Securities lending has been a lucrative business for mutual funds and exchange-traded funds over the past decade. Unfortunately for investors, the sponsors of these funds have not been very transparent with the details of their securities lending programs, and consequently most investors in these funds are unaware of their exposure to the risks inherent in securities lending. Interestingly, most funds do not return the full profits from securities lending activities to their investors. In this paper, we examine and discuss the (...) ethical considerations related to the securities lending activities of mutual funds and ETFs and offer a series of best practices that we believe will provide better transparency of these activities to fund investors. (shrink)

Leibniz viewed the principle of continuity, the principle that all natural changes are produced by degrees, as a useful heuristic for evaluating the truth of a theory. Since the Cartesian laws of motion entailed discontinuities in the natural order, Leibniz could safely reject it as a false theory. The principle of continuity has similar implications for analyses of Leibniz's theory of consciousness. I briefly survey the three main interpretations of Leibniz's theory of consciousness and argue that the standard account entails (...) a discontinuity that Leibniz could not allow. I argue that the principle of continuity and the textual data favor an interpretation according to which a conscious mental state just is a perception that is distinct to a sufficient degree. (shrink)

In this article, I develop a higher-order interpretation of Leibniz's theory of consciousness according to which memory is constitutive of consciousness. I offer an account of Leibniz's theory of memory on which his theory of consciousness may be based, and I then show that Leibniz could have developed a coherent higher-order account. However, it is not clear whether Leibniz held (or should have held) such an account of consciousness; I sketch an alternative that has at least as many advantages as (...) the higher-order theory. This analysis provides an important antecedent to the contemporary discussions of higher-order theories of consciousness. (shrink)

Leibniz explains both activity and sensation in terms of the relative distinctness of perception. This paper argues that the systematic connection between activity and sensation is illuminated by Leibniz’s use of distinctness in analyzing each. Leibnizian sensation involves two levels of activity: on one level, the relative forcefulness of an expression enables certain expressions to stand out against the perceptual field, but in addition to this there is an activity of the mind that enables sensory experience. This connection of mental (...) activity and perceptual distinctness enables us to better appreciate the fundamental role perceptual distinctness plays in Leibniz’s theory of sensation. (shrink)

This book is a systematic reappraisal of Leibniz’s philosophy of mind. The main argument of this book is easy to state: Leibniz offers a fully natural theory of mind. In today’s philosophical climate, in which much effort has been put into discovering a naturalized theory of mind, Leibniz’s efforts to reach a similar goal 300 years earlier will provide a critical stance from which we can assess our own theories. But while the goals might be similar, the content of Leibniz’s (...) theory significantly diverges from the majority of today’s theories. Leibniz’s philosophy of mind meets the standards of what he would regard as a fully natural theory. Perhaps surprisingly, Leibniz’s theological commitments yield a thoroughgoing naturalizing methodology: the properties of an object are explicable in term of the object’s nature. This book argues that Leibniz pursued his philosophy of mind with this methodology in hand. If we keep this commitment to a naturalizing project in mind, then we will find in Leibniz a rich and interesting philosophy of mind. -/- This book provides an account of Leibniz’s naturalizing constraints and traces them through Leibniz’s philosophy of mind. It covers issues relating to mental representation, perception, sensation, consciousness, memory, and moral identity. (shrink)

In 1710 G. W. Leibniz published Theodicy: Essays on the Goodness of God, the Freedom of Man, and the Origin of Evil. This book, the only one he published in his lifetime, established his reputation more than anything else he wrote. The Theodicy brings together many different strands of Leibniz's own philosophical system, and we get a rare snapshot of how he intended these disparate aspects of his philosophy to come together into a single, overarching account of divine justice in (...) the face of the world's evils. At the same time, the Theodicy is a fascinating window into the context of philosophical theology in the seventeenth century. Leibniz had his finger on the intellectual pulse of his time, and this comes out very clearly in the Theodicy. He engages with all of the major lines of theological dispute of that time, demonstrating the encyclopaedic breadth of his understanding of the issues. Leibniz's Theodicy remains one of the most abiding systematic accounts of how evil is compatible with divine goodness. Any treatment of the problem of evil must, at some point, come to grips with Leibniz's proposed solution. This volume refreshes and deepens our understanding of this great work. Leading scholars present original essays which critically evaluate the Theodicy, providing a window on its historical context and giving close attention to the subtle and enduring philosophical arguments. (shrink)

A study found that women participating in mammography screening were content with the programme and the paternalistic invitations that directly encourage participation and include a pre-specified time of appointment. We argue that this merely reflects that the information presented to the invited women is seriously biased in favour of participation. Women are not informed about the major harms of screening, and the decision to attend has already been made for them by a public authority. This short-circuits informed decision-making and the (...) legislation on informed consent, and violates the autonomy of the women. Screening invitations must present both benefits and harms in a balanced fashion, and should offer, not encourage, participation. It should be stated clearly that the choice not to participate is as sensible as the choice to do so. To allow this to happen, the responsibility for the screening programmes must be separated from the responsibility for the information material. (shrink)

This paper aims to examine how specific aspects of Bakhtin's theoretical perspective might inform our understanding of improvisation. Moreover, it outlines the possible educational implications of such a perspective. Specifically, a sketch of a Bakhtinian conception of improvisation is proposed, a sketch which emphasizes the cultivation of an attitude of consciousness that leads to an understanding of improvised music making as an obligation to explore the unknown, to search for freedom through the responsibility to attend to the uniqueness of irrevocable (...) musical acts. Moreover, emphasis is given to the potential of improvisation to create a music-making context that counters monologic musical discourses, providing a site of resistance to fixity and closure. It is argued that improvisation is dialogic exactly because it creates a very special sense of interaction, which is characterized by unfinalizability and openness. At the same time, improvisation is in need of temporary finalizations which occur through the presence of the audience and the musicians' struggle to raise their minds 'above' their playing, looking at their music from outside and getting 'back in' again. It is hoped that such a perspective might provide the necessary theoretical tools for re-thinking the role of improvisation in music education. A Bakhtinian view on the experience of improvisation would, it is suggested, be educationally valuable exactly because it regards improvisation not as a problem-solving method but a problem-positing approach: as a musical practice that involves children and young people in the experiential pursuit of freedom and the understanding of the "ought" of imagining ways forward, countering monologue by allowing the flourishing of a polyphony of unmerged voices, constituting a distinctive chronotope which provides the possibility of an enactment of everyday living in musical terms. The decision to improvise marks the initiation of a search for a public musical space which is marked by the absence of fear, where exploration of musical freedom is pursued, where everything might happen but not anything goes. (shrink)

In this aricle, I argue that Descartes can be seen as a occupying a distinct middle ground between ancient music theory, which was being revived in the Renaissance, and eighteenth-century aestheticians. Descartes’ approach to music had its roots in humanist thought but, even from the start, it wasn’t simply another humanist theory of music. The views Descartes begins to develop in his early years, in the Compendium musicae (1618), is continuous with the views he articulates near the end of his (...) life in the Passions of the Soul (1649). And the position on the effects of music is an interesting and important one, bridging humanist thought with the new philosophy. Unlike the humanists, Descartes will be unwilling to identify particular musical proportions as intrinsically connected with pleasure or other affects, but he will nevertheless develop an objective account of aesthetic value. (shrink)

Although Caenorhabditis elegans was chosen and modified to be an organism that would facilitate a reductionist program for neurogenetics, recent research has provided evidence for properties that are emergent from the neurons. While neurogenetic advances have been made using C. elegans which may be useful in explaining human neurobiology, there are severe limitations on C. elegans to explain any significant human behavior.

Gilles Deleuze and Felix Guattari’s work has been mined by writers about music and music education such as Ian Buchanan, Marcel Swiboda, Marianne Kielian-Gilbert, and Elizabeth Gould, as they have reflected on how music and music education should be construed. 1 Our present task is to examine critically Deleuze and Guattari’s ideas in our reading of their book A Thousand Plateaus: Capitalism and Schizophrenia, with a view to determining the merits of their ideas as a basis for a philosophy of (...) music education. 2 As such, we ask three principal questions: What are Deleuze and Guattari asking us to believe? What is our assessment of their contributions and detractions? What are the implications of our analysis for.. (shrink)

Throughout his philosophical career at Michigan, UCLA, Yale, and Oxford, Robert Merrihew Adams's wide-ranging contributions have deeply shaped the structure of debates in metaphysics, philosophy of religion, history of philosophy, and ethics. Metaphysics and the Good: Themes from the Philosophy of Robert Merrihew Adams provides, for the first time, a collection of original essays by leading philosophers dedicated to exploring many of the facets of Adams's thought, a philosophical outlook that combines Christian theism, neo-Platonism, moral realism, metaphysical idealism, and a (...) commitment to both historical sensitivity and rigorous analytic engagement. Tied together by their aim of exploring, expanding, and experimenting with Adams's views, these eleven essays are coupled with an intellectual autobiography by Adams himself that was commissioned especially for this volume. As the introduction to the volume explains, the purpose of Metaphysics and the Good is to explore Adams's work in the very manner that he prescribes for understanding the ideas of others. By experimenting with Adams's conclusions, "pulling a string here to see what moves over there, so to speak," as Adams puts it, our authors throw into greater relief what makes Adams such an original and stimulating philosopher. In doing so, these essays contribute not only to the exploration of Adams's continuing interests, but they also advance original and important philosophical insights of their own. (shrink)

Throughout his philosophical career at Michigan, UCLA, Yale, and Oxford, Robert Merrihew Adams's wide-ranging contributions have deeply shaped the structure of debates in metaphysics, philosophy of religion, history of philosophy, and ethics. Metaphysics and the Good: Themes from the Philosophy of Robert Merrihew Adams provides, for the first time, a collection of original essays by leading philosophers dedicated to exploring many of the facets of Adams's thought, a philosophical outlook that combines Christian theism, neo-Platonism, moral realism, metaphysical idealism, and a (...) commitment to both historical sensitivity and rigorous analytic engagement. Tied together by their aim of exploring, expanding, and experimenting with Adams's views, these eleven essays are coupled with an intellectual autobiography by Adams himself that was commissioned especially for this volume. As the introduction to the volume explains, the purpose of Metaphysics and the Good is to explore Adams's work in the very manner that he prescribes for understanding the ideas of others. By experimenting with Adams's conclusions, "pulling a string here to see what moves over there, so to speak," as Adams puts it, our authors throw into greater relief what makes Adams such an original and stimulating philosopher. In doing so, these essays contribute not only to the exploration of Adams's continuing interests, but they also advance original and important philosophical insights of their own. (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)

In the pursuit of a naturalized philosophy of mind, consciousness receives concentrated attention, in part because the phenomena of consciousness seem recalcitrant, difficult to explain in the terms of the natural sciences. But this is not a new phenomenon—efforts to provide a naturalized theory of consciousness originate in Ancient Greek philosophy. This chapter defines the project of naturalism in a way that allows for a common project to be traced through the history of Western Philosophy.

Two common themes emerge in our writings over the past several decades. Estelle Jorgensen has focused partially and significantly on models and metaphors that undergird music education.1 Iris Yob has examined the role of higher education generally and music education specifically in creating positive social change.2 At times, and against the backdrop of recent writing on music education, social change, and social justice,3 we each have explored topics in the other's area of interest.4 Neither of us, however, has systematically brought (...) together the two themes: building practices on grounding metaphors for developing music education as a means for promoting the common good. In this paper, our conversation explores... (shrink)

In the wake of the Dylann Roof church shooting at Emanuel A.M.E. Church in Charleston, South Carolina, forgiveness became a focus of the discussion. Within 48 hours of the shooting, several family members of the victims made personal offers of forgiveness to Dylann Roof. The flood of editorials and opinion pieces commenting on this offer of forgiveness revealed a deep division in public attitudes toward forgiveness, particularly in the context of racially motivated crimes. In this article, I explore the ethics (...) of forgiveness, raising questions about the limits and possibilities of forgiveness in the broader context of social injustice. I defend the view that forgiveness can function as act of social resistance. Against some who think that forgiveness functions primarily as an interpersonal act, I will offer reasons to think that forgiveness can play a socially constructive role. And so I will argue for the value and practice of a social forgiveness, over and above whatever occurs at the interpersonal level. (shrink)

This paper traces Leibniz’s use of his neologism, “transcreation.” Leibniz coins the term in his 1676 discussions of motion, using it to identify a certain type of leap that is essential to motion. But Leibniz quickly dispensed with this theory of motion, arguing instead that “nature never acts by leaps,” and the term “transcreation” fell out of use. However, Leibniz surprisingly revived the term in 1709 in his discussion of the generation of rational beings. By contrasting the way Leibniz uses (...) the term in his theory of motion with his use of the term in the generation of rational beings, we will see that Leibniz’s arguments against leaps early in his career are less forceful against the leaps purportedly involved in the generation of minds. Nevertheless, the “transcreation” of minds does not necessary entail a discontinuity in the “chain of being.”. (shrink)

The account of vagueness Bertrand Russell provided in his 1923 paper, entitled simply “Vagueness” (see Russell [1923]1997), has been thought by some to be inconsistent. One main objection, raised by Timothy Williamson (1994), is that Russell’s attempt early in the paper to distinguish vagueness from generality is at odds with the definition of vagueness he presents later in the same paper. It is as if, as Williamson puts it, Russell “backslides” from his previous distinction (1994, 60), resulting in a conflation (...) of generality and vagueness that is at best problematic for a rigorous account of the phenomenon of vagueness. In this paper, I will defend Russell from this particular objection. While his 1923 paper may not be as clear at various points as one might hope, I do believe it is possible to construct a single theory of vagueness that can be applied equally well to his earlier and later discussions. Thus, Russell’s view is not ultimately inconsistent. In this paper, I will first present the interpretation of Russell’s concept of vagueness that falls prey to the charge of conflating vagueness and generality. Once the problem is clear, I will present an alternative interpretation, one that arises from certain reflections on G. W. Leibniz’s theory of perception. This Leibnizian interpretation of Russell, I will argue, resolves the apparent contradiction in Russell’s account of vagueness. (shrink)

Background: The division of non-paid labor in heterosexual parents in the West is usually still gender-based, with mothers taking on the majority of direct caregiving responsibilities. However, in same-sex couples, gender cannot be the deciding factor. Inspired by Feinberg’s ecological model of co-parenting, this study investigated whether infant temperament, parent factors (biological relatedness to child, psychological adjustment, parenting stress, and work status), and partner relationship quality explained how first-time gay, lesbian, and heterosexual parents divided labor (childcare and family decision-making) when (...) their infants were four months and 12 months old. We also tested whether family type acted as a moderator. Method: Participants were drawn from [MASKED FOR REVIEW]. Only those who provided information about their biological relatedness (yes or no) to their child (N = 263 parents) were included. When infants were four months (T1), parents completed a password-protected online questionnaire exploring their demographic characteristics including work status and standardized online-questionnaires on task division (childcare and family decision-making), infant temperament, parental anxiety, parental depression, parental stress, and partner relationship satisfaction. When infants were 12-months-old (T2), parents provided information about task division and their biological relatedness to their children. Results: Linear mixed models showed that no factor explained the division of family decision making at T1 and T2. For relative time spent on childcare tasks at T1, biological relatedness mattered for lesbian mothers only: biologically related mothers appeared to spend more time on childcare tasks than did non-related mothers. Results showed that, regardless of family type, parents who were not working or were working part-time at T1 performed more childcare tasks at T1. This was still true at T2. The other factors did not significantly contribute to relative time spent on childcare tasks at T2. Conclusion: We had the opportunity to analyze the division of non-paid tasks in families where parenting was necessarily planned and in which gender could not affect that division. Although Feinberg’s model of co-parenting suggests that various factors are related to task division, we found that paid work outside the home was most important during the first year of parenthood in determining caregiving roles. (shrink)

This article attempts to answer a question that many dancers and non-dancers may have. What is dance according to the media? Furthermore, how does the written word portray dance in the media? To answer these ques-tions, this research focuses on the role that the discourse of dance in media plays in the public sphere’s knowledge construction of dance. This is impor-tant to study because the public sphere’s meaning of dance will determine whether dance education is promoted or banned in schools (...) and in society. The aim of this paper is to contribute to the existing literature of dance in the media. One limitation of this contribution is that the research uses only newspaper articles as a source of analysis. Future research should include an analysis of visual and audio clips of dance as portrayed in the media. (shrink)

Larry Jorgensen aims to show that "Leibniz offers a fully natural theory of mind", recommending Leibniz to our contemporary discussion of naturalism. Readers of Leibniz will, however, hesitate to call him a naturalist. After all, he considered natural laws to be subordinated rules below general divine laws and rejected explaining the soul's action by bodily motion. Jorgensen does have a point, though, when he refers to Leibniz's frequent pleas for natural explanations and his continuity principle.Jorgensen's project unfolds in four parts. (...) The first offers a discussion of Leibniz's concept of nature and a clear presentation of Leibniz's principles, above all the... (shrink)

This book provides a succinct, student-friendly outline of the principles, approaches, and issues in participant observation. An examination of these basic tenets is important for clarifying the philosophical rationale for conducting participant observation, making important research decisions, and appreciating the strengths and weaknesses of different approaches within the method. Participant observation as a formal means of inquiry is developed in close relation with the competing approaches of reality (ontology), truthfully apprehending reality (epistemology), and formal research (methodology). In this volume Jorgensen (...) discusses the resulting methodologies of positivism, humanism, and most recently postmodernism in relation to principles, approaches, and issues in participant observation. Specific features of participant observation, as exemplified in a wide range of classic and contemporary studies, are examined by way of these methodological approaches along with the troublesome complexities of values, politics, ethics, and contemporary debates over appropriate representations of the resulting findings about human life. This concise primer is suitable for undergraduate and graduate students in a wide range of disciplines such as anthropology, religious studies, sociology and nursing. (shrink)

This book features a unique collection of dialogues with fourteen notable scholars on their opinions and observations about John Dewey, a renowned educational philosopher of the twentieth century. The book explores varying views about John Dewey, his philosophy, and his educational theory. In revealing positive, sometimes negative, occasionally surprising, and consistently insightful viewpoints, the author seeks to enable the reader to reflect on the primary question: does John Dewey’s consequential educational philosophy have an important role in twenty-first century education and (...) in nurturing and sustaining democratic ideals? (shrink)

Transgression in Games and Play is a collection of original research that explores what transgression means in the context of videogames and play, how boundaries are being crossed by game content as well as by player actions, and how players respond to different kinds of infringements. It explores questions such as: How are controversial game content experienced during the course of gameplay? Why would players intentionally put themselves or others under distress when playing games, and how does such content affect (...) the playful attitude? Are there any ethical or aesthetical limits for what type of contents that can be presented in games? If so, are these limits different from other media? What are the means and motivation for designers to create transgressive game content. (shrink)

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

I argue that inferences from highly probabilifying racial generalizations are not solely objectionable because acting on such inferences would be problematic, or they violate a moral norm, but because they violate a distinctively epistemic norm. They involve accepting a proposition when, given the costs of a mistake, one is not adequately justified in doing so. First I sketch an account of the nature of adequate justification—practical adequacy with respect to eliminating the ~p possibilities from one’s epistemic statespace. Second, I argue (...) that inferences based on demographic generalizations tend to disproportionately expose group members to the risks associated with mistakenly assuming stereotypical propositions, and so magnify the wrong involved in relying on such inferences without adequate justification. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 15.2 (2007) 150-160MuseSearchJournalsThis JournalContents[Access article in PDF]Songs to Teach a NationEstelle R. Jorgensen Indiana University, BloomingtonIn this symposium, I first briefly respond to Randall Allsup's piece, "Extraordinary Rendition: On Politics, Music, and Circular Meanings" with some general remarks on the distinctions between fundamentalism and liberalism, and internationalism, nationalism, and localism, and the importance of exercising judgment in order to find a middle ground between (...) extreme positions. Against this backdrop, I reflect on the songs we need to teach the nation to sing and, as a case in point, consider the National Anthem Project launched by the MENC—The National Association for Music Education. I suggest that at the very least the "Star-Spangled Banner" ought not be the only song to teach the nation at this time and it is important to carefully consider which songs we ought to teach the nation. And I propose that music teachers need to take a measured approach that eschews fundamentalism, rampant militarism, and excessive patriotism, embraces musically the tensions between internationalism, nationalism, and localism, and expresses a sensitive world-view through the choice of songs that cultivate and express liberal and democratic ideals and foster peace internationally.1Allsup's attention to the political character of research reminds us of the important consequences of any activity in the public and private spheres. Our endeavors as researchers are inherently ethical and have political consequences because as music teachers, we act on behalf of what John Dewey terms "the public."2 Dewey's "public" arises out of the need for social activities to be collectively organized, especially given the presence of the young, the poor, the ill, the elderly, the needy, and those who are otherwise dependent on others. Politics concerns the organization and governance of the public, that is the collective activities on behalf of society. For Dewey, educational activity cannot escape being ethical and political (construed positively) by the very fact of its undertaking on behalf of a public in the phenomenal world.3My understanding of fundamentalism is that it is, by definition, antithetical to liberalism. Whereas liberalism embraces surprise, entertains the possibility of doubt, and includes the "responsibility to choose,"4 fundamentalism is closed-minded and refuses to be surprised or to doubt the certainty of beliefs that have been accepted. Israel Scheffler notes that there is a safety in dogmatism in which one does not need to face the unsettlement of surprise that one might be wrong and one's beliefs mistaken.5 This quality of fallibility and openness to the possibility of surprise renders a liberal democracy fragile. Without cultivating [End Page 150] capacities and dispositions to open-mindedness and critical thought and action on the part of all the citizens of the democracy, it is open to being high-jacked by closed-mindedness and fundamentalism and thereby subject to dictatorial action on the part of those who seize political power.6 In difficult times, certainty may seem to be safer than open-mindedness that weighs possibilities and thinks through the complexities with which the public must deal. As Paul Woodford argues, if music education is to serve the interests of liberalism, it must likewise cultivate critical thinking and I add the caveat, as a means of defeating fundamentalism and literalism that would destroy liberal democracy.7Liberalism depends on the assertion of certain universal principles of ethical conduct. Seyla Benhabib's reconstruction of universals in what she terms her "post-Enlightenment project of interactive universalism" takes account of important postmodern, feminist, and communitarian insights and understands universals as "interactive not legislative, cognizant of gender difference not gender blind, contextually sensitive and not situation indifferent."8 In this frame, it is only possible to sustain liberalism on the assumption of action that takes for granted that others ought to agree with one and act in such-and-such ways. Whether these principles are referred to as "commonalities" or "universals" in the Benhabibian sense, one appeals to certain propositions on which ethical and political action should be predicated... (shrink)

I argue that the offense generation pattern of slurring terms parallels that of impoliteness behaviors, and is best explained by appeal to similar purely pragmatic mechanisms. In choosing to use a slurring term rather than its neutral counterpart, the speaker signals that she endorses the term. Such an endorsement warrants offense, and consequently slurs generate offense whenever a speaker's use demonstrates a contrastive preference for the slurring term. Since this explanation comes at low theoretical cost and imposes few constraints on (...) an account of the semantics of slurs, this suggests that we should not require semantic accounts to provide an independent explanation of the offense profile. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Four Philosophical Models of the Relation Between Theory and PracticeEstelle R. JorgensenSince music education straddles theory and practice, my purpose is to sketch the strengths and weaknesses of four philosophical models of the relationship between theory and practice. I demonstrate that none of them suffices when taken alone; each has something to offer and its own detractions. And I conclude with four suggested ways in which the analysis can (...) be helpful to music teachers and those interested in their work.Clarifying what is meant by theory and practice raises a nest of conceptual problems. Concerning theory, it may be tempting to equate the terms "theory" and "philosophy." Among their shared properties, these terms deal with conceptual and abstract entities that, from the Enlightenment at least, have been held to be distinct from the phenomenal world. They also clarify ideas and distinguish one concept from another. Among their different purposes, the object of philosophy is the asking of questions in a search for wisdom or truth whereas theory is formulated for explanatory purposes, especially within the frame of scientific propositions that can be refuted through empirical observations. The tests of philosophy are, therefore, those of symbolic logic evidenced in principles such as [End Page 21] internal consistency, correspondence with evidence (deductive, inductive, or analogical), and coherence within a unity or whole. Although logical criteria may also be important in formulating and testing theory,1 it is tested and refuted primarily through means of qualitative descriptions and quantitative assessments of observable phenomena.Regarding practice, one is also confronted with an ambiguous construct that may be interpreted descriptively (what is done in the phenomenal world or taken to be the general state of affairs) or normatively (what is desirable or ideal). There is also the distinction between the practice of a seasoned performer and practice in the sense of striving towards the mastery of a competent and expert practice. In this regard, Vernon Howard distinguishes between "practice" (or the skills exemplified by proficient or expert performers) and "practise (or acquiring the level of mastery of proficient or expert performance)."2 For him, the ambiguous and paradoxical nature of artistic practice highlights the complexity of degrees of attaining mastery of skills or exemplary practice and the diverse array of skills ranging from habit to critical thinking involved in the practice of any art. Although each practice is distinguished by its own belief systems, rituals, expectations, and commonsense, boundaries between differing practices are sometimes "soft" or fuzzy, as one seeps into another.3 Consequently, it is often difficult to distinguish one from another at the margins where one practice becomes another.DichotomyThe notion of theory and practice as independent or a dichotomous relationship between the phenomenal world on the one hand and the mind and spirit on the other has its roots in the ancient world. For Plato, the world of "appearances," referring to the phenomenal world understood by imagination (eikasia) and belief (pistis), should be distinguished from the higher, abstract "intelligible world" grasped through thinking (dianoia), knowledge (episteme), and intelligence (noesis).4 René Descartes' later bifurcation of the inner and outer worlds and inversion of Platonic values and understandings resulted in the ascendancy of careful and deliberate observation of the phenomenal world over philosophical reflection.5 His ideas helped to set the stage for the Enlightenment and the Industrial, Scientific, and Information Revolutions. Empiricism, science, and technology gradually displaced philosophy as primary ways of knowing the phenomenal world and understanding the nature of mind, human cognition, feeling, and being. Making hard-boundaried distinctions between within and without one's self, the phenomenal world and the world of spiritual things, and theory and practice were important insights. These distinctions provided for limits on the sorts of ways in which truth could be known. Reasoned deliberation [End Page 22] and imaginative thought have particular usefulness in the world of theory while sensory perception and careful observation are especially useful in the phenomenal world of practice. So while the scholar might speculate about phenomena, observational tools are also useful in coming to know and understand them. Reason and observation each have particular strengths, and it ought not be assumed that philosophy or scientific observation... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Futures for Music Education PhilosophyEstelle R. JorgensenIn 1990, when I convened the first International Symposium for the Philosophy of Music Education at Bloomington, Indiana, there was one dominant philosophy of music education in the United States and another was about to make its appearance. The five succeeding symposia (Toronto, Canada, in 1994, led by David Elliott; Los Angeles, United States, in 1997, led by Anthony Palmer and (...) Frank Heuser; Birmingham, United Kingdom, in 2000, led by Mary Reichling and Forest Hansen; Lake Forest, Illinois, United States, in 2003, led by Iris Yob, Frank Heuser, and Forest Hansen; and Hamburg, Germany, in 2005, led by Charlene Morton, Paul Woodford, Frede Nielsen, and Jürgen Vogt) have promoted other philosophies. And this burgeoning of different voices and perspectives has greatly enriched the philosophical underpinnings of music education and moved us from relying on a narrow range of philosophical views towards a plethora of them.In our infant society, the International Society for Philosophy of Music Education (ISPME), we are creating and institutionalizing a forum that can nurture and critique ideas and practices and sustain the work of philosophical reflection in music education over the longer term. We have also benefited from long-term commitments by the Indiana University School of Music and Indiana University [End Page 15] Press to publishing the Philosophy of Music Education Review, now in its fourteenth volume (building on three years of publication of the Philosophy of Music Education Newsletter), and the Counterpoints: Music and Education series that provides an important venue for publishing cutting-edge scholarship in our field. And over the past two years, we have begun to build an international team of philosophers committed to establishing a strong philosophical society in music education.Beyond institutionalizing philosophical scholarship in music education, our society is committed to creating a genuinely international community that offers a global perspective. In the past, music education grew up within national borders and its work was often nationalistic in emphasis. Now, we face new challenges of thinking beyond these national commitments to a world of music education. This world might be seen as what Maxine Greene aptly terms "multiplicities and pluralities,"1 the many differing groups forged within language groups, religious perspectives, political ideologies, economic strictures, and familial obligations. And as philosophers, we work especially within our various linguistic and cultural traditions as we also seek to transcend these traditions in a common discourse.How shall we address philosophically the multiplicities and pluralities, commonalities and differences in music education internationally? Radical relativism and pluralism offer contrasting perspectives.2 Radical relativism sees the host of different music education beliefs and practices around the world as incommensurable and focuses on differences between them. For example, viewing Japanese and British music education within this stance would suggest that since Japanese and British music education reflect Japanese and British society and culture respectively, each cannot be understood in terms of the other, they are different and incommensurate with the other, and it is important to understand each in its own terms. Pluralism, however, sees differences as commensurable and focuses on shared attributes. Since human beings are the creators of culture and society, common threads amidst the differences emerge from this common humanity. For example, as a reflection of their different societies and cultures, although we expect to encounter differences between British and Japanese music education, we may also observe commonalities since they both bear the imprint of a shared humanity.Notwithstanding that musics and educational systems seem, upon first glance and when considered specifically, to be incommensurable, a deeper and more general examination turns up evidence supporting a pluralist perspective.3 Historically, cultures regularly borrow from different others as if there were common human threads. Maurice Ravel, Carl Orff, and Paul Simon are among twentieth-century composers to draw on cultures from the Far East and Africa. In music [End Page 16] education, Masafumi Ogawa's study of the introduction of Luther Whiting Mason's ideas into Japan in the nineteenth century,4 the dissemination of Shinichi Suzuki's ideas into the United States, the spread of Zoltán Kodály's, Émile Jaques-Dalcroze's, and Carl Orff's and Gunild... (shrink)

Several authors have recently suggested that moral factors and norms `encroach' on the epistemic, and because of salient parallels to pragmatic encroachment views in epistemology, these suggestions have been dubbed `moral encroachment views'. This paper distinguishes between variants of the moral encroachment thesis, pointing out how they address different problems, are motivated by different considerations, and are not all subject to the same objections. It also explores how the family of moral encroachment views compare to classical pragmatic encroachment accounts.

Law-enforcement agencies are increasingly able to leverage crime statistics to make risk predictions for particular individuals, employing a form of inference that some condemn as violating the right to be “treated as an individual.” I suggest that the right encodes agents’ entitlement to a fair distribution of the burdens and benefits of the rule of law. Rather than precluding statistical prediction, it requires that citizens be able to anticipate which variables will be used as predictors and act intentionally to avoid (...) them. Furthermore, it condemns reliance on various indexes of distributive injustice, or unchosen properties, as evidence of law-breaking. (shrink)

In addition to protecting agents’ autonomy, consent plays a crucial social role: it enables agents to secure partners in valuable interactions that would be prohibitively morally risk otherwise. To do this, consent must be observable: agents must be able to track the facts about whether they have received a consent-based permission. I argue that this morally justifies a consent-practice on which communicating that one consents is sufficient for consent, but also generates robust constraints on what sorts of behaviors can be (...) taken as consent- communicating. (shrink)