job training packages. These deals are unfair to existing businesses, Hood argues, especially small ones that can never hope to receive such treatment, and he concludes that there is no clear-cut evidence these forms of corporate welfare benefit state economies.2 Accordingto JayTaylor, school-business partnerships have become increasingly popular; they quadrupled between 1982 and 1992 as financially strappeddistricts found themselves "dredgingfor dollars."3 Taylor explains that "school officials... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Elizabeth Gould, “Nomadic Turns:Epistemology, Experience, and Women University Band Directors” Epistemology, Experience, and Women University Band Directors”Julia Eklund KozaClimate and its impact on women in instrumental music education is a tremendously important subject, and I thank Liz Gould for her thoughtful analysis. Rather than offering a critique of her work, I will respond as one might answer in a call and response. Gould has sung (...) a call that articulates a definition of feminism and invites us to explore climate in the professions, specifically in instrumental music education; I will answer in affirmation, confirmation, and extension. The nomadic metaphor, which is central to her paper, has been appropriated by a number of postmodern [End Page 187] theoreticians, including, among others, Baudrillard, Grisoni, Deleuze and Guattari, and of course, Braidotti.1 I have decided not to talk about this metaphor, however, principally because the complexities of any analysis of Western constructions of nomadism—constructions that are rife with exoticism, fascination, revulsion, and fear—are multiplied at this moment, as my country wages war against Iraq, a land of nomadic and semi-nomadic peoples, after having recently engaged in military action in Afghanistan, which is similarly home to nomads. An incisive discussion of postmodern use of nomadic metaphors appears in Caren Kaplan's book Questions of Travel, which I recommend to anyone interested in the subject.2My response has two goals: first, to forward another, not necessarily competing, postmodern understanding of feminism and power; and second, keeping this understanding in mind, to expand Gould's project of examining professional climate. According to my working postmodern definition, feminism is a constellation of dynamic political positions, which address and attempt to change the unequal power relations and material conditions that are produced and supported by a normative regulatory ideal called sex. In speaking of a constellation of political positions, I acknowledge the existence of a multiplicity of modern and post-modern feminisms, and by calling these positions dynamic I acknowledge their fluidity. In asserting that sex is a regulatory ideal, I rely on the work of feminist theorist Judith Butler, who posits that sex and sexual difference are discursively constructed; distinguishing herself from feminists who draw a distinction between gender, which is assumed to be socially constructed, and sex, which is theorized as a pre-social given or surface, Butler not only questions such a distinction by arguing that both sex and gender are culturally produced, but also theorizes about how materializations of bodies are accomplished. Drawing on the work of philosopher Michel Foucault, she maintains that sex is a regulatory norm, "part of a regulatory practice that produces the bodies it governs,"3 and she claims that this materialization is accomplished through a reiterative process called performativity. A performative, according to Butler, is a "discursive practice that enacts or produces that which it names."4 Butler claims that "the regulatory norms of 'sex' work in a performative fashion to constitute the materiality of bodies and, more specifically, to materialize the body's sex, to materialize sexual difference in the service of the consolidation of the heterosexual imperative."5 She provides an example of how this reiterative process works: when a particular child is born, the child is cited as a girl at birth and many times afterward; each citation helps to constitute that child as a girl and also to reinforce the discursive formation "girl."6 To summarize, Butler asserts that sex is "a cultural norm which governs the materialization of bodies,"7 and she posits that materiality is a productive effect of power.8She also theorizes that subject formation necessitates both an "identification with the normative phantasm of 'sex,'" and the creation of a zone of abjection.9 Bodies relegated to this abject zone, according to Butler, can be a valuable and "critical resource in the struggle to rearticulate the very terms of symbolic legitimacy and intelligibility."10 She maintains that disidentification can be a fruitful way to mobilize feminist and queer politics.11 Collective disidentifications, Butler states, can facilitate a "reconceptualization of which bodies matter," which bodies count.12 [End Page 188]Finally, my definition of feminism relies on several Foucauldian assumptions about... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Sounds and Silences:Acknowledging Political EngagementJulia Eklund KozaThis symposium grapples with such questions as "Should music educators participate in political understandings?" The term "politics" often brings to mind "Big P" political matters, including citizenship, governance of the state, the election of officials, and the formation of public policy. Another way of thinking about politics is to associate it with power relations in social interactions of any kind. If one (...) thinks about it in the second way, then wherever there are two or more people, there are politics. Questions such as "Should we participate in politics?" and "How engaged should we be?" become meaningless. Michel Foucault's discussions of the pastoral forms of governance employed by the modern state, specifically the uses of technologies of the self, challenged long-held views about relationships between the individual and the state. In particular, his claim that major dominations are the effects, not the causes, of myriad local and particular mobilizations of power provides a rationale for examining these local mobilizations.1 If major dominations and "Big P" politics are the effects of local mobilizations, then everyone participating in social interactions participates in "Big P" politics, as well.This more global conception of political engagement stands in sharp contrast to a narrower one, which can be described using a "swimmer-on the-shore" metaphor. The swimmer stands on a beach looking out at the sea and decides whether this is a day for a toe dip, wading to the knees, total immersion, or staying out of the water altogether. The swimmer can choose to stay dry (unless inundated by the tide or a tidal wave). This conception is evident in a comment reportedly made by a music education professor in response to two back-to-back annual meetings of the music education researchers at Committee on Institutional Cooperation (CIC) institutions. Both meetings had been devoted to critique of MENC's policies and practices, and the disgruntled professor reportedly remarked, "That's enough about politics; let's get back to talking about music." In his view, which is shaped by the "swimmer" conception, some discussions are political, others are not; while some curricular areas, such as civics and sex education, are political, music is not, nor should it be. If, however, we assume that there is power in all social relations, then the "swimmer" conception has no salience because everyone is immersed; music, because it is a social activity, is political. Its engagement in politics is neither good nor bad, in and of itself; rather, it is inevitable. [End Page 168]Some may concede that although it is not possible to be disengaged, it is necessary and good for scholars and teachers to be politically "neutral." Conceptions of neutrality rely on a one-dimensional linear integers model of political engagement. On the line representing the integers, there is a plus side, a minus side, and zero, the zero presumably being the point of neutrality. People and views associated with the far ends of the line are extreme, while those closer to the zero point are moderate. In addition, positions on the line are assigned a moral value; depending upon the issue and the perspective from which the line is being viewed, plus can be good but minus is bad, plus can be bad but minus is good, neutral can be good, or neutral can be bad. If every issue and every social relation is political, however, and if we assume that people and relationships change, then the linear integers model is inadequate because it fails to embody the dynamic, multi-dimensional character of the complex social relations in which all of us engage. Another problem with the linear integers model is that it fails to interrogate the power vested in whomever or whatever decides what will constitute extreme, moderate, or neutral—what will be deemed reasonable and what outrageous. Sometimes this responsibility has been assigned to a fictitious "reasonable" person without much thought having been given to the political dimensions of the construction of reasoning. What is deemed outrageous in one system of reasoning may be perfectly reasonable in another.Belief that education can and should be objective and neutral comes from... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Save The Music”?Toward Culturally Relevant, Joyful, and Sustainable School MusicJulia Eklund KozaIf historical sources are reliable indicators, music educators have never felt confident that music's place in the U.S. public school curriculum is secure. Proponents have been developing exhaustive rationales for the existence of school music from the moment that the subject was introduced into the public schools, attempting to convince an apparently skeptical public of the merits of (...) school music, and trying to pull endangered programs—usually their own—out of the fire. Today, as has been the case in the past, rescue and salvation discourses and initiatives abound. Moving music to a more secure place in the curriculum was cited as a rationale for the development of national music standards in 1994.1 In recent years saving the music has become a favorite project of major corporations, especially as privatization of public schooling has gained momentum. For example, in 1998 one of the National Association for Music Education's (MENC) corporate partners credited the school/partnership that promoted the Disney movie, Mr. Holland's Opus, with saving school music.2 The corporate-sponsored initiative "VH1 Save the Music" claims not only to help flailing school music programs but also, through the donation of musical instruments to schools, to rescue children as well—more than 250,0000 of them since 1997.3 [End Page 23]Because music outside of school seems to be thriving and probably will never be in need of rescue—although specific styles, genres, and practices may be in their twilight—"the music" to which "VH1 Save the Music" refers presumably is school music. As a music educator who perennially is called upon to "save the music," I will take a brief look at the object of salvation, the salvific discourses that surround it, and some of the systems of reasoning that construct it. I propose modifications in these systems of reasoning, which may lead to more culturally relevant, joyful, and sustainable school music.School Music: An Alchemized Constellation of Systems of Reasoning and PracticesTo conceptualize school music as an entity is both problematic and useful. On the one hand, doing so assumes the existence of an exteriority from which it can be clearly differentiated, that is, outside-of-school music, and yet these culturally constructed categories are leaky. The fact that the American Federation of Musicians joined forces with MENC to establish guidelines, which attempt to prevent school performing groups from encroaching on the turf of unionized professional musicians, indicates that the line of distinction between school music and its exteriority sometimes has been blurred.4Furthermore, when VH1 refers to it as "the music," school music seems to be not only clearly defined but also static and monolithic. I argue, however, that it consists of a whole constellation of systems of reasoning as well as the varied practices resulting from these systems. Differences between the various elements in this constellation may be as numerous as commonalities. School music in the U.S. is diverse in the sense that it encompasses a variety of sub-categories or sub-cultures (for example, elementary general music, secondary instrumental music, and so on), each with somewhat distinct systems of reasoning and practices. When suggesting that school music should be saved, we are faced with the complex question of whether all of these sub-categories, their systems of reasoning, and their consequent practices are to be objects of salvation.In addition to having to address the variety within school music, any mapping of relationships between school music and it exteriority should take into account the variety and dynamism of the musical world outside of school. This exteriority consists of a multiplicity of sub-cultures, each with a set of governing practices that may or may not be shared.On the other hand, astonishing within-category similarity exists, which supports the view that school music is an entity. In addition, some commonalities may not only unite all of the sub-categories but also may be shared with non-music school subjects, as well. One such commonality is the inescapable influence of a process of change educational theorist Thomas Popkewitz calls [End Page 24] "alchemy... (shrink)

In the final installment of her two-part essay, Julia Eklund Koza analyzes prevalent control and management discourse in education, specifically, music education. Arguing that dominant understandings are hierarchical, gendered, illusory, and integrally related to projects and practices largely unrelated to schooling, she invites teachers and teacher educators to explore the possibilities created when different assumptions about teaching and control are applied. Koza maintains that recognizing the limits of governmentality, bankrupting illusions of control, and uncoupling associations between uncertainty (...) and terror are powerful political disruptions. Acknowledging that classroom control may be neither achievable nor desirable may open the door to different understandings of classroom power relations and to re-articulations of the purposes of schooling. Koza calls for the use of different metaphors and frames as a first step in achieving different educational outcomes. (shrink)

In the final installment of her two-part essay, Julia Eklund Koza analyzes prevalent control and management discourse in education, specifically, music education. Arguing that dominant understandings are hierarchical, gendered, illusory, and integrally related to projects and practices largely unrelated to schooling, she invites teachers and teacher educators to explore the possibilities created when different assumptions about teaching and control are applied. Koza maintains that recognizing the limits of governmentality, bankrupting illusions of control, and uncoupling associations between uncertainty (...) and terror are powerful political disruptions. Acknowledging that classroom control may be neither achievable nor desirable may open the door to different understandings of classroom power relations and to re-articulations of the purposes of schooling. Koza calls for the use of different metaphors and frames as a first step in achieving different educational outcomes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Elizabeth Gould, “Nomadic Turns:Epistemology, Experience, and Women University Band Directors” Epistemology, Experience, and Women University Band Directors”Julia Eklund KozaClimate and its impact on women in instrumental music education is a tremendously important subject, and I thank Liz Gould for her thoughtful analysis. Rather than offering a critique of her work, I will respond as one might answer in a call and response. Gould has sung (...) a call that articulates a definition of feminism and invites us to explore climate in the professions, specifically in instrumental music education; I will answer in affirmation, confirmation, and extension. The nomadic metaphor, which is central to her paper, has been appropriated by a number of postmodern [End Page 187] theoreticians, including, among others, Baudrillard, Grisoni, Deleuze and Guattari, and of course, Braidotti.1 I have decided not to talk about this metaphor, however, principally because the complexities of any analysis of Western constructions of nomadism—constructions that are rife with exoticism, fascination, revulsion, and fear—are multiplied at this moment, as my country wages war against Iraq, a land of nomadic and semi-nomadic peoples, after having recently engaged in military action in Afghanistan, which is similarly home to nomads. An incisive discussion of postmodern use of nomadic metaphors appears in Caren Kaplan's book Questions of Travel, which I recommend to anyone interested in the subject.2My response has two goals: first, to forward another, not necessarily competing, postmodern understanding of feminism and power; and second, keeping this understanding in mind, to expand Gould's project of examining professional climate. According to my working postmodern definition, feminism is a constellation of dynamic political positions, which address and attempt to change the unequal power relations and material conditions that are produced and supported by a normative regulatory ideal called sex. In speaking of a constellation of political positions, I acknowledge the existence of a multiplicity of modern and post-modern feminisms, and by calling these positions dynamic I acknowledge their fluidity. In asserting that sex is a regulatory ideal, I rely on the work of feminist theorist Judith Butler, who posits that sex and sexual difference are discursively constructed; distinguishing herself from feminists who draw a distinction between gender, which is assumed to be socially constructed, and sex, which is theorized as a pre-social given or surface, Butler not only questions such a distinction by arguing that both sex and gender are culturally produced, but also theorizes about how materializations of bodies are accomplished. Drawing on the work of philosopher Michel Foucault, she maintains that sex is a regulatory norm, "part of a regulatory practice that produces the bodies it governs,"3 and she claims that this materialization is accomplished through a reiterative process called performativity. A performative, according to Butler, is a "discursive practice that enacts or produces that which it names."4 Butler claims that "the regulatory norms of 'sex' work in a performative fashion to constitute the materiality of bodies and, more specifically, to materialize the body's sex, to materialize sexual difference in the service of the consolidation of the heterosexual imperative."5 She provides an example of how this reiterative process works: when a particular child is born, the child is cited as a girl at birth and many times afterward; each citation helps to constitute that child as a girl and also to reinforce the discursive formation "girl."6 To summarize, Butler asserts that sex is "a cultural norm which governs the materialization of bodies,"7 and she posits that materiality is a productive effect of power.8She also theorizes that subject formation necessitates both an "identification with the normative phantasm of 'sex,'" and the creation of a zone of abjection.9 Bodies relegated to this abject zone, according to Butler, can be a valuable and "critical resource in the struggle to rearticulate the very terms of symbolic legitimacy and intelligibility."10 She maintains that disidentification can be a fruitful way to mobilize feminist and queer politics.11 Collective disidentifications, Butler states, can facilitate a "reconceptualization of which bodies matter," which bodies count.12 [End Page 188]Finally, my definition of feminism relies on several Foucauldian assumptions about... (shrink)

This essay examines control discourse in and out of educational settings, arguing that illusions of control are among the means by which governance is accomplished in domains far from schools. The tactical productivity of such illusions in non-school settings "necessitates" and explicates their prevalence in education. The first installment of this essay identifies some assumptions undergirding dominant control and management discourse; analyzes discussions of control in fields other education; and briefly examines the role that social location plays in fostering specific (...) understandings of control. A later installment will focus more narrowly on education, music education specifically. The author maintains that recognizing the limits of governmentality, bankrupting illusions of control, and uncoupling associations between uncertainty and terror, are powerful political disruptions. Acknowledging that classroom control may be neither achievable nor desirable may open the door to different understandings of classroom power relations and to re-articulations of the purposes of schooling. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Save The Music”?Toward Culturally Relevant, Joyful, and Sustainable School MusicJulia Eklund KozaIf historical sources are reliable indicators, music educators have never felt confident that music's place in the U.S. public school curriculum is secure. Proponents have been developing exhaustive rationales for the existence of school music from the moment that the subject was introduced into the public schools, attempting to convince an apparently skeptical public of the merits of (...) school music, and trying to pull endangered programs—usually their own—out of the fire. Today, as has been the case in the past, rescue and salvation discourses and initiatives abound. Moving music to a more secure place in the curriculum was cited as a rationale for the development of national music standards in 1994.1 In recent years saving the music has become a favorite project of major corporations, especially as privatization of public schooling has gained momentum. For example, in 1998 one of the National Association for Music Education's (MENC) corporate partners credited the school/partnership that promoted the Disney movie, Mr. Holland's Opus, with saving school music.2 The corporate-sponsored initiative "VH1 Save the Music" claims not only to help flailing school music programs but also, through the donation of musical instruments to schools, to rescue children as well—more than 250,0000 of them since 1997.3 [End Page 23]Because music outside of school seems to be thriving and probably will never be in need of rescue—although specific styles, genres, and practices may be in their twilight—"the music" to which "VH1 Save the Music" refers presumably is school music. As a music educator who perennially is called upon to "save the music," I will take a brief look at the object of salvation, the salvific discourses that surround it, and some of the systems of reasoning that construct it. I propose modifications in these systems of reasoning, which may lead to more culturally relevant, joyful, and sustainable school music.School Music: An Alchemized Constellation of Systems of Reasoning and PracticesTo conceptualize school music as an entity is both problematic and useful. On the one hand, doing so assumes the existence of an exteriority from which it can be clearly differentiated, that is, outside-of-school music, and yet these culturally constructed categories are leaky. The fact that the American Federation of Musicians joined forces with MENC to establish guidelines, which attempt to prevent school performing groups from encroaching on the turf of unionized professional musicians, indicates that the line of distinction between school music and its exteriority sometimes has been blurred.4Furthermore, when VH1 refers to it as "the music," school music seems to be not only clearly defined but also static and monolithic. I argue, however, that it consists of a whole constellation of systems of reasoning as well as the varied practices resulting from these systems. Differences between the various elements in this constellation may be as numerous as commonalities. School music in the U.S. is diverse in the sense that it encompasses a variety of sub-categories or sub-cultures (for example, elementary general music, secondary instrumental music, and so on), each with somewhat distinct systems of reasoning and practices. When suggesting that school music should be saved, we are faced with the complex question of whether all of these sub-categories, their systems of reasoning, and their consequent practices are to be objects of salvation.In addition to having to address the variety within school music, any mapping of relationships between school music and it exteriority should take into account the variety and dynamism of the musical world outside of school. This exteriority consists of a multiplicity of sub-cultures, each with a set of governing practices that may or may not be shared.On the other hand, astonishing within-category similarity exists, which supports the view that school music is an entity. In addition, some commonalities may not only unite all of the sub-categories but also may be shared with non-music school subjects, as well. One such commonality is the inescapable influence of a process of change educational theorist Thomas Popkewitz calls [End Page 24] "alchemy... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Extraordinary Rendition:On Politics, Music, and Circular MeaningsRandall Everett AllsupThe purpose of this symposium is to look at music, education, and politics. I will begin with an examination of how musical meanings are politically rendered, and how these understandings are attached to moral consequences. Highly resistant to classification, musical meanings are those things we come to understand about ourselves through music, as opposed to musical knowledge which is demonstrable know-how. (...) While marching bands and flute sonatas can be judged with scores estimated to the 100th decimal point, the meanings that are created between the standards of practice of a given genre and the worldview of the listener or performer are provisional at best. Seen in this light, even seemingly secure or knowable realms like Christian heavy metal or anti-war movies are in fact highly un-objective and unpredictable. (More on Christian rock and movies in a moment). The challenge this paper seeks to uncover is participation on the hither side of fact, where understandings are rendered in a world that is contingent, political, and always in motion. What better example of the unclassifiable than the moving axes of politics and art?So what occurs between art and human or so-called "world" experience? [End Page 144] Let's agree that there is always motion, non-neutral, political movement in this interaction. We need not be students of French post-structuralism to recognize that we are part of many ever-evolving human-made systems, some of control, regulation, reward, punishment, and pleasure, but each with their own gravitation pull.1 I like Susan Sontag's take the best when she wrote that every place, every history has its own "sensibility," its own ineffable way of being in the world.2 Sensibilities—perhaps a clearer way of referring to politics in the context of art and experience—do not exist apart from their environment, yet they are more elusive than an idea or recognizable behavior.3 The sensibility of a time and place makes possible multiple discourses through which we make meaning.4 Some discourses, Foucault would remind us, are intensified by a history's particular sensibility and so appear louder than others. Such a discourse might speak so loudly that it shapes the meanings we make, drowning out options, and thus appearing obvious or commonsensical. The logic of musical assessment and evaluation—scoring marching bands and flute sonatas to the 100th decimal—is one such example.In spite of authoritative voices and reasonable discourses, each history's sensibility has its own escape routes, its own distortions and contradictions. I am fascinated by how we comply with or resist these pulls, as they are matters of agency and identity, matters of equity and social justice. In the present-day context of neo-liberalism and conservative values, especially 21st Century American fundamentalism, we would do well to ask how—not whether—such a fundamentalist sensibility shapes our ways of doing and knowing.5 My attempt is to locate music education in such a project.Shortly after the invasion of Iraq, I wrote a short piece on the fundamentalist imagination and its pull on the arts and education.6 This research took place at the 2003 MENC biennial where Bennett Reimer asks philosophy SRIG participants to consider (among other things) the role of metaphor in music education.7 I viewed the fundamentalist imagination as antithetical to metaphor: to paraphrase, the fundamentalist philosophy of education was "a philosophy for, not with, its initiates. Judgments are passed, not reached; answers are given, not argued... [Most importantly,] it is an educational method that emphasizes and then measures what is literal."8Since then, the voices of American literalism have appeared in increasingly loud volume seeking to discourage interpretation and argument in favor of handed-down teachings and binary logic. Supreme Court Justice Antonin Scalia decries the folly of a "living" constitution, in favor of a strict or literal reading. Retired Cardinal Bernard Law of Boston, in response to a common ground initiative by the late Joseph Bernadin, labels an appeal to "dialogue" a "fundamental flaw."9 Law sniffed, "Dissent from revealed truth or the authoritative [End Page 145] teaching of the church cannot... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:“Destined to Fail”: Carl Seashore’s World of Eugenics, Psychology, Education, and Music by Julia Eklund KozaJune Boyce-TillmanJulia Eklund Koza, “Destined to Fail”: Carl Seashore’s World of Eugenics, Psychology, Education, and Music (Ann Arbor, MI: University of Michigan Press, 2021)This is a difficult book to read not only because of its length but also its content. While reading the history of eugenics and how it played out (...) in the invention of the holocaust, I found myself feeling the nausea that I similarly feel when embarking on Margaret Attwood’s Handmaid’s Tale. I also remembered how I had used the Seashore tests of musical ability in my time teaching in London primary schools. I was faced with a common problem in UK State schools–three places for violin tuition and twenty children seeking them. The Seashore tests appeared to be the answer to the problem. The claims made for them were that they would tell me which children were likely to succeed because they had more musical ability than others. It was only in the process of using them that I realized that this was an unjustified claim. Conversations with John Sloboda revealed two other aspects that might play out in musical success. One was a moment/event which made a person fall in love with a particular instrument and want to learn it. The other was the amount of time a person would put in to practice the instrument, which in many London contexts with high-rise flats and no soundproofing [End Page 83] was extremely difficult. All that the Seashore tests showed was the third aspect involved in engagement with music, which was the ability to recognize the musical patterns of a particular culture. But what this book shows us so clearly is the danger of rating this ability to grasp the musical patterns of the Western classical musical traditions as the totality of musical ability. Beneath this is the belief that some people are innately musical but, more significantly, others are not. In my experience, musicality is a difficult area in our UK culture; people are more likely to say that they are not musical in a way that they would not in relation to any other academic discipline such as English, geography or history. In many educational contexts, I have pointed out that, if a teacher believes that some students are musical and some are not, then it is unethical to have class music lessons for everyone in the curriculum. Helpfully, in the final chapter of the book, some of these shades from the past, that still color contemporary thinking about music education, are clearly set out.To turn to the book itself, the first chapter sets out Seashore’s life as a “Mendelian hereditarian who believed that musical talent is biologically inheritable, differently bestowed, and immutable.”1 The author contextualizes the belief system in which this is rooted, discussing the American Eugenics Society, the best baby contests, and the “great man” narratives of the early to mid-twentieth century (first set out in Galton’s idea of genius). Seashore’s legacy figures in a number of academic fields, including audiology, aesthetics, educational reform, the American Psychological Society, and the National Academy of Sciences. She hopes to initiate a debate about how eugenics has, and still does have, a part in stories of both music education and education generally. She situates her work in a view of “‘the past’ as a dynamic construct created and recreated in the present.”2 She sets up a different way of remembering the past by acknowledging that past, present, and future are culturally constructed and bounded, in which she uses Foucault’s concept of power.3 She considers the role of “solid” science in supporting both eugenics and its responsibility for the Holocaust. I would recommend that anyone embarking on historical musicology read this chapter to understand the complex mechanisms which need to underpin such study.My own academic research has been about deconstructing the patriarchal values that filled my own miseducation in music history. The legacy of Galton’s construction of genius dominated my music education and when I took my professorial... (shrink)

There is long standing agreement both among philosophers and linguists that the term ‘counterfactual conditional’ is misleading if not a misnomer. Speakers of both non-past subjunctive (or ‘would’) conditionals and past subjunctive (or ‘would have’) conditionals need not convey counterfactuality. The relationship between the conditionals in question and the counterfactuality of their antecedents is thus not one of presupposing. It is one of conversationally implicating. This paper provides a thorough examination of the arguments against the presupposition view as applied to (...) past subjunctive conditionals and finds none of them conclusive. All the relevant linguistic data, it is shown, are compatible with the assumption that past subjunctive conditionals presuppose the falsity of their antecedents. This finding is not only interesting on its own. It is of vital importance both to whether we should consider antecedent counterfactuality to be part of the conventional meaning of the conditionals in question and to whether there is a deep difference between indicative and subjective conditionals. (shrink)

Kierkegaard the Christian thinker is introduced, beginning with his cultural background, his basic assumptions about the structure of the Christian universe, and the development of his vocation as religious writer. The author shows why he is different from others in his treatment of Christianity, then follows his presentations of Christian ideality and the tension and opposition in his authorship between Christianity as godly enjoyment of the world and Christianity as renunciation and total self-denial. Distributed in the US by Books International. (...) Annotation copyrighted by Book News, Inc., Portland, OR. (shrink)

Julia Kristeva refracts the impulse to hate (and our attempts to subvert, sublimate, and otherwise process it) through psychoanalysis and text, exploring worlds, women, religion, portraits, and the act of writing. Her inquiry spans themes, topics, and figures central to her writing, and her paths of discovery advance the theoretical innovations that are so characteristic of her thought. Kristeva rearticulates and extends her analysis of language, abjection, idealization, female sexuality, love, and forgiveness. She examines the "maladies of the soul," (...) utilizing examples from her practice and the ailments of her patients, such as fatigue, irritability, and general malaise. She sources the Bible and texts by Marguerite Duras, St. Teresa of Avila, Roland Barthes, Simone de Beauvoir, and Georgia O'Keefe. Balancing political calamity and individual pathology, she addresses internal and external catastrophes and global and personal injuries, confronting the nature of depression, obliviousness, fear, and the agony of being and nothingness. Throughout Kristeva develops the notion that psychoanalysis is the key to serenity, with its processes of turning back, looking back, investigating the self, and refashioning psychical damage into something useful and beautiful. Constant questioning, Kristeva contends, is essential to achieving the coming to terms we all seek at the core of forgiveness. (shrink)

During the turbulent last years of the fifth century BC, Athens twice suffered the overthrow of democracy and the subsequent establishment of oligarchic regimes. In an in-depth treatment of both political revolutions, Julia Shear examines how the Athenians responded to these events, at the level both of the individual and of the corporate group. Interdisciplinary in approach, this account brings epigraphical and archaeological evidence to bear on a discussion which until now has largely been based on texts. Dr Shear (...) particularly focuses on the recreation of democracy and the city, both ritually and physically, in the aftermath of the coups and demonstrates that, whilst reconciliation after civil strife is difficult and contentious, it is also crucial for rebuilding a united society. Theories of remembering and forgetting are applied and offer a new way of understanding the dynamics in Athens at this time. (shrink)

This interpretive introduction provides unique insight into Plato's Republic. Stressing Plato's desire to stimulate philosophical thinking in his readers, Julia Annas here demonstrates the coherence of his main moral argument on the nature of justice, and expounds related concepts of education, human motivation, knowledge and understanding. In a clear systematic fashion, this book shows that modern moral philosophy still has much to learn from Plato's attempt to move the focus from questions of what acts the just person ought to (...) perform to the more profound questions of what sort of person the just person ought to be. (shrink)

Staging and stratification are two diagnostic approaches that have introduced a more dynamic outlook on the development of diseases, thus participating in blurring the line between the normal and the pathological. First, diagnostic staging, aiming to capture how diseases evolve in time and/or space through identifiable and gradually more severe stages, may be said to lean on an underlying assumption of “temporal determinism”. Stratification, on the other hand, allows for the identification of various prognostic or predictive subgroups based on specific (...) markers, relying on a more “mechanistic” or “statistical” form of determinism. There are two medical fields in which these developments have played a significant role and have given rise to sometimes profound nosological transformations: oncology and psychiatry. Drawing on examples from these two fields, this paper aims to provide much needed conceptual clarifications on both staging and stratification in order to outline how several epistemological and ethical issues may, in turn, arise. We argue that diagnostic staging ought to be detached from the assumption of temporal determinism, though it should still play an essential role in adapting interventions to stage. In doing so, it would help counterbalance stratification’s own epistemological and ethical shortcomings. In this sense, the reflections and propositions developed in psychiatry can offer invaluable insights regarding how adopting a more transdiagnostic and cross-cutting perspective on temporality and disease dynamics may help combine both staging and stratification in clinical practice. (shrink)

Die Herausbildung von transnationalen Räumen ist aufs Engste mit Geschlechterverhältnissen verwoben. Durch die Zunahme transnationaler politischer, sozialer und wirtschaftlicher Verflechtungsbeziehungen müssen die Geschlechterordnungen auf nationaler und lokaler Ebene grundlegend neu vermessen werden. Ziel des Bandes ist es, die vielfältigen Verflechtungen von Transnationalisierungsprozessen mit Geschlecht aus feministischer Perspektive auf politischer, sozialer und wirtschaftlicher Makro-, Meso- und Mikroebene zu beleuchten.

Sentences containing predicates of personal taste exhibit two striking features: whether they are true seems to lie in the eye of the beholder and whether they are true can be—and often is—subject to disagreement. In the last decade, there has been a lively debate about how to account for these two features. In this paper, I shall argue for two claims: first, I shall show that even the most promising approaches so far offered by proponents of so-called indexical contextualism fail (...) to account for the disagreement feature. They might be able to account for some disagreement data, but they have trouble accounting for two kinds of disagreement data that caused the estrangement from indexical contextualism and the migration to relativism in the first place: the denial and the retraction data. Second, I shall show that we still do not have to abandon indexical contextualism, because what I shall call the superiority approach—a new pragmatically extended version of indexical contextualism—can very well account for the data. (shrink)

This paper investigates the norm of presupposition, as one pervasive type of indirect speech act. It argues against the view that sees presuppositions as an indirect counterpart of the direct speech act of assertion and proposes instead that they are much more similar to the direct speech act of assumption. More concretely, it suggests that the norm that governs presuppositions is not an epistemic or doxastic attitude such as knowledge, justified belief, or mere belief; it's a practical attitude, most plausibly (...) the attitude of rational acceptance. This view has important ramifications well beyond debates in philosophy of language and linguistics. It affects not only our view of which speech act sequences are fine and which are off; it bears on whether presuppositions can function as testimony, whether they can be lies, and whether they are ontologically committal, thus addressing central topics in epistemology, ethics, and metaphysics. (shrink)

Many people follow Grice in thinking that all conversational implicatures are cancellable. And often enough, they use this insight as a test for conversational implicatures. If you want to find out whether something is a conversational implicature, the test has it, you should ask yourself whether the thing in question is cancellable; if you find that it is not cancellable, you can infer that it is not a conversational implicature. If you find that it is cancellable, you can infer that (...) it might well be a conversational implicature and that you should now do further testing. Various philosophers and linguists have questioned the test however. Some have held that Grice's cancellability claim is subject to counterexamples and that the test is not reliable. Others have argued that even though Grice's claim can be defended against the examples in question, the test is not as informative as people have hoped. This article provides an overview of the recent discussion on the cancellability test and suggests a way forward. (shrink)

People disagree frequently, about both objective and subjective matters. But while at least one party must be wrong in a disagreement about objective matters, it seems that both parties can be right when it comes to subjective ones: it seems that there can be faultless disagreements. But how is this possible? How can people disagree with one another if they are both right? And why should they? In recent years, a number of philosophers and linguists have argued that we must (...) become relativists about truth to understand faultless disagreements. This book shows that we can dispense with relativism. It combines a more standard semantics with a novel pragmatic theory to develop a superior approach. The book discusses both classic and recent literature in philosophy and linguistics. It provides a general introduction to the debate about the semantics and pragmatics of perspectival expressions, as well as an original contribution to the contemporary discussion. (shrink)

This paper discusses the inefficacy problem that arises in contexts of “collective harm.‘ These are contexts in which by acting in a certain sort of way, people collectively cause harm, or fail to prevent it, but no individual act of the relevant sort seems to itself make a difference. The inefficacy problem is that if acting in the relevant way won’t make a difference, it’s unclear why it would be wrong. Each individual can argue, “things will be just as bad (...) whether or not I act in this way, so there’s no point in doing otherwise.‘ The goal of this paper is to give an overview of some of the main responses available to the problem and to highlight central issues that arise for each type of response. In the final section, I explain what I take to be the most promising strategy and discuss the form that this strategy should take. (shrink)

Some expressions, such as ‘generous’ and ‘stingy’, are used not only to describe the world around us. They are also used to evaluate the things to which they are applied. In this paper, I suggest a novel account of how this evaluation is conveyed—the conventional triggering view. It partly agrees and partly disagrees with both the standard semantic view and its popular pragmatic contender. Like the former and unlike the latter, my view has it that the evaluation is conveyed due (...) to the conventional meaning of the sentences in question. Unlike the former and much like the latter, my view suggests that the evaluation is a secondary rather than a primary content. (shrink)

There are many cases in which people collectively cause some morally significant outcome (such as a harmful or beneficial outcome) but no individual act seems to make a difference. The problem in such cases is that it seems each person can argue, ‘it makes no difference whether or not I do X, so I have no reason to do it.’ The challenge is to say where this argument goes wrong. My approach begins from the observation that underlying the problem and (...) motivating the typical responses to it is a standard, intuitive assumption. The assumption is that if an act will not make a difference with respect to an outcome, then it cannot play a sig- nificant, non-superfluous role in bringing that outcome about. In other words, helping to bring about an outcome requires making a difference. I argue that the key to solving the problem is to reject this assumption. I develop an account of what it is to help to bring about an outcome, where this does not require making a difference, and I use this explain our reasons for action in the problem cases. This account also yields an error theory that explains why the standard assumption is so tempting, even though it is mistaken. (shrink)

ABSTRACT I propose a division of the literature on natural kinds into metaphysical worries, semantic worries, and methodological worries. I argue that the latter set of worries, which concern how classification influences scientific practices, should occupy centre stage in philosophy of science discussions about natural kinds. I apply this methodological framework to the problems of classifying chemical species and nanomaterials. I show that classification in nanoscience differs from classification in chemistry because the latter relies heavily on compositional identity, whereas the (...) former must consider additional properties, namely, size, shape, and surface chemistry. I use this difference to argue for a scale-dependent theory of scientific classification. _1_ Introduction _2_ The Methodological Problem of Kinds _3_ Chemical Kindhood: Reactivity, Microstructure, and the Structure–Property Paradigm _4_ Scale-Dependence and Nanoscale Kinds _5_ Conclusion. (shrink)

The predominant view of moral virtue can be traced back to Aristotle. He believed that moral virtue must involve intellectual excellence. To have moral virtue one must have practical wisdom - the ability to deliberate well and to see what is morally relevant in a given context. Julia Driver challenges this classical theory of virtue, arguing that it fails to take into account virtues which do seem to involve ignorance or epistemic defect. Some 'virtues of ignorance' are counterexamples to (...) accounts of virtue which hold that moral virtue must involve practical wisdom. Modesty, for example, is generally considered to be a virtue even though the modest person may be making an inaccurate assessment of his or her accomplishments. Driver argues that we should abandon the highly intellectualist view of virtue and instead adopt a consequentialist perspective which holds that virtue is simply a character trait which systematically produces good consequences. (shrink)

In response to the lack of empirical studies examining the internal disclosure behavior in the Chinese context, this study tested a whistleblowing -decision-making process among employees in the Chinese banking industry. For would-be whistleblowers, positive affect and organizational ethical culture were hypothesized to enhance the expected efficacy of their whistleblowing intention, by providing collective norms concerning legitimate, management-sanctioned behavior. Questionnaire surveys were collected from 364 employees in 10 banks in the Hangzhou City, China. By and large, the findings supported the (...) hypotheses. Issues of whistleblowing in the Chinese context and implications were discussed. (shrink)

The emerging field of synthetic biology aims to engineer novel biological entities. The envisioned future bio-based economy builds largely on “cell factories”: organisms that have been metabolically engineered to sustainably produce substances for human ends. In this paper, we argue that synthetic biology’s goal of creating efficient production vessels for industrial applications implies a set of ontological assumptions according to which living organisms are machines. Traditionally, a machine is understood as a technological, isolated and controllable production unit consisting of parts. (...) But modified organisms, or hybrids, require us to think beyond the machine paradigm and its associated dichotomies between artificial and natural, organisms and artefacts. We ask: How may we conceptualise hybrids beyond limiting ontological categories? Our main claim is that the hybrids created by synthetic biology should be considered not as machines but as metabolic systems. We shall show how the philosophical account of metabolism can inform an ontology of hybrids that moves beyond what we call the “machine ontology”, considering that metabolism enables thinking beyond the dominant dichotomies and allows us to understand and design lifeforms in a bio-based economy. Thus, the aim of this paper is twofold: first, to develop the philosophical ontology of hybrids, and second, to move synthetic biology beyond the problematically limiting view of hybrids. (shrink)

This essay defends moral expertise against the skeptical considerations raised by Gilbert Ryle and others. The core of the essay articulates an account of moral expertise that draws on work on expertise in empirical moral psychology, and develops an analogy between moral expertise and linguistic expertise. The account holds that expertise is contrastive, so that a person is an expert relative to a particular contrast. Further, expertise is domain specific and characterized by “automatic” behavior and judgment. Some disagreements in the (...) literature regarding moral expertise are diagnosed as being due to failures to adequately distinguish different ways in which someone can be a moral expert. For example, expertise in action does not imply expertise in judgment or analysis. (shrink)

ABSTRACTWide-ranging semantic flexibility is often considered a magic cure for contextualism to account for all kinds of troubling data. In particular, it seems to offer a way to account for our intuitions regarding embedded perspectival sentences. As has been pointed out by Lasersohn [2009. “Relative Truth, Speaker Commitment, and Control of Implicit Arguments.” Synthese 166 : 359â374], however, the semantic flexibility does not present a remedy for all kinds of embeddings. In particular, it seems ineffective when it comes to embeddings (...) under operators with truth evaluative adverbs such as ‘correctly believes that’ and ‘incorrectly believes that’ and under factive verbs. This paper takes a closer look at the problematic embedding data with respect to predicates of personal taste. It argues that there is indeed no semantic solution for contextualism but a pragmatic way out. (shrink)

The book provides a commentary on Plato's Republic which encourages the reader to be stimulated to philosophical thinking by Plato's wide-ranging discussions.

Metaphysics of Science is the philosophical study of key concepts that figure prominently in science and that, prima facie, stand in need of clarification. It is also concerned with the phenomena that correspond to these concepts. Exemplary topics within Metaphysics of Science include laws of nature, causation, dispositions, natural kinds, possibility and necessity, explanation, reduction, emergence, grounding, and space and time. Metaphysics of Science is a subfield of both metaphysics and the philosophy of science—that is, it can be allocated to (...) either, but it exhausts neither. Unlike metaphysics simpliciter, Metaphysics of Science is not primarily concerned with metaphysical questions that may already arise from everyday phenomena such as what makes a thing (a chair, a desk) the very thing it is, what its identity criteria are, out of which parts is it composed, whether it remains the same if we exchange a couple of its parts, and so forth. Nor is it concerned with the concrete entities (superstrings, molecules, genes, and so forth) postulated by specific sciences; these issues are the subject matter of the special philosophies of science (for example, of physics, of chemistry, of biology). Metaphysics of Science is concerned with more abstract and general concepts that inform all of these sciences. Many of these concepts are interwoven with each other. For example, metaphysicians of science inquire whether dispositionality, lawhood, and causation can be accounted for in nonmodal terms; whether laws of nature presuppose the existence of natural kinds; and whether the properties of macrolevel objects supervene on dispositional or nondispositional properties. This article surveys the scope (section 1), historical origin (section 2), exemplary subject matters (section 4), and methodology (section 5) of Metaphysics of Science, as well as the motivation that drives it (section 3). (shrink)

In this paper, the incidental clauses delimited by commas are inquired from a computational linguistic perspective. Some theoretical aspects based on grammatical criteria, and a discussion about its nature and definition are proposed. For this objective, we consider (i) the possibility that incidental clause has (or not) a syntactic function, (ii) the possibility that the incidental clauses interrupts (or not) the regular order of the sentence where it is inserted, and (iii) the different levels where the incidental clauses could be (...) situated. From these issues, a classification and a definition of incidental clauses delimited by commas are proposed, and a method for automatic detection of these expressions using the Smorph and MPS softwares are described; this method got adequate accuracy and coverage percentages. Finally the contribution of this paper for the grammatical studies and the computational linguistics are presented, and new topics for future works are proposed. (shrink)

Consequentialism is the view that the rightness or wrongness of actions depend solely on their consequences. It is one of the most influential, and controversial, of all ethical theories. In this book, Julia Driver introduces and critically assesses consequentialism in all its forms. After a brief historical introduction to the problem, Driver examines utilitarianism, and the arguments of its most famous exponents, John Stuart Mill and Jeremy Bentham, and explains the fundamental questions underlying utilitarian theory: what value is to (...) be specified and how it is to be maximized. Driver also discusses indirect forms of consequentialism, the important theories of motive consequentialism and virtue consequentialism, and explains why the distinction between subjective and objective consequentialism is so important. Including helpful features such as a glossary, chapter summaries, and annotated further reading at the end of each chapter, Consequentialism is ideal for students seeking an authoritative and clearly explained survey of this important problem. (shrink)

This volume, which follows hard on the heels of publication of the final volume of the 26-volume set of Kierkegaard's writings , allows its readers 'to find their way quickly to relevant sources of help,' elucidates Kierkegaard's 'central concepts,' and demonstrates the contemporary relevance of his ideas.

Taken collectively, consumer food choices have a major impact on animal lives, human lives, and the environment. But it is far from clear how to move from facts about the power of collective consumer demand to conclusions about what one ought to do as an individual consumer. In particular, even if a large-scale shift in demand away from a certain product (e.g., factory-farmed meat) would prevent grave harms or injustices, it typically does not seem that it will make a difference (...) whether one refrains from purchasing that product oneself. Most present-day food companies operate at too large a scale for a single purchase to make a difference to production decisions. If that is true, then it is not clear what point there is in refraining. This is “the problem of collective impact.” This chapter explores a range of proposals for how to solve this problem. (shrink)

Early philosophical accounts of explanation mistook the function of boundary conditions for that of contingent facts. I diagnose where this misunderstanding arose and establish that it persists. I...