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Deborah Bradley-Kramer
Columbia University
  1.  22
    Dewey’s Theory of Experience, Traumatic Memory, and Music Education.Juliet Hess & Deborah Bradley - 2020 - Studies in Philosophy and Education 39 (4):429-446.
    Trauma’s ubiquity in society leads to an acknowledgement that damaging experiences likely affect more students than they leave untouched. Dewey acknowledged the importance of the past throughout his theorizing of experience and simultaneously recognized that students need to draw upon past experiences in new learning encounters. In this paper, we argue that Dewey may have opened the door to account for the possibility of traumatic experience affecting learning. We acknowledge the potential of music to prompt a trauma response and seek (...)
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  2.  23
    We are All Haunted: Cultural Understanding and the Paradox of Trauma.Deborah Bradley - 2020 - Philosophy of Music Education Review 28 (1):4.
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  3.  48
    Index to Volume 45.Dina Zoe Belluigi, Michael Belshaw, Michael Benton, Deborah Bradley, Bert Cardullo, Janine Certo, Wayne Brinda, Leslie Cunliffe, E. M. Dadlez & Rhett Diessner - 2011 - Journal of Aesthetic Education 45 (4).
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  4.  32
    Good for what, good for whom?: Decolonizing music education philosophies.Deborah Bradley - 2012 - In Wayne D. Bowman & Ana Lucía Frega (eds.), The Oxford Handbook of Philosophy in Music Education. Oup Usa. pp. 409.
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  5.  40
    In the space between the rock and the hard place: State teacher certification guidelines and music education for social justice.Deborah Bradley - 2011 - Journal of Aesthetic Education 45 (4):79-96.
    Différend: A case of conflict between (at least) two parties, that cannot be equitably resolved for lack of a rule of judgment applicable to both arguments. . . . A wrong results from the fact that the rules of the genre of discourse by which one judges are not those of the judged genre or genres of discourse. This paper looks at the State of Wisconsin Department of Public Instruction (DPI) Guidelines for Music Teacher Education, a governmentally defined technology of (...)
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  6.  22
    Oh, That Magic Feeling! Multicultural Human Subjectivity, Community, and Fascism's Footprints.Deborah Bradley - 2009 - Philosophy of Music Education Review 17 (1):56-74.
    This paper examines how significant musical moments, occurring within singular contexts, may be performative to the development of community. While community is often viewed within music education as an unequivocal good, I argue that this result may not always be beneficent. In this paper, I look at one unique performative moment through the lens of anti-racism education as the potential for community conceived as multicultural human subjectivity. Drawing upon the arguments of Theodore Adorno, Paul Gilroy, and others, I then examine (...)
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