Abstract:In this paper, I offer my reading of John Dewey's Art as Experience and propose implications for music education based on Dewey's ideas. Three principal questions guide my task: What are some key ideas in Dewey's theory of art? How does Dewey's theory of art fit within his larger theory of experience? What are the implications of Dewey's ideas for music education? As I shall show, art for Dewey is rooted in nature, civilizes humans, serves as social glue, and has (...) an important role in society throughout most of human history. Modern life, however, separates art and life; there is a need to restore the continuity between art and the ordinary processes of living, a task that Dewey undertakes by positing the notion of art as experience. Dewey's ideas support an expanded curriculum in music education, one in which popular music may be included alongside Western classical music and music from diverse cultures. However, artistic and educational discernment are needed, which necessitates the need for music educators to be sufficiently steeped in varied musical traditions and styles. (shrink)

At present, instrumental music education, defined in this paper as the teaching and learning of music through wind bands and symphony orchestras of Western origin, appears embattled. Among the many criticisms made against instrumental music education, critics claim that bands and orchestras exemplify an authoritarian model of teaching that does not foster democracy. In this paper, I propose a theoretical framework by which instrumental music education may be conceived democratically. Since educational bands and orchestras have achieved global ubiquity, I theorize (...) broadly for both the East and the West and draw on ancient Chinese philosophy and American pragmatism as sources of inspiration to construct the theory. This theory comprises a quintet of themes that emerge from a comparative analysis of key philosophical texts by Confucian and pragmatist philosophers, namely, the people, participation, equality, cooperation, and conflict. This paper aims to address critical issues in instrumental music education with respect to democracy, complement extant music education philosophies, and serve as a first step towards a transcultural philosophy of music education relevant to the interconnected world in which we live. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:What's so Important about Music Education?Leonard TanJ. Scott Goble, What's so Important about Music Education? (New York, NY: Routledge, 2010)In What's so Important about Music Education, J. Scott Goble proposes a new philosophical foundation for music education in the United States based on the theory of semiotics by American pragmatist Charles Sanders Peirce. Following a brief summary, I will note several merits in Goble's book before sketching (...) four recommendations for future editions.In Chapter One, Goble notes how the inclusion of non-Western musics in the public schools as espoused in the 1967 Tanglewood Declaration has raised two crucial questions: "Whose music should be included in the curriculum?" and "What is the role or social importance of public school music education in the United States as a postmodern society?" Noting that music education was established in the United States during the modern era, and that the Tanglewood Declaration did not account for vast differences in beliefs about music, Goble argues that there is a need to establish a new philosophical foundation that can accommodate the varied beliefs and practices of diverse cultural groups in postmodern United States.In Chapter Two, Goble sketches and critiques five cultural anthropologists. Of the five, he singles out Clifford Geertz's conception of culture as "semiotic [End Page 201] webs" (p. 20) as the conceptual foundation that is appropriate for this study. He then links Geertz's notion of culture to the semiotic theory of C. S. Peirce which is to become the theoretical underpinning of the book. Subsequently, he unpacks many key Peircian themes: human conceptions are maintained not individually but collectively in cultural groups, provisional truth (as opposed to absolute Truth) is relative and dependent on conceptions of communities, and the scientific method is the sole mode of inquiry by which people in communities may use to satisfy their doubts to formulate beliefs. Most importantly, Goble expounds the "pragmatic maxim" that since humans live in communities united by common beliefs, "the 'clear' meaning of an idea held by a member of the community will almost inevitably stem from the beliefs—or ways of understanding—held by members of that community" (p. 30). Goble concludes the chapter by presenting the Peircian semiotic system of cognition which posits that a "sign" is conceptualized in a triadic relationship: the Sign or "Firstness," the Object or "Secondness," and the Interpretant or "Thirdness" (p. 33).In Chapter Three, Goble considers how music is a sign based on the theoretical framework laid in Chapter Two. Drawing on the work of ethnomusicologists, anthropologists, psychiatrists, and a neuroscientist, he formulates a Peircian pragmatic approach to musical practices which posits that "the musical practices of different cultural communities represent a diverse cluster of community-specific ritualized behaviors involving sound" (p. 252). Furthermore, each of the musical practices "serves those persons who meaningfully participate in it as a means of psychophysiological, psychosocial, and/or sociopolitical equilibration relative to the worldview—or ordered conception of Reality—they tacitly share" (p. 252). For Goble, this pragmatist conception of musical practices is neither ethnocentric, universalist, nor relativist, and can serve as a conceptual framework for all diverse musical practices in postmodern United States.With the Peircian pragmatic conception in mind, Goble examines historical factors that contributed to current conceptions of music in the United States in Chapter Four. He laments that as a result of European Enlightenment and three socio-political phenomena in the United States (the separation of church and state, promotion of no other worldview than democracy, and adoption of democratic capitalism), music is no longer pragmatically oriented but trivialized and pursued by self-serving musicians.In Chapter Five, Goble traces the philosophical justifications for music education throughout the history of the United States. While the sign "musical practice" was conceptualized as "worship" in colonial America, the sign "music" was conceived as "art" during the age of Enlightenment, and as "product" during the age of science and technology. Noting that Bennett Reimer's music education as aesthetic education is limited in its Western focus on music as works [End Page 202] of artistic objects, Goble aligns his Peircian conception along praxial lines—in particular, with... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Chances and Choices: Exploring the Impact of Music Education by Stephanie PittsLeonard TanStephanie Pitts, Chances and Choices: Exploring the Impact of Music Education (Oxford: Oxford University Press, 2012)In Chances and Choices: Exploring the Impact of Music Education, Stephanie Pitts investigates the lifelong effects of music education by examining the place of music in the lives of more than a hundred adults. Cast in seven chapters, this qualitative study (...) includes six pairs of interludes inserted between the chapters as well as a concluding postlude. Following a brief summary of the book, I will offer my critical response.In Chapter One, Pitts lists the six primary aims of the study: to examine the impact of musical learning during childhood on lifelong engagement with music; to assess the role that school music plays in lifelong involvement in music and attitudes to music; to investigate the influence of various locations for learning; to discuss particular strengths of music education; to probe into the problems of music education systems; and to proffer ways in which knowing more about the long-term implications of music education can help inform practice. She then presents the life history methodology she employs to accomplish these aims, detailing how she gathers retrospective accounts of formative musical experiences by British classical musicians, supplemented by accounts from British popular musicians and Italian respondents. These accounts constitute the data that are [End Page 102] analyzed from different perspectives later in the book. A brief survey of international approaches to music education and outline of the chapters to follow conclude the chapter.In Chapter Two, Pitts sketches a brief overview of twentieth century British music education before analyzing trends in the formative musical experience of British respondents from the 1930s to the 1990s. In an attempt to determine generational trends, Pitts groups the written responses according to six categories of musical influences: classroom music, music outside the classroom, teacher attitudes, music in the home, parent attitudes, and lifelong involvement. For each decade, Pitts presents a rank ordering of the six musical influences, revealing the increasing importance of music outside the classroom through the decades. Pitts then examines the various locations where musical learning takes place, such as the school, the home, and the church, in Chapter Three. Here, she surveys the characteristics of supportive musical environments, examines extracurricular music making, and discusses self-learning in music. Pitts concludes the chapter by analyzing findings from the Italian participants, drawing attention to the fact that in its emphasis on specialist training, the Italian music education system differs from the generalist approaches of its British counterpart.Pithily titled “Inspiring, Affirming, Challenging,” Chapter Four explores the characteristics of memorable and significant music teachers and role models. Among the many themes considered, Pitts notes that inspiring teachers are those who provide constant support to their students and possess advanced musical skills; teachers who were recollected negatively, on the other hand, were associated with being negligent, incompetent, dismissive, or fearsome. In addition, Pitts also explores the role of parents, siblings, extended family, and friends as musical mentors, role models, and sources of musical learning. With these foundations for musical learning established, Pitts analyzes the life history accounts of the respondents by musical outcome in Chapter Five. She discusses how adults make music in community settings, educational settings, worship settings, self-directed groups, and private homes, and describes how adults learn music and attend concerts as a form of lifelong musical involvement. From the data, Pitts surmises that even after leaving school, the participants often desire to improve musically; they frequently concentrate their efforts not only on participating in musical activities, but also on developing their musical skills further.In Chapter Six, “Rhetoric and Reality,” Pitts assesses the degree to which the participants’ experiences corroborate contemporary claims for the value and effects of musical learning. Drawing on the rich data of life history accounts, Pitts concludes that there is “compelling evidence for the lifelong impact of musical education” (p. 173), further arguing that the musical skills, attitudes, and values acquired during school years do have a long-term influence on musical engagement [End Page 103] in later years. Chapter Seven, aptly titled “Chances, Choices, and Conclusion... (shrink)

In this paper, I compare all three editions of Bennett Reimer’s A Philosophy of Music Education with early Chinese philosophy, in particular, classical Chinese aesthetics. I structure my analysis around a quartet of interrelated themes: aesthetic education, education of feeling, aesthetic experience, and ethics and aesthetics. This paper suggests that Reimer’s philosophical writings have some degree of transcultural applicability beyond Western thought, counterpointing criticisms that his philosophy is narrow, ethnocentric, and culturally limited. It also serves as a plausible point of (...) departure towards a transcultural theory of aesthetics for music education relevant to the pluralistic and globalized world in which we live. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:What's so Important about Music Education?Leonard TanJ. Scott Goble, What's so Important about Music Education? (New York, NY: Routledge, 2010)In What's so Important about Music Education, J. Scott Goble proposes a new philosophical foundation for music education in the United States based on the theory of semiotics by American pragmatist Charles Sanders Peirce. Following a brief summary, I will note several merits in Goble's book before sketching (...) four recommendations for future editions.In Chapter One, Goble notes how the inclusion of non-Western musics in the public schools as espoused in the 1967 Tanglewood Declaration has raised two crucial questions: "Whose music should be included in the curriculum?" and "What is the role or social importance of public school music education in the United States as a postmodern society?" Noting that music education was established in the United States during the modern era, and that the Tanglewood Declaration did not account for vast differences in beliefs about music, Goble argues that there is a need to establish a new philosophical foundation that can accommodate the varied beliefs and practices of diverse cultural groups in postmodern United States.In Chapter Two, Goble sketches and critiques five cultural anthropologists. Of the five, he singles out Clifford Geertz's conception of culture as "semiotic [End Page 201] webs" (p. 20) as the conceptual foundation that is appropriate for this study. He then links Geertz's notion of culture to the semiotic theory of C. S. Peirce which is to become the theoretical underpinning of the book. Subsequently, he unpacks many key Peircian themes: human conceptions are maintained not individually but collectively in cultural groups, provisional truth (as opposed to absolute Truth) is relative and dependent on conceptions of communities, and the scientific method is the sole mode of inquiry by which people in communities may use to satisfy their doubts to formulate beliefs. Most importantly, Goble expounds the "pragmatic maxim" that since humans live in communities united by common beliefs, "the 'clear' meaning of an idea held by a member of the community will almost inevitably stem from the beliefs—or ways of understanding—held by members of that community" (p. 30). Goble concludes the chapter by presenting the Peircian semiotic system of cognition which posits that a "sign" is conceptualized in a triadic relationship: the Sign or "Firstness," the Object or "Secondness," and the Interpretant or "Thirdness" (p. 33).In Chapter Three, Goble considers how music is a sign based on the theoretical framework laid in Chapter Two. Drawing on the work of ethnomusicologists, anthropologists, psychiatrists, and a neuroscientist, he formulates a Peircian pragmatic approach to musical practices which posits that "the musical practices of different cultural communities represent a diverse cluster of community-specific ritualized behaviors involving sound" (p. 252). Furthermore, each of the musical practices "serves those persons who meaningfully participate in it as a means of psychophysiological, psychosocial, and/or sociopolitical equilibration relative to the worldview—or ordered conception of Reality—they tacitly share" (p. 252). For Goble, this pragmatist conception of musical practices is neither ethnocentric, universalist, nor relativist, and can serve as a conceptual framework for all diverse musical practices in postmodern United States.With the Peircian pragmatic conception in mind, Goble examines historical factors that contributed to current conceptions of music in the United States in Chapter Four. He laments that as a result of European Enlightenment and three socio-political phenomena in the United States (the separation of church and state, promotion of no other worldview than democracy, and adoption of democratic capitalism), music is no longer pragmatically oriented but trivialized and pursued by self-serving musicians.In Chapter Five, Goble traces the philosophical justifications for music education throughout the history of the United States. While the sign "musical practice" was conceptualized as "worship" in colonial America, the sign "music" was conceived as "art" during the age of Enlightenment, and as "product" during the age of science and technology. Noting that Bennett Reimer's music education as aesthetic education is limited in its Western focus on music as works [End Page 202] of artistic objects, Goble aligns his Peircian conception along praxial lines—in particular, with... (shrink)

Abstract:In classical Greek philosophy, the pursuit of Truth was done primarily through logical argumentation using language as “Truth tool.” The major thinkers in classical China, on the other hand, were famously suspicious of language, with Confucius declaring, “I wish to be wordless.” They turned instead to music to express the philosophically ineffable. In this paper, we use the example of the Chinese guqin to show how music serves as “Truth tool” in the Chinese philosophical tradition; in fact, music may be (...) Truth itself. Through a quartet of interrelated themes–namely, the “Search for Truth,” the “Search for Harmony,” the “Search for Ethical Awakening,” and the “Search for Sagehood”–we show how playing the guqin constitutes the doing of philosophy in this musical tradition. Through the guqin, performers and listeners experience Confucian, Daoist, and Buddhist philosophical insights; no words are needed. We conclude by proffering implications for contemporary music education. (shrink)

Abstract:Within the last few decades, scholars have uncovered remarkable similarities between Confucian and pragmatist philosophies. Given these resonances, how would a philosophy of music education founded on a synthesis of Confucian and pragmatist ideas look? How would such a philosophy compare with extant philosophies of music education? In this paper, I sketch Confucian and pragmatist metaphysics, meld ideas from the two philosophies, and proffer implications for music education. As I shall argue, a Confucian-pragmatist intercultural blend lends support to three historical (...) movements in the philosophy of music education: the cultivation of morality through music, music education as aesthetic education, and the praxial philosophy of music education. It also illumines extant philosophies of music education in fresh ways. This essay extends a line of research on the application of comparative philosophy in contemporary music education. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Alexandra Kertz-Welzel’s “Two Souls, Alas, Reside within My Breast”: Reflections on German and American Music Education Regarding the Internationalization of Music EducationPhilosophy of Music Education Review, 21, no.1 (Spring 2013): 52–65Leonard TanAs a Singaporean who, like Kertz-Welzel, spent four years residing in the United States, I read the article with great interest. Born to traditional Chinese parents, I was raised steeped in Confucian values, savored Chinese operas, (...) and spoke Mandarin as a child. When I went to school in postcolonial Singapore, however, the medium of instruction was primarily English. I read Enid Blyton in primary school, Shakespeare in secondary school, and Chaucer in Junior College. My university studies in music were Western-centric. All seemed fine until my doctoral studies in the United States when I was inspired by my music education professor to revisit my cultural roots and to read Chinese philosophy. It was [End Page 113] no easy task reading the original texts—they were written on bamboo slips more than two thousand years ago in classical Chinese, and I needed tuition from my mother. Nevertheless, as I worked my way slowly but surely through each character, one thing became unmistakably clear: although I had read more Western than Asian philosophy, many ideas in the ancient Chinese texts resonate with the innermost recesses of my being and are unmistakably a part of who I am as a Chinese Singaporean, albeit one schooled in Western ways.Two souls, alas, have been residing within my breast! Like Kertz-Welzel, I had to find a way to reconcile my two scholarly identities. How may one negotiate the seeming chasm between the Chinese and Western philosophical worlds? In this paper, I sketch some insights gleaned from my journey into the world of comparative philosophy, specifically, classical Chinese philosophy and American pragmatism. In particular, I address two obstacles to the internationalization of music education identified by Kertz-Welzel, namely, the tendency for researchers to know only one scholarly tradition well, and the use of English as an international language. I then proffer Dewey’s metaphor of “friendship” as a way of charting a new “silk road”—one that blends Eastern and Western ideas—for the philosophy of music education.As noted by Kertz-Welzel, many researchers only know one scholarly tradition well. Dangers lurk when scholars have limited knowledge of foreign philosophical enterprises. To begin with, one may fall into the trap of stereotypical preconceptions. For example, I have been asked if it were methodologically sound to juxtapose Chinese philosophical aphorisms with the closely argued texts of the American pragmatists. The basis of this critique is understandable: think Confucius and aphoristic phrases that teach humans how to lead moral lives immediately spring to mind; think Dewey and one is reminded of the depth and breadth of his philosophical arguments. Chinese philosophical texts, however, are by no means mere aphorisms. While the Analects of Confucius may, prima facie, appear as if it were a random collection of brief sayings, many passages relate to one another and cohere as a philosophy. The rich commentarial tradition that spans over two thousand years further augment the range of insights embedded in the Analects. Post Confucius, Xunzi, the philosopher best known for his argument that human nature is evil and ought to be cultivated through ritual (li 禮) and music (yue 乐), articulated his philosophy through thirty-two books that rival Dewey in richness and complexity.1 For two souls to reside within one breast, one has to remain vigilant against potential stereotypes.The tendency to know only one scholarly tradition well may also inadvertently cause one to judge a foreign philosophical tradition using the standards of the familiar one. When encountering Confucius for the first time, scholars schooled in European philosophy may, as Hegel did, criticize him for being a [End Page 114] shallow moralizer obsessed with rituals (li 禮) rather than a speculative philosopher concerned with theoretical matters.2 Such a judgment is misguided as it ignores the fact that the Chinese philosophical tradition was founded on a set of metaphysical assumptions that differed from its Greek counterpart. Seeing the cosmos in discrete, quantitative, and unchanging terms, the ancient... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Chiao-Wei Liu, "Response to Leonard Tan and Mengchen Lu, 'I Wish to be Wordless': Philosophizing through the Chinese Guqin," Philosophy of Music Education Review 26, no. 2 (Fall, 2018): 199–202Leonard Tan and Mengchen LuChiao-Wei Liu's response to our paper raised important issues regarding the translation and interpretation of Chinese philosophical texts, our construals of Truth and ethical awakening, differences between the various Chinese philosophical traditions, and (...) the importance of recognizing students' selves as music educators work with them through diverse musical traditions. In this paper, we respond to each of these issues in turn.Liu rightly pointed out that the translation and interpretation of classical Chinese texts is complex. To support her argument, she cited a phrase from the [End Page 210] Zhuangzi that was quoted in our paper ("The fish trap exists because of the fish; once you've gotten the fish, you can forget the trap") and noted that it has often been used "to attribute to one's ungrateful attitude after receiving help from others."1 Taken on its own as a standalone, this reading appears plausible. Our interpretation, however, takes into account the quote in its original context:荃者所以在魚，得魚而忘荃；The fish trap exists because of the fish; once you've gotten the fish you can forget the trap.蹄者所以在兔，得兔而忘蹄；The rabbit snare exists because of the rabbit; once you've gotten the rabbit, you can forget the snare.言者所以在意，得意而忘言。Words exist because of meaning; once you've gotten the meaning, you can forget the words.吾安得忘言之人而與之言哉？Where can I find someone who has forgotten words so I can talk with the person?"2In each of the first three phrases, there are six characters followed by five. This pattern indicates that the first three phrases should be read as a whole rather than independently, which then lead to the final phrase–the playful climax which reveals that Zhuangzi's purpose here is to discuss language. The fish trap and rabbit snares are metaphors for words, while the fish and the rabbit are metaphors for meaning. Each of the first three phrases convey the same idea that if we get overly hung up on the means (that is, the fish trap, the rabbit snare, and words), we will never get to the Dao. Taken as a whole, the passage conveys the idea of words being mere means to the Dao, rather than the Dao itself, which supports the central theme of our paper: Philosophizing without words. Indeed, as Liu noted, the translation and interpretation of Chinese philosophical texts is a complex one, to which we add the importance of context.In our paper, we drew on the Buddhist notion of mingxin jianxing (明心見性) to explain how a guqin player quietly and meditatively clears her heart-mind before playing the instrument so that she can search for Truth within and discover her innermost self. Extending and adapting our ideas for contemporary music education, we proposed that music education is not just an outward journey to learn about composers, but also an inward one to learn about the self. Liu's construal of our work as claiming that "Truth does not reside within the [End Page 211] performer or the music, but is located in the space where the two are in sync" and also that "qualities aligned with the music are ethically good, whereas those that differ are not"3 extend our writing in ways we did not intend. Quite on the contrary, we agree with Liu that different students have different needs, hence our proposition for students to search inwards and discover themselves.In like vein, we agree with Liu that "when music learning becomes a means of assimilating toward one prescribed/predetermined standard, regardless of students' lived realities or how they make sense of the world, teaching then ceases to be moral."4 As noted in our paper, we are not in favor of a standards-based approach to music education that is rigid; similarly, we do not advocate the prescription of moral standards. The moral stories associated with the guqin tradition are heuristic; they aim to inspire ethical awakening, not to impose moral standards, and are therefore neither mechanistic nor to be... (shrink)

Extending a nascent line of Asian philosophical research in music education, we mine Indian philosophies of music and education. Three key questions guide our project: What are Vedic philosophies of music? What are Vedic philosophies of education? Taken together, what insights can we draw for contemporary music education writ large? To address our questions, we analyze key passages from the Upanishads and synthesize ideas from these texts. A quartet of inter-related ideas emerge from our analysis: the guru, the shishya, vidya, (...) and moksha. In brief, the guru (teacher) is revered as one would god, for it is the teacher who leads the shishya (student) toward vidya (knowledge) and through that toward moksha (liberation of the soul), which can also be attained via making music, such as the singing of Om (the absolute sound). In addition to proffering insights for contemporary music education, particularly in terms of how the ancient Vedic guru-shishya parampara adds nuance to contemporary discussions on the master-apprentice model of music education, we imagine how music education philosophy might look like if it were to be sung. (shrink)

Abstract:In 1952, John Cage wrote 4′33″ which famously asked the performer not to play a single note: tacet. This provocative work raises a number of questions. In music—and by extension, music education—what does it mean to not do something? What does it mean to make no sound? More fundamentally, what is the nature of non-action, non-sound, and even nothingness in and of itself? Since Cage was influenced by Eastern philosophy, we journey to Asia in search of insights into nothingness and (...) associated notions of absence and negation. In particular, we draw on the writings of Daoist philosophers, principally Laozi, to examine a quartet of philosophical terms, namely, wu (nothing/ness), wuwei (non-action), wusheng (non-sound), and wuaile (neither sorrow nor joy). Using these ideas, we propose a Daoist-inspired philosophy of music education, one that emphasizes the usefulness (yong) of nothingness (wu). (shrink)

Scholars explore from many fresh angles the interweavings of two of the richest strands of human culture-music and esotericism-with examples from the medieval period to the modern age. Music and esotericism are two responses to the intuition that the world holds hidden order, beauty, and power. Those who compose, perform, and listen to music have often noted that music can be a bridge between sensory and transcendent realms. Such renowned writers as Boethius expanded the definition of music to encompass not (...) only sounded music but also the harmonic fabric of human and cosmic life. Those who engage in pursuits called "esoteric," from ancient astrology, magic, and alchemy to recent and more novel forms of spirituality, have also remarked on the relevance of music to their quests. Esotericists have composed music in order to convey esoteric meaning, performed music to create esoteric influences, and listened to music to raise their esoteric awareness. The academic study of esotericism is a young field, and few researchers have probed the rich interface between the musical and esoteric domains. In Explorations in Music and Esotericism, scholars from numerous fields introduce the history of esotericism and current debates about its definition and extent. The book's sixteen chapters present rich instances of connections between music and esotericism, organized with reference to four aspects of esotericism: as a form of thought; as the keeping and revealing of secrets; as an identity; and as a signifier. Edited by Marjorie Roth and Leonard George. Contributors: Elizabeth Abbate, Malachai Komanoff Bandy, Adam Bregman, Charles E. Brewer, Benjamin Dobbs, Anna Gawboy, Pasquale Giaquinto, Adam Knight Gilbert, Joscelyn Godwin, Virginia Christy Lamothe, Andrew Owen, Christopher Scheer, Codee Ann Spinner, Woodrow Steinken, and Daphne Tan. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Leonard Tan and Mengchen Lu, “‘I Wish to Be Wordless’: Philosophizing Through the Chinese Guqin.”Chiao-Wei Liu“I wish to be wordless” connects Chinese philosophical thinking to music education at large. Through discussions of values associated with the Chinese instrument guqin, Leonard Tan and Mengchen Lu exemplified “how music serves as ‘Truth tool’ in the Chinese philosophical tradition.” Specifically, the authors explored four ideas: “Search for Truth” (...) (求真), “Search for Harmony” (求和), “Search for Ethical Awakening” (求覺), and “Search for Sagehood” (求聖). These ideas embody insights from three major Chinese philosophical traditions: Confucianism, Daoism, and Buddhism. Time prevents me from exploring the complex issues related to the interpretation and translation of classical Chinese texts, but I will attempt to focus on some of the authors’ arguments and how they relate to the practice of music learning and teaching in the classroom.1Quoting Confucius in their article title, Tan and Lu called attention to the suspicion of language found in the conversation between Confucius and his disciple. Extending the argument, the authors referred to Daoist philosophers and argued that although language can transmit wisdom, words remain limited in their ability to capture “the grand unity of the whole” and thus can “detract us [End Page 199] away from Truth.” Tan and Lu suggested that music, unlike language, serves as a truth “tool” and allows one to arrive at the Dao (Truth). Truth is conceived as a way of understanding the world, “a universal order, a new world perspective....” I agree with the authors about the limitations of language in capturing the complexity of human experiences, yet I am perplexed at how Truth is interpreted throughout the article.For example, in their discussion of “Search for Truth,” Tan and Lu related the art of playing the guqin to the Buddhist notion of mingxin jianxing (明心見性), clearing the heart-mind, seeing the inner-self, and locating Truth within the guqin player. Truth here is framed as good moral qualities residing within one’s innermost self (xing 性). Based on Li Zhi’s argument, Tan and Lu stated that “since a guqin player is all about her heart-mind and one’s music is all about the musician, music is the heart-mind of the musician.” Assuming that the heart-mind of the guqin player and the music are one, Tan and Lu suggested that when music and the musician’s innermost self are in sync, the musician may be able to attain spiritual Enlightenment. The example of Chopin’s Nocturne Op. 9, no. 1 helps readers learn that Truth does not reside within the performer or the music, but is located in the space where the two are in sync: “An ‘authentic’ performance of Chopin is one that is not only ‘true’ to Chopin and the stylistic conventions of his times, but also ‘true’ to the performer’s innermost being.”While Tan and Lu’s argument places Truth in both music and the innermost self (xing) of the performers, herein lies an assumption that qualities aligned with the music are ethically good, whereas those that differ are not. The search for Truth is thus a task of refusing any potential influence by “unethical thoughts” in order to stay true to the music. Recognizing the existing norms guiding various music traditions, I wonder how ethical and unethical thoughts are understood in music classrooms. As a music teacher, if unethical thoughts are interpreted as materials and expressions that are different or irrelevant to the music work, how do music teachers make sense of students’ feelings—whether they are the longing for a sense of belonging in the school ensemble or the desire to excel in certain aspects of school life? Are these feelings or desires “unethical” because they are separate from the musical work? If all acts dedicated to the faithful representation of the music work are considered ethical, how about the different needs of different students?Furthermore, in describing “Search for Ethical Awakening,” Tan and Lu stated that music written for the guqin is often associated with moral stories. Learning about the stories associated with music would be mandatory for performers to be morally and spiritually attuned to the composer. While I agree with the authors... (shrink)

Classic analysis of the subject and the development of personal probability; one of the greatest controversies in modern statistcal thought.

Since Mueller’s 1958 article calling Hegelian dialectics a “legend,” it has been fashionable to deny that Hegel used thesis-antithesis-synthesis dialectics. But in truth, Hegel’s Phenomenology of Spirit has 28 dialectics hidden on four outline levels, and The Philosophy of History has 10 more on three outline levels. In Phenomenology’s macrodialectic, Hegel’s nonsupernatural Spirit–all reality, everything in the universe, including man and artificial objects–advances from unconscious + union (thesis) to conscious + separation (antithesis) to a synthesis of conscious (from the antithesis) (...) + union (from the thesis). Previous interpretations of Phenomenology have missed this dialectic: they have assumed that Spirit’s journey begins with consciousness, whereas the journey actually begins in the primordial state of nature, before man arrives and provides Spirit with its Mind (the collective mind of man). Mind then misperceives itself as a multitude of separate alien “objects”–things other than itself. The macrodialectic and all other dialectics are based on Christianity’s Johannine separation-and-return mythology; all Hegelian dialectics separate from a concept in the thesis, going to that something’s opposite (antithesis), and then return to the thesis concept. Thus, in Hegel’s master-and-slave dialectic (God = master, man = slave), man advances from potential + freedom to actual + bondage (religiosity) to actual + freedom (atheism). Only Marx and Tillich understood Hegelian dialectics. Marx’s basic dialectic (one of four) saw history separating from and returning to Communism, going from communal ownership + poverty (primitive communism, or gens) to private ownership + wealth (slavery, feudalism, capitalism) to communal ownership + wealth (final communism). Tillich’s basic dialectic (one of many) separates from and returns to God, advancing from Yes to God + Yes to supernaturalism (theism) to No to God + No to supernaturalism (atheism) to Yes to God + No to supernaturalism (humanism: humanity is the nonsupernatural “God above the God of theism”). (shrink)

The author offers perspectives that can assist healthcare managers in achieving the highest ethical standards as they face their roles as healthcare providers, employers, and community service organizations. He also examines how to comply with relevant laws and regulations, provide high quality patient care with limited resources, and more.

According to an orthodox view, the capacity for conscious experience (sentience) is relevant to the distribution of moral status and value. However, physicalism about consciousness might threaten the normative relevance of sentience. According to the indeterminacy argument, sentience is metaphysically indeterminate while indeterminacy of sentience is incompatible with its normative relevance. According to the introspective argument (by François Kammerer), the unreliability of our conscious introspection undercuts the justification for belief in the normative relevance of consciousness. I defend the normative relevance (...) of sentience against these objections. First, I demonstrate that physicalists only have to concede a limited amount of indeterminacy of sentience. This moderate indeterminacy is in harmony with the role of sentience in determining moral status. Second, I argue that physicalism gives us no reason to expect that introspection is unreliable with respect to the normative relevance of consciousness. (shrink)

Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...

Many researchers and intellectuals warn about extreme risks from artificial intelligence. However, these warnings typically came without systematic arguments in support. This paper provides an argument that AI will lead to the permanent disempowerment of humanity, e.g. human extinction, by 2100. It rests on four substantive premises which it motivates and defends: first, the speed of advances in AI capability, as well as the capability level current systems have already reached, suggest that it is practically possible to build AI systems (...) capable of disempowering humanity by 2100. Second, due to incentives and coordination problems, if it is possible to build such AI, it will be built. Third, since it appears to be a hard technical problem to build AI which is aligned with the goals of its designers, and many actors might build powerful AI, misaligned powerful AI will be built. Fourth, because disempowering humanity is useful for a large range of misaligned goals, such AI will try to disempower humanity. If AI is capable of disempowering humanity and tries to disempower humanity by 2100, then humanity will be disempowered by 2100. This conclusion has immense moral and prudential significance. (shrink)

Which artificial intelligence (AI) systems are agents? To answer this question, I propose a multidimensional account of agency. According to this account, a system's agency profile is jointly determined by its level of goal-directedness and autonomy as well as is abilities for directly impacting the surrounding world, long-term planning and acting for reasons. Rooted in extant theories of agency, this account enables fine-grained, nuanced comparative characterizations of artificial agency. I show that this account has multiple important virtues and is more (...) informative than alternatives. More speculatively, it may help to illuminate two important emerging questions in AI ethics: 1. Can agency contribute to the moral status of non-human beings, and how? 2. When and why might AI systems exhibit power-seeking behaviour and does this pose an existential risk to humanity? (shrink)

The science of animal consciousness investigates (i) which animal species are conscious (the distribution question) and (ii) how conscious experience differs in detail between species (the quality question). We propose a framework which clearly distinguishes both questions and tackles both of them. This two-tier account distinguishes consciousness along ten dimensions and suggests cognitive capacities which serve as distinct operationalizations for each dimension. The two-tier account achieves three valuable aims: First, it separates strong and weak indicators of the presence of consciousness. (...) Second, these indicators include not only different specific contents but also differences in the way particular contents are processed (by processes of learning, reasoning or abstraction). Third, evidence of consciousness from each dimension can be combined to derive the distinctive multi-dimensional consciousness profile of various species. Thus, the two-tier account shows how the kind of conscious experience of different species can be systematically compared. (shrink)

Abstract“Force dynamics” refers to a previously neglected semantic category—how entities interact with respect to force. This category includes such concepts as: the exertion of force, resistance to such exertion and the overcoming of such resistance, blockage of a force and the removal of such blockage, and so forth. Force dynamics is a generalization over the traditional linguistic notion of “causative”: it analyzes “causing” into finer primitives and sets it naturally within a framework that also includes “letting,”“hindering,”“helping,” and still further notions. (...) Force dynamics, moreover, appears to be the semantic category that uniquely characterizes the grammatical category of modals, in both their basic and epistemic usages. In addition, on the basis of force dynamic parameters, numerous lexical items fall into systematic semantic patterns, and there exhibit parallelisms between physical and psychosocial reference. Further, from research on the relation of semantic structure to general cognitive structure, it appears that the concepts of force interaction that are encoded within language closely parallel concepts that appear both in early science and in naive physics and psychology. Overall, force dynamics thus emerges as a fundamental notional system that structures conceptual material pertaining to force interaction in a common way across a linguistic range: the physical, psychological, social, inferential, discourse, and mental-model domains of reference and conception. (shrink)

This paper explores the ethical and conceptual implications of the findings from an empirical study (reported elsewhere) of decision-making capacity in anorexia nervosa. In the study, ten female patients aged thirteen to twenty-one years with a diagnosis of anorexia nervosa, and eight sets of parents, took part in semistructured interviews. The purpose of the interviews was to identify aspects of thinking that might be relevant to the issue of competence to refuse treatment. All the patient-participants were also tested using the (...) MacArthur Competence Assessment Tool—Treatment test of competence. This is a formalized, structured, interviewer-administered test of competence, which is a widely accepted clinical tool for determining capacity. The young women also completed five brief, self-administered questionnaires to assess their levels of psychopathology. The issues identified from the interviews are described under two headings: difficulties with thought processing and changes in values. The results suggest that competence to refuse treatment may be compromised in people with anorexia nervosa in ways that are not captured by traditional legal approaches. (shrink)

Explores the continuities and discontinuities in the work of Henri Bergson and Gilles Deleuze.

The Postlude, written for this edition, looks back at the predictions made more than twenty-five years ago and speculates about what the coming decades may hold ...

_Explores the continuities and discontinuities in the work of Henri Bergson and Gilles Deleuze._.

Which animals have conscious experiences? Many different, diverse and unrelated behaviors and cognitive capacities have been proposed as tests of the presence of consciousness in an animal. It is unclear which of these tests, if any, are valid. To remedy this problem, I develop a list consisting of eight desiderata which can be used to assess putative tests of animal consciousness. These desiderata are based either on detailed analogies between consciousness-linked human behavior and non-human behavior, on theories of consciousness or (...) on methods from human consciousness science. If a test or set of tests satisfies more of these desiderata, passing it provides stronger evidence of consciousness. Moreover, one can design future tests of animal consciousness with the intention of satisfying these desiderata to ensure their evidential strength. (shrink)

According to a common view, sentience is necessary and sufficient for moral status. In other words, whether a being has intrinsic moral relevance is determined by its capacity for conscious experience. The _epistemic objection_ derives from our profound uncertainty about sentience. According to this objection, we cannot use sentience as a _criterion_ to ascribe moral status in practice because we won’t know in the foreseeable future which animals and AI systems are sentient while ethical questions regarding the possession of moral (...) status are urgent. Therefore, we need to formulate an alternative criterion. I argue that the epistemic objection is dissolved once one clearly distinguishes between the question what determines moral status and what criterion should be employed in practice to ascribe moral status. Epistemic concerns are irrelevant to the former question and—I will argue—criteria of moral status have inescapably to be based on sentience, if one concedes that sentience determines moral status. It follows that doubts about our epistemic access to sentience cannot be used to motivate an alternative criterion of moral status. If sentience turns out to be unknowable, then moral status is unknowable. However, I briefly advocate against such strong pessimism. (shrink)

The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.

Numerous authors have expressed concern that advanced artificial intelligence (AI) poses an existential risk to humanity. These authors argue that we might build AI which is vastly intellectually superior to humans (a ‘superintelligence’), and which optimizes for goals that strike us as morally bad, or even irrational. Thus, this argument assumes that a superintelligence might have morally bad goals. However, according to some views, a superintelligence necessarily has morally adequate goals. This might be the case either because abilities for moral (...) reasoning and intelligence mutually depend on each other, or because moral realism and moral internalism are true. I argue that the former argument misconstrues the view that intelligence and goals are independent, and that the latter argument misunderstands the implications of moral internalism. Moreover, the current state of AI research provides additional reasons to think that a superintelligence could have bad goals. (shrink)

Sensorimotor enactivism is the view that the content and the sensory modality of perceptual experience are determined by implicit knowledge of lawful regularities between bodily movements and patterns of sensory stimulation. A proponent of the explanatory argument for sensorimotor enactivism holds that this view is able to provide an intelligible explanation for why certain material realizers give rise to certain perceptual experiences, while rival accounts cannot close this “explanatory gap”. However, I argue that the notion of the “material realizer” of (...) perceptual experience is ambiguous. On a narrow construal, the explanatory gap cannot be bridged, not even by enactivism. On a wide construal, enactivism gets a grip on the explanatory gap, but to the same extent do established theories of consciousness. Thus, on both horns of the dilemma, the explanatory power of enactivism is not superior to more traditional theories of conscious experience. (shrink)

1. 1.1. Suffering is bad. This is why, ceteris paribus, there are strong moral reasons to prevent suffering. Moreover, typically, those moral reasons are stronger when the amount of suffering at st...

This book educates whilst also challenging the contemporary schools of thought within philosophical and religious ethics. In addition, it underlines the fact that the substance of ethics in general and bioethics/healthcare ethics specifically, is much more expansive and inclusive than is usually thought. Bioethics is a relatively new academic discipline. However, ethics has existed informally since before the time of Hippocrates. The indigenous culture of African peoples has an ethical worldview which predates the western discourse. This indigenous ethical worldview has (...) been orally transmitted over centuries. The earliest known written African text containing some concepts and content of ethics is the “Declaration of Innocence” written in 1500 B.C., found in an Egyptian text. Ubuntu is an example of African culture that presents an ethical worldview. This work interprets the culture of Ubuntu to explain the contribution of a representative indigenous African ethics to global bioethics. Many modern scholars have written about the meaning of Ubuntu for African societies over centuries. Some scholars have viewed Ubuntu as the greatest contribution of African cultures to other world cultures. None of the scholars, however has explored the culture of Ubuntu as providing a representative indigenous ethics that can contribute to global bioethics as discussed in this book.​. (shrink)

Illusionism about consciousness entails that phenomenal consciousness doesn’t exist. The distribution question concerns the distribution of consciousness in the animal kingdom. Skepticism of animal consciousness is the view that few or no kinds of animals possess consciousness. Thus, illusionism seems to imply a skeptical view on the distribution question. However, I argue that illusionism and skepticism of animal consciousness are actually orthogonal to each other. If illusionism is true, then phenomenal consciousness does not ground intrinsic value so that the non-existence (...) of phenomenal consciousness would not have ethical implications. In this case, the adequate reaction is to reformulate the distribution question in terms of the quasi-phenomenal functional features associated with the illusion of phenomenal consciousness which do ground intrinsic value. Hence, either illusionism is false or the distribution question does not concern phenomenal consciousness. In any case, illusionism does not directly tell us anything about the distribution question. However, since illusionism forces us to revise our traditional conception of consciousness, it indirectly affects research on animal consciousness by questioning that consciousness is a unified and an all-or-nothing property. (shrink)

Art interprets the visible world, physics charts its unseen workings--making the two realms seem completely opposed. But in Art & Physics, Leonard Shlain tracks their breakthroughs side by side throughout history to reveal an astonishing correlation of visions. From teh classical Greek sculptors to Andy Warhol and Jasper Johns, and from Aristotle to Einstein, aritsts have foreshadowed the discoveries of scientists, such as when Money and Cezanne intuited the coming upheaval in physics that Einstein would initiate. In this lively (...) and colorful narrative, Leonard Shlain explores how artistic breakthroughs could have prefigured the visionary insights of physicists on so many occasions throughtout history. Provacative and original, Art & Physics is a seamless integration of the romance of art and the drama of science...and exhilarating history of ideas. (shrink)