Philosophy of Music

Schopenhauer’s aesthetics is perhaps the best-known aspect of his thinking, but much of that impact has been the indirect result of his influence on particular artists such as Mahler and Wagner. This chapter traces the foundations of Schopenhauer’s aesthetics in Plato’s doctrine of Forms (Ideas). Despite the tension between Plato’s pluralist and Schopenhauer’s monist ontologies, Schopenhauer’s aesthetics is permeated with concern for the role of Platonic Ideas in shaping our creation and engagement with art, from his distinction between subjective and (...) objective aesthetic experiences, disinterest, and the quality of genius to his hierarchy of the arts and his valorization of instrumental pure music above all other art forms. (shrink)

A number of philosophers of music have proved resistant to the idea that song should be considered as a hybrid art that combines language and music. Separately, Levinson in his influential account of hybrid art forms does not admit folk song, even though he does allow nineteenth-century lieder into the hybrid category. Folk songs are sometimes treated as if they are anterior to and therefore ontologically distinct from the more complex songs of Western art music, or even of modern popular (...) culture. In contrast, this article argues that in a historical perspective English-language folk songs constitute a category of considerable complexity, and that the combination of the two distinct media of language and music is fundamental to any consideration of such songs in an ontological perspective. (shrink)

There are many ways in which a musical performance can be “bad,” but here the focus is on two: those performances that make you laugh, and those that make you angry. These forms of musical badness, however, are not primarily compositional deficits, but either (a) that the performer simply cannot competently deliver the music to their audience, inducing laughter, or (b) that the performer exhibits some form of disrespect, provoking anger. Such laughter or anger stems from failure of the expected (...) relationship between a performer and their audience, that is, a social failure. After surveying a range of musical faults, the article examines the causes of laughter in general and in relation to some of examples of risible “bad” music. Similarly, the causes of social and moral anger in general are examined, and several cases of anger-inducing musical performances are presented. The article concludes with a consideration of the broader implications of these responses to “bad” music for theories of emotional expression in music, the relationship between aesthetic and moral judgments, and the centrality of musical performances as opposed to works in discussions of musical expression and value. (shrink)

Rudolf Louis untersucht in diesem Buch den Widerspruch in der Musik. Er zeigt, wie Komponisten mit Widersprüchen umgehen und wie diese teilweise zu großen Kunstwerken führen können. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as (...) no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

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

In this paper we discuss the musical work of classical composer Benjamin Britten as a lasting legacy for public music education. Our starting point is the contemporary urgency to rethink both public music education in general, and the public-educational significance of Western classical music in particular, in the face of the dual threats posed by anti-educational tendencies of “functionalization” and “hobbyfication.” Relating this situation to concerns already voiced by Britten in his time, we consider in what ways aspects of Britten’s (...) musical work can be shown to reveal a highly original, post-critical answer to these threats. While his pedagogical musings remain riddled with ambiguities, which readily invite critical deconstruction, our paper argues for the more affirmative option of reconceptualizing these ambiguities as constitutive tensions of a public-educational love for (classical) music. To gauge the practical implications of such a post-critical music-educational love, we analyze the concrete case of the Aldeburgh Festival, perhaps Britten’s most full-fledged effort to reclaim music as a public affair. Thinking about this case, we reflect on how Britten’s legacy could lastingly impinge on the publicness of Western classical music, as well as on ongoing and future practices of public music education in general. (shrink)

Popular songs are ubiquitous in the lives of school-age children, but the construction of traditional school music curricula does not always provide an adequate framework for studying them. In particular, the salience of words qua lyrics is an inescapable feature of popular songs, and recognizing the musical properties of those lyrics opens for study an important dimension of the real-world music that students of all ages engage so readily. Rather than treating song lyrics as separate from the music, I here (...) attempt to establish that lyrics can be treated as musical entities, as demonstrated in scholarship from popular music theorists and musicologists that highlights the musical properties of song lyrics and the musicianship of those who write them. Then, I argue that existing school curricula could do more to give lyrics their musical due, which would not only enhance the teaching and learning of popular songwriting itself, but also may expand notions of what counts as music more broadly, with benefits for school music curricula overall, perhaps especially in the domains of choral and general music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Musik–Vielfalt–Integration–Inklusion: Musikdidaktik für die eine Schule [Music–Diversity–Inclusion–Integration: A New Philosophy of Music Education for an Inclusive School] by Irmgard MerktBeatrice McNamaraIrmgard Merkt, Musik–Vielfalt–Integration–Inklusion: Musikdidaktik für die eine Schule [Music–Diversity–Inclusion–Integration: A New Philosophy of Music Education for an Inclusive School] (Regensburg: Conbrio, 2019)Irmgard Merkt, a German music education scholar, is a pioneer of intercultural music education with regard to the development of the concept Schnittstellensansatz, literally “interface approach,” as (...) an initial concept of intercultural music education in the 1980s. Her book Musik–Vielfalt–Integration–Inklusion: Musikdidaktik für die eine Schule [Music–Diversity–Inclusion–Integration: A New Philosophy of Music Education for an Inclusive School] is a new philosophy of music education for schools, in which children and young people with and without disabilities as well as children and young people from the most diverse milieus and cultural backgrounds share a learning space.1 Merkt advocates for a broad concept of inclusion that refers both to the inclusion of children with different skills and abilities on a physiological and psychological level along with the integration of pupils from different cultures of origin. The overriding goal for the author is recategorization,2 which makes the terms “common school,” “school for all” or “inclusive music instruction” obsolete and which allows pupils to attend a kind of school and a kind of music education [End Page 187] that is inherently inclusive. Merkt even goes as far as promoting the dissolution of subject-specific margins of music education and establishing an omnipresence of music in everyday school life instead.3 However, I think it should be pointed out that completely dissolving or dismissing music education into interdisciplinarity or integrating music education into subject groups such as Aesthetic Education,4 would be compliant with attempts made on the level of educational policy in order to reduce the quantity of qualified music teaching within the curriculum.5 Nevertheless, Merkt’s critique of the German school system is nothing short of appropriate in view of the prevalent system-immanent character of exclusion as the recent Programme for International Student Assessment-report of 2018 reveals.6 Furthermore, it is essential to draw conclusions as to the extent to which music instruction can do justice to the diversity of the student body, both on an integrative and on an inclusive level.The first chapter of Musik–Vielfalt–Integration–Inklusion offers an overview of past and present viewpoints on the topic of inclusion. Ensuing, the second chapter outlines the evolution of music education and teacher training in view of students with special needs. Chapter Three focuses on integration, Chapter Four traces the lines of development in the field of intercultural music pedagogy, while in Chapter Five Merkt advocates an encompassing culture of recognition in which educators, learners, and different music cultures are acknowledged to an equal extent. In Chapter Six the author delves into the very beginning of music and its coincidence with the evolution of humanity from homo sapiens to homo musicus through the lens of science and musicology. The seventh chapter of the book constitutes a synopsis of the main ideas which are then amalgamated into the concept of “Mit einer Frage um die Welt” [around the world with one question].A key tenet of Merkt’s publication is decategorization. The term inclusion, going back to its Latin origin of inclusio or includere is bound to the existence of its antonym exclusion. Despite endeavors nowdays to reverse the term’s meaning from reclusion to all-embracing,7 efforts to establish inclusion would not be necessary without exclusionary preconditions. On a terminological level, the expression inclusion implicates that there is an existing dualism between an inclusive or enclosed in-group and an exclusive or excluded out-group. This close and inextricable linkage between the existence of inclusion and exclusion, shows the importance of Merkt’s endeavor of highlighting efforts and development of decategorization, both on a terminological and legislative level, as well as on the ideological level. She is portraying concepts of thinking and acting in view of disability as a recurring process of progression and regression in reference to exclusionary... (shrink)

Music education is a social act oriented around interactions between people in public spaces. These spaces provide opportunities for what Hannah Arendt calls natality, which we interpret as new and unexpected actions that arise in a shared space. Drawing from a range of ideas and experiences of Arendt, bell hooks, Joan Baez, Martha Nussbaum, and music education philosophers and practitioners, we argue that it is important for music educators to make room for this space by becoming more critically aware of (...) their emotions. Opening up to the unexpected in human interactions can at times be difficult and elicit fear. It also calls for a civic love. Cultivating this kind of love includes recognizing that our emotions and matters of the heart are instruments of power that can support or hinder others from becoming actors in their own right. As agents within music education, we can strive to realize this by developing a critical pedagogic consciousness and reflecting on the unexpected and emotional spaces of interaction. (shrink)

When novice music educators abandon their expressed dedication to forward-looking ideas like equity, epistemological distinctions between belief and knowledge, or lack of such distinctions, may influence such action. Political philosopher Russell Hardin argued that it makes sense for people to hold false, conflicting, and even extreme beliefs. Drawing on his work, we consider how social influences may encourage music educators to adopt a view of knowledge as the acquisition of information that is useful rather than truthful in the sense of (...) being falsifiable and supported by evidence. First, we examine how teachers’ everyday socialization may cause them to abandon practices associated with “music for all,” an ill-defined ideal—officially adopted by the (US) National Association for Music Education—that we problematize here. Second, we consider the effects of broader polarization on socialized epistemology, including amplifying effects of technology, which may contribute to an in-group versus out-group mentality. Third, we investigate how advocacy related endeavors as well as bounded social circles in both K-12 music education and collegiate music teacher education may further solidify extreme beliefs within the profession. Finally, we consider implications for practice, including providing tools for more inclusive and open-minded advocacy efforts and some version of profession-wide “music for all” that focuses on socialization and recognition. (shrink)

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

Warren Zevon’s musical career, though brilliant throughout, is particularly notable for its ending: diagnosed with a terminal illness, Zevon refused a potentially debilitating medical treatment to put his remaining energy into recording another album. The resulting record –2003’s 'The Wind' – was in many ways the perfect farewell: songs of dirty, dark, uncompromising, country-tinged rock, blistering guitar solos, all mixed with intelligent, black-as-coal gallows humour. But it was also a moving farewell to his fans, a heartfelt, personal reflection on his (...) life and impending death: it begins with the words “sometimes I feel like my shadow’s casting me” and ends with “keep me in your heart for a while”. 'The Wind' ranks among Zevon’s very best and belongs in the same category as albums like David Bowie’s 'Blackstar' and Leonard Cohen’s 'You Want It Darker': works of great artists that knew the end was coming and made that knowledge musical. But though it had a particular force towards the end, death had always featured as a prominent theme in Zevon’s music. In fact, the albums that preceded his terminal diagnosis – especially 2000’s 'Life’ll Kill Ya' – have a marked preoccupation with death and dying, and many of his song’s characters (gunmen, gangsters, boxers, murderers of all stripes) either dealt death out, died, or both. -/- In this chapter, I argue that Zevon’s music and speech in his late public appearances personify an idea in Martin Heidegger’s philosophy called ‘authentic being-towards-death’. In his landmark text 'Being and Time', Heidegger undertakes a painstaking analysis of human existence. One of its conclusions is that to live a fully authentic life, we must reckon with our mortality, come to terms with it and allow this reckoning to have a transformative effect on how we live and how we think about our existence. This results, Heidegger argues, in a distinct way of being that he calls ‘being-towards-death’ and ‘anticipatory resoluteness’ in the face of death. Authentic being, which involves properly taking ownership of our lives and their meaning, cannot be adequately achieved without a serious confrontation with the fact that we will one day die. I claim that Warren Zevon’s music, with its continual engagement with death which culminates in 'The Wind', is one of the great musical manifestations of exactly this type of project. Heidegger’s writing is often notoriously abstract, but it pertains to the most fundamental issues about what it means to be human. Engaging with it alongside Zevon’s music provides a fruitful opportunity to make it concrete, better able to understand its most important aspects while providing an interesting conceptual toolkit to apply to the music of one of the great songwriters of death. (shrink)

Un admirable récit-reportage (1938) où l'auteur, qui a pris part à la guerre civile espagnole dans les rangs des milices anarchistes du POUM, raconte la lutte anti-franquiste mais aussi et surtout l'annihilation du POUM par les communistes espagnols. De ces événements devaient surgir le pessimisme de Orwell et sa hantise du totalitarisme, traits marquants de la suite de son oeuvre (##La ferme des animaux##, ##1984##).

It is not every day that one sees the Scolia Enchiriadis, a ninth-century music theory treatise, mentioned in the Journal of Aesthetics and Art Criticism. Yet h.

Music, alongside ritual, plays an important role in Confucian moral education. Among all the Confucians, Xunzi gives music the most radical ability to transform people, and this is striking given his pessimistic view of human nature. Though he set the standard for Chinese aesthetics for millennia, there is no systematic account that brings together Xunzi’s various commitments: that only music from virtuous previous dynasties are morally conducive, that music can bring about lasting character change, that even those uninterested in moral (...) cultivation can benefit from music, and that the junzi (“gentleman”) and the xiaoren (“petty man”) derive joy in different ways while listening to music. In this article, I explain why currently existing accounts cannot capture all the commitments, and I turn to analytic aesthetics to provide a new Dual-Process Model of Xunzi’s philosophy of music. Jenefer Robinson’s discussions of “the Jazzercise effect” and emotional misattribution will be key in the new account. (shrink)

Approaches to Meaning in Music presents a survey of the problems and issues inherent in pursuing meaning and signification in music, and attempts to rectify the conundrums that have plagued philosophers, artists, and theorists since the time of Pythagoras. This collection brings together essays that reflect a variety of diverse perspectives on approaches to musical meaning. Established music theorists and musicologists cover topics including musical aspect and temporality, collage, borrowing and association, musical symbols and creative mythopoesis, the articulation of silence, (...) the mutual interaction of cultural and music-artistic phenomena, and the analysis of gesture. Contributors are Byron Almén, J. Peter Burkholder, Nicholas Cook, Robert S. Hatten, Patrick McCreless, Jann Pasler, and Edward Pearsall. (shrink)