Is musical practice 'real' - and how is it connected with everyday life? Eva-Maria Houben shows that making music changes as soon as its meaning is not sought in a purpose-oriented production of results, but in performing music as an activity - indeed, as play. Musical practice, Eva-Maria Houben contends, should be understood as open and never finished. Such an emphasis on repetition can free us from perfection, productivity, and purpose, allowing meaning to unfold in specific situations, places, (...) and relationships. Thus understood, musical practice can become a form of life and a reality in its own right. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Harmony Between Rousseau’s Musical Theory and his PhilosophyJohn T. ScottRousseau is best known as the author of philosophic works, but he was a musician and musical theorist before he burst onto the European literary scene with his First Discourse. While he earned celebrity as an anti-philosophical philosopher, he continued to consider music as his primary vocation and avocation throughout his life. Rousseau testifies to the harmony between (...) his musical work and his philosophy in his Dialogues, where he explains that his musical writings and compositions are animated by the same feelings and ideas as all of his works—that they too are based on the principle of his “system” that “man is good although men are wicked.” 1 His mature musical theory not only incorporates his philosophy of human nature and development but also extends it through an examination of the role of the passions in human communication. Rousseau’s musical theory is an important, yet often overlooked, facet of his philosophy.The relationship between Rousseau’s musical theory and his philosophy as a whole has seldom been extensively analyzed. 2 His only widely known writing relating to music is the Essay on the Origin of Languages, but even that work has in general not received a full accounting because it has rarely been interpreted in light of his other musical writings. The Essay emerged out of both the Second Discourse and the contemporaneous musical polemics of the mid-1750s. The simultaneous elaboration of his “system” and his continued work on music was the context in which Rousseau’s mature musical theory developed. After an account of Rousseau’s pre-systematic musical writings and [End Page 287] a discussion of the development of his musical theory, I will turn to an examination of the Essay. Finally, I will conclude by discussing Rousseau’s novel aesthetic theory and its impact.Rousseau’s Presystematic Musical Writings“Jean-Jacques was born for music.” 3 Rousseau’s musical writings might be characterized as his attempt to account for his native love for music. In his Confessions he speaks of “the taste or rather passion for music” that he had almost from birth and says that it was while in Italy, after running away from Geneva at age sixteen, that his passion began to declare itself. 4 Rousseau increasingly indulged his love for music over the next several years, although six months in a choir school at about the age of seventeen was almost the only formal musical instruction he received. He acquired and painstakingly mastered Rameau’s Treatise on Harmony, and studied informally with a young organist with Italian training, recalling how he compared his friend’s “principles” to those of “my Rameau.” 5 At least in retrospect, then, Rousseau noted the contrast between French and Italian music that would later bring him into conflict with his youthful hero.Rousseau soon took up the profession of a music teacher and copyist, a trade to which he would return after abandoning philosophy. Copying music acquainted him with the difficulty of the ordinary visual system of notating music, and he therefore devised a numerical system. It was with his system of notation and a play, Narcisse, that Rousseau set out for Paris in 1741. He gained an audience for his “Plan Regarding New Signs for Music” (1742) at the Academy of Sciences, and while it was favorably received, the report of a select committee concluded that his system was not entirely new and was less practical in most respects than the ordinary system. 6 Rousseau was nonetheless convinced of his system’s utility and published it as the Dissertation on Modern Music (1743). This work contains a digression on musical expression where he explains that we are not “touched” by sounds themselves but by the harmonic relationships they have among them. He sends his reader to Rameau’s writings, where the source of musical expression is “sufficiently explained.” 7 In his mature musical writings Rousseau expounds a theory explicitly opposed to Rameau’s theory of musical expression.Several incidents in the next decade before the discovery of his “system” seem to have contributed to Rousseau’s subsequent break with Rameau. [End... (shrink)

For many countries instrumental music tuition in secondary schools is a ubiquitous event that provides situated and personalized instruction in the learning of an instrument. Opportunities and methods through which teachers operate during the COVID-19 outbreak challenged music educators as to how they taught, engaged, and interacted with students across online platforms, with alarm over aerosol dispersement a major factor in maintaining online instrumental music tuition even as students returned to “normal” face to face classes. This (...) qualitative study investigated the practices employed by instrumental music educators in secondary schools in Melbourne, Australia, analyzing teacher perspectives to music tuition amidst the restriction of interaction with students remotely via online means. Thematic analysis of the interview transcripts revealed music educational approaches that fostered connection, empathy and receptiveness to relationship-building, guiding students in slower and deeper learner-centered approaches, asserting pedagogical practices that reinforced and promoted interpersonal connectedness in and through musical experience and discovery. These findings provide a framework for how music educators can facilitate connection, motivation and student autonomy generating personal meaning and commitment to music making and the learning relationship, which can translate to significant student learning and value in the learning music. Exploring teachers’ pedagogical practices and behaviors within this dyadic teacher-student relationship is a significant addition to the literature, enabling the consideration of the type of connective behaviors required to stimulate and develop long-term interest in music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Reconception of Performance Study in the Philosophy of Music EducationValerie L. TrollingerThe actual place of performance in music education has been the subject of numerous debates over the years. Most debates have revolved within the paradigm of the performance ability of the teacher and consequently the performance ability of the students. Is the level to be attained that of a winning concert band/marching band/choir? Or, is (...) the level to be attained the level at which the students and teacher feel the most comfortable and pleased? Most of this debate, along with the development of various assessments (including the Watkins-Farnum Test) and various rubrics to score music performance competitions, has emphasized characteristics of performance pertaining to accuracy of notes, precision of rhythm, and attendance to musicianship, style, and interpretation. On the other hand, the aesthetic value of performance has also been questioned in that the value of music in the schools should not be assessed solely by the importance placed on the attainment of performance skills by the students, suggesting that it is only through performance that one may know music. For example, in a recent article in the Music Educator's Journal,1 Bennett Reimer promotes the [End Page 193] position that time spent in either performance studies and active performance in music education (both at the K-12 and college teacher training levels) is not vital to the reconception of the National Standards (USA) for music education and, by extension, the field of music education itself. In the MEJ article, Reimer wrote:there is no reason to believe that highly developed performers make the best general music teachers, just as there is no reason to believe the reverse. We must get over the outdated and unrealistic assumption that performance is the one, singular, royal road to being musical and being an effective music educator.... [T]eachers cannot be expected to do what performance specialists do, and their teacher education curriculum must reflect that fact.2This position has also been recently supported by sociological publications3 and the following statement—echoed by several colleagues of mine—by a music teacher-training specialist,There is one big misconception among many music education students. Many graduates view themselves as musicians who are going into teaching. I attribute my own success to the realization that I am a teacher at heart. My first responsibility is teaching children. The vehicle through which I connect to them is music.4It is likely within the previous paradigm in which these respected authors positioned their arguments for the place of performance in the music curriculum and in that regard these assertions are unquestionably valid. What this particular paradigm concerns is the quantity and quality of performance based on purely musical attributes. The omission is that it does not include the quality of performance in relationship to health-based music education, a growing area of concern in the performing arts medicine field and, by extension, music educators who are concerned about this particular aspect of performance.5 The reason for the concern and hence this paper calling to the philosophical community to re-think the place and quality of performance in music education is that these viewpoints have had a great impact upon the validity of music education, in that they ignore a growing body of research from the performance and medical fields. While it must be made clear for the purposes of this paper that the writers of the above quotes have framed their ideas gracefully within their individual philosophical structures of music education, it must be pointed out that current research and knowledge in performance arts, in its conception as a physical human activity, needs to be incorporated into a revised philosophy of music education and curriculum. Music performance in music education has traditionally been viewed as a cognitive and emotional experience. However, it [End Page 194] is also a psychomotor experience, involving all sorts of soft body tissues, bones, and cartilages, which can enhance or detract from the total musical experience. Many music educators do not get enough instruction in college on how to teach voice or instruments healthfully and this is the reason for the concern... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Reconception of Performance Study in the Philosophy of Music EducationValerie L. TrollingerThe actual place of performance in music education has been the subject of numerous debates over the years. Most debates have revolved within the paradigm of the performance ability of the teacher and consequently the performance ability of the students. Is the level to be attained that of a winning concert band/marching band/choir? Or, is (...) the level to be attained the level at which the students and teacher feel the most comfortable and pleased? Most of this debate, along with the development of various assessments (including the Watkins-Farnum Test) and various rubrics to score music performance competitions, has emphasized characteristics of performance pertaining to accuracy of notes, precision of rhythm, and attendance to musicianship, style, and interpretation. On the other hand, the aesthetic value of performance has also been questioned in that the value of music in the schools should not be assessed solely by the importance placed on the attainment of performance skills by the students, suggesting that it is only through performance that one may know music. For example, in a recent article in the Music Educator's Journal,1 Bennett Reimer promotes the [End Page 193] position that time spent in either performance studies and active performance in music education (both at the K-12 and college teacher training levels) is not vital to the reconception of the National Standards (USA) for music education and, by extension, the field of music education itself. In the MEJ article, Reimer wrote:there is no reason to believe that highly developed performers make the best general music teachers, just as there is no reason to believe the reverse. We must get over the outdated and unrealistic assumption that performance is the one, singular, royal road to being musical and being an effective music educator.... [T]eachers cannot be expected to do what performance specialists do, and their teacher education curriculum must reflect that fact.2This position has also been recently supported by sociological publications3 and the following statement—echoed by several colleagues of mine—by a music teacher-training specialist,There is one big misconception among many music education students. Many graduates view themselves as musicians who are going into teaching. I attribute my own success to the realization that I am a teacher at heart. My first responsibility is teaching children. The vehicle through which I connect to them is music.4It is likely within the previous paradigm in which these respected authors positioned their arguments for the place of performance in the music curriculum and in that regard these assertions are unquestionably valid. What this particular paradigm concerns is the quantity and quality of performance based on purely musical attributes. The omission is that it does not include the quality of performance in relationship to health-based music education, a growing area of concern in the performing arts medicine field and, by extension, music educators who are concerned about this particular aspect of performance.5 The reason for the concern and hence this paper calling to the philosophical community to re-think the place and quality of performance in music education is that these viewpoints have had a great impact upon the validity of music education, in that they ignore a growing body of research from the performance and medical fields. While it must be made clear for the purposes of this paper that the writers of the above quotes have framed their ideas gracefully within their individual philosophical structures of music education, it must be pointed out that current research and knowledge in performance arts, in its conception as a physical human activity, needs to be incorporated into a revised philosophy of music education and curriculum. Music performance in music education has traditionally been viewed as a cognitive and emotional experience. However, it [End Page 194] is also a psychomotor experience, involving all sorts of soft body tissues, bones, and cartilages, which can enhance or detract from the total musical experience. Many music educators do not get enough instruction in college on how to teach voice or instruments healthfully and this is the reason for the concern... (shrink)

The Sufi tradition remains one of the most mysterious and least understood systems of self-realization. This book demystifies the practice of the sohbet—an ad hoc discourse—as the central instructional tool in the globally influential Naqshbandi-Haqqani Order. -/- It approaches the practice using categories of improvised music to establish a framework for analyzation. Its ritualized formal structure, illustrated via selected talks of Shaykh Nazim Adil al-Haqqani, discloses the underlying—and assumingly primary—function to provoke prolonged states of raised awareness in listeners and (...) condition their sympathetic nervous system. -/- In an extensive discussion based on several years of field research in Cyprus, the book relates this intention to similar practices in other traditional knowledge systems by proposing psychophysical interpretations based on psychology, biochemistry, neuroscience, or quantum physics. It will appeal to scholars and students of Sufism, Islamic studies, and comparative religion, as well as those interested in performance studies and improvised music, interpersonal communication, and education. (shrink)

This essay explores the contingency of music's value, and the significant ways that contingency qualifies our understandings of the utility of instructional method. More specifically, it raises the possibility that the altruistic pursuit of methodological purity may serve ends dramatically different than those espoused by practitioners. Music making, music study, and music learning may be liberating, empowering, and educational; but they may also serve precisely opposite ends. More simply put, neither music nor its study is (...) unconditionally or inherently good. The essay explores various ways nihilism may be manifest in musical/instructional practices, and advances alternatives grounded in agency, action, and the acceptance of resistance and responsibility. (shrink)

Informal instructional approaches have long been an important component of a complete education in general and of music education in particular. But informal approaches have often been subject to bandwagon over-enthusiasm, with proponents inflating their virtues beyond what the concept appears to warrant. In this paper I will, first, examine the theoretical underpinnings of informal learning practices, and compare them to those of more formal learning practices to clarify what might be distinctive and valuable about using informal instructional practices (...) in formal music educational settings; second, take a critical look at one empirical study in which informal learning practices were brought into the formal setting, examining some of the favorable and unfavorable aspects of the methods used; and third, briefly argue that informal instructional practices in music education can, along with formal practices, contribute to the formation of an individual learner's identity and agency through engagement with music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”Christine A. BrownI was recently asked to settle a friendly debate between two college graduates. The first, my daughter's boyfriend, argued that someone with talent and motivation could become as creative a composer without formal musical training as with it. The other, my daughter, vigorously countered that while someone might compose well on one's own, (...) the result would not be as versatile or thoughtfully developed as it could be with good formal instruction. I saw the musical educations of the debaters reflected in their arguments. My daughter had accumulated fourteen years of formal instruction in violin, cello, voice, and dance and took part in high school choral, theatrical, and orchestral performances. Her studies continued into college and from time to time she performs in community theater. Her boyfriend was the only musically trained member of his family. At his own request he studied piano for five years, later channeling his musical energies into a rock group. Though he did not study music in college, he continues to play keyboard and guitar. Both agree that the ongoing debate between them illustrates the strong connection between musical training and musical valuing. The life-world of their experiences shaped their judgments of musical quality and left imprints on their views of what matters more, talent or training. I will return to this scenario later.I find solid points of agreement with Eva Alerby and Cecilia Ferm starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works. Regarding extra-musical contexts, furthermore, recent evidence supporting the integration of subject areas at the elementary level appears to extend the boundaries of musical learning in a positive direction. Additionally, the authors' description of embodied musical learning holds great interest. Their argument that musical learning must be appropriated within the body resonates strongly within me as I reflect upon performing and teaching piano. Experience with beginning level adult pianists suggests to me that once the awkwardness of newly-learned movements fades with time and effort, students often discover a close interaction between their physical and conceptual knowledge of music. Of related interest is the authors' definition of musicality as taking embodied musical knowledge and making it one's own. This surpasses physical mastery of an instrument and describes a personal [End Page 208] and emotional investment in music. It is at this point in the essay that the recognizable link between mind, body, and emotion in music is most clear.Alongside these engaging ideas, however, are statements throughout the essay that invite further questions or comments. First among these is the statement that the knowledge resulting from learning is not always what was intended or planned. While this is often the case, elaboration upon modes of knowledge in question would help clarify the authors' ideas. Since knowledge takes a variety of forms, as the authors imply, these forms should be explored, defined, and applied to the process of teaching and learning music.Related to that suggestion is my response to the statement that the aim of music education is to produce musical knowledge. I am assuming that musical knowledge includes an age-appropriate blend of performance skill, reading ability, ear training, historical and cultural connections, basic theoretical and stylistic understanding, and acquaintance with creative processes. In many regions of our country, public arts education has been de-valued to the extent that we must convince administrators, parents, and sometimes students, of its importance. Until this situation improves, I must personally consider the aim of music education as producing, alongside musical knowledge, the desire for music as a lifelong pursuit, be it active or passive. Without this desire, musical knowledge gained often goes unused. Referring to my opening anecdote, my daughter is not participating in music while her less extensively trained boyfriend is. I know of several students like her who gained expertise on an instrument and who have now stopped playing for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Masafumi Ogawa, “Music Teacher Education in Japan: Structure, Problems, and Perspectives”Christina HornbachMasafumi Ogawa cares deeply about improving music teacher education and has grave concerns about Japan's current music education and teacher training system. He notes reduced instructional time, cuts in teaching positions, and classroom [End Page 201] management issues resulting in the devaluing of music education by administrators, students, and the general public. (...) He proposes that one solution to these problems involves changing curriculum requirements for music education and student teaching.Ogawa notes that in the Japanese teacher preparation system, performance requirements significantly outnumber music education class requirements, something he regards as a weakness in the system. According to his data, a similar survey of the American university system revealed that music education classes receive high priority in course requirements. Though the data sample was rather small in this instance (five major state universities) and may not truly reflect course requirements for the majority of music education majors nationwide, in my experience most of the undergraduate coursework does divide fairly equally between music education methods courses, history/theory, and performance requirements. Though the National Association of Schools of Music does have guidelines for professional and teaching competencies, the actual percentages for course requirements (basic musicianship and methods courses, 50%; general studies, 30% to 35%; professional education and student teaching, 15% to 20%) provide each individual school with discretion and leeway.1 Although the American music education system may be stronger in certain areas than the Japanese system, as Ogawa presents it, it is by no means perfect. Thus, the American system needs examination too, not necessarily for the quantity of courses, but rather to determine course content and quality. Due to time limitations, I will focus on only one aspect, but one that is of the utmost importance: classroom management.It can be argued that undergraduate music education majors in America just as in Japan need more time to discuss and experience the "real" world before they teach. Though some programs incorporate pre-student teaching practica into elementary and secondary methods courses, more instructional time should be devoted to discussing classroom management and behavior issues. Classroom management is usually touched upon briefly in methods courses, and perhaps even in philosophy or psychology classes, but not to the depth it should be. There are a myriad stressful conditions that may be associated with teacher attrition and burnout, including budgets, salaries, lack of administrative and parental support, and classroom discipline, to name a few.2 However, one of the leading causes of stress is student attitudes and behavior.3Some educators believe that teaching is a natural ability and a person either possesses the innate qualities to succeed or does not; others believe that anyone can be taught to teach. Perhaps it is a little bit of both. Bright, young teachers who have a drive to teach and care about the future of their students will be more successful if armed with classroom management skills and experience in a variety of teaching contexts; for instance, urban and rural. Without guidance and increased knowledge, most young teachers emulate mentors; they teach how they [End Page 202] were taught. Depending on the personality and/or skills of the novice teacher, these techniques may or may not work when he/she is faced with teaching in an unfamiliar context. Regardless, young educators need to be taught how to teach, not just what to teach.It is necessary for a course or courses to be added to college and university music education curricula that address classroom management, emotional concerns of students, and the teaching of special student populations. At best, these topics are covered in a cursory manner in methods courses, and a cooperating teacher may model and discuss classroom management during student teaching. Providing instructional strategies for dealing with emotionally volatile adolescents and discussing available resources, responsibilities, and rights of teachers are important for new teachers' professional growth. Music educators should have the skills to recognize and deal with inappropriate classroom behaviors in a manner that focuses the student and the class back on learning.Managing anger and resistance in the classroom can be a daunting task if one is... (shrink)

Les propos du professeur Claude Dauphin exposent les fondements de la pédagogie musicale, depuis les philosophes de l'Antiquité jusqu'aux grands innovateurs du XXe siècle. Tour à tour théorique et passionné, l'auteur inscrit son discours dans la réalité sociale et politique contemporaine et ne se prive pas de critiquer les dérives utilitaristes de certaines réformes. Contre le conformisme académique, rappelle-t-il, il n'est de meilleur remède que la transmission de l'amour de l'art. Il en fait une brillante démonstration dans ce livre, notamment (...) par ses études sur les oeuvres de Mozart et de Beethoven, dans le contexte de la diversité des genres et du croisement des cultures. (shrink)

This essay explores the contingency of music's value, and the significant ways that contingency qualifies (or should qualify) our understandings of the utility of instructional method. More specifically, it raises the possibility that the altruistic pursuit of methodological purity may serve ends dramatically different than those espoused by practitioners. Music making, music study, and music learning may be liberating, empowering, and educational; but they may also serve precisely opposite ends. More simply put, neither music nor (...) its study is unconditionally or inherently good. The essay explores various ways nihilism may be manifest in musical/instructional practices, and advances alternatives grounded in agency, action, and the acceptance of resistance and responsibility. (shrink)

The purpose is to improve the teaching and learning efficiency of college Innovation and Entrepreneurship Education. Firstly, from the perspective of aesthetic education, this work designs the teacher and student sides of the Computer-aided Instruction system. Secondly, the CAI model is implemented based on the weight sharing and local perception of the Convolutional Neural Network. Finally, the performance of the CNN-based CAI model is tested. Meanwhile, it analyses students’ IEE experience under the proposed CAI model through a case study (...) of Music Majors from Xi’an Conservatory of Music. The experimental data show that the CNN-based CAI model can respond quickly and stably when users access different functional modules, such as webpage browsing. The proposed CAI model increases students’ entrepreneurial interest, skills, and knowledge by 55.62, 57.32, and 72.12%, respectively. Students’ entrepreneurial practice ability has been improved by over 50.00%; such an increase in entrepreneurial practice ability has also shown individual differences. Thus, the proposed Music Majors-oriented IEE-infiltrated CAI model based on CNN improves students’ entrepreneurial practice ability and reflects the positive experience of Music Majors on IEE. The finding provides references for the step-by-step identification of the CNN-based CAI model and has certain guiding significance for analyzing the effect of college IEE. (shrink)

Technological advances over the past 50 years or so have resulted in the development of a succession of hardware and software systems intended to improve the quality and effectiveness of Western music instrument pedagogy during classroom instruction or individual study. These systems have aimed to provide evaluation or visualization of single or combined technical aspects by analyzing performance data collected in real time or offline. The number of such educational technologies shows an ever-increasing trend over time, aided by (...) the wide diffusion and availability of mobile devices. However, we believe there are unrealized opportunities for modern technologies to help music students in their technical development and assist them during their practice sessions in between visits to their teachers. The ubiquity of PCs and mobile devices with built-in microphones, speakers, and cameras has inspired the development of media technologies in support of music pedagogy. They offer an attractive potential for implementing audio signal processing algorithms addressing different technical skills of the performer, providing real-time feedback, collecting data over time, and applying statistical models. Despite this potential, most available software for music instrument pedagogy remains very limited in functionality. This study provides a survey of music edTech software available, together with the methods of use, addressed technical skills, commonalities, and limitations. Results show that most current software is based on the metronome and tuner, with only a few systems that have limited abilities to follow a performance in real-time and compare it to a given score to monitor correctness of notes, intonation, and rhythm. The survey also highlights a high and under-exploited potential regarding the monitoring of other more specific technical skills, which are more instrument-dependent, but no less important, such as the control of dynamic range and clarity of the attack. This article ends with a discussion of possible directions for future development of technologies to support the practice of music students at different levels, with some consideration for the corresponding signal processing methods that can be utilized or that need advancement. By helping students to more efficiently achieve a high level of proficiency of their instruments with assistive technologies, we hope to minimize stress and afford better enjoyment of the music performance experience for all. (shrink)

This study investigated situational changes in learners’ degree of autonomous regulation during other-initiated learning activities and examined the influence of the instructional style on such changes. To this end, relative autonomous motivation of 172 fifth to seventh grade students was measured before, during and after execution of a musical learning activity. It was experimentally manipulated whether students were instructed in an autonomy-supportive or a controlling style. As expected based on self-determination theory and the action-based model of cognitive dissonance, relative autonomous (...) motivation increased in the course of the execution of the learning activity. Unexpectedly, this increase was only statistically significant when students were instructed in a controlling style. At all times though, students instructed in an autonomy-supportive style were more autonomously motivated than students instructed in a controlling style. Furthermore, results showed a positive effect of an autonomy-supportive instructional style on students’ functional state and their interest in continuing with the learning activity. The pattern of changes in relative autonomous motivation might indicate that in controlling conditions a reduction of dissonance is of functional importance, which is why relative autonomous motivation increased under controlling conditions but not under autonomy-supportive conditions. In an applied perspective, the study demonstrates that executing an activity might be beneficial for fostering autonomous motivation and it corroborates findings that indicate positive effects of an autonomy-supportive instructional style on students’ motivation and functional state. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”Christine A. BrownI was recently asked to settle a friendly debate between two college graduates. The first, my daughter's boyfriend, argued that someone with talent and motivation could become as creative a composer without formal musical training as with it. The other, my daughter, vigorously countered that while someone might compose well on one's own, (...) the result would not be as versatile or thoughtfully developed as it could be with good formal instruction. I saw the musical educations of the debaters reflected in their arguments. My daughter had accumulated fourteen years of formal instruction in violin, cello, voice, and dance and took part in high school choral, theatrical, and orchestral performances. Her studies continued into college and from time to time she performs in community theater. Her boyfriend was the only musically trained member of his family. At his own request he studied piano for five years, later channeling his musical energies into a rock group. Though he did not study music in college, he continues to play keyboard and guitar. Both agree that the ongoing debate between them illustrates the strong connection between musical training and musical valuing. The life-world of their experiences shaped their judgments of musical quality and left imprints on their views of what matters more, talent or training. I will return to this scenario later.I find solid points of agreement with Eva Alerby and Cecilia Ferm starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works. Regarding extra-musical contexts, furthermore, recent evidence supporting the integration of subject areas at the elementary level appears to extend the boundaries of musical learning in a positive direction. Additionally, the authors' description of embodied musical learning holds great interest. Their argument that musical learning must be appropriated within the body resonates strongly within me as I reflect upon performing and teaching piano. Experience with beginning level adult pianists suggests to me that once the awkwardness of newly-learned movements fades with time and effort, students often discover a close interaction between their physical and conceptual knowledge of music. Of related interest is the authors' definition of musicality as taking embodied musical knowledge and making it one's own. This surpasses physical mastery of an instrument and describes a personal [End Page 208] and emotional investment in music. It is at this point in the essay that the recognizable link between mind, body, and emotion in music is most clear.Alongside these engaging ideas, however, are statements throughout the essay that invite further questions or comments. First among these is the statement that the knowledge resulting from learning is not always what was intended or planned. While this is often the case, elaboration upon modes of knowledge in question would help clarify the authors' ideas. Since knowledge takes a variety of forms, as the authors imply, these forms should be explored, defined, and applied to the process of teaching and learning music.Related to that suggestion is my response to the statement that the aim of music education is to produce musical knowledge. I am assuming that musical knowledge includes an age-appropriate blend of performance skill, reading ability, ear training, historical and cultural connections, basic theoretical and stylistic understanding, and acquaintance with creative processes. In many regions of our country, public arts education has been de-valued to the extent that we must convince administrators, parents, and sometimes students, of its importance. Until this situation improves, I must personally consider the aim of music education as producing, alongside musical knowledge, the desire for music as a lifelong pursuit, be it active or passive. Without this desire, musical knowledge gained often goes unused. Referring to my opening anecdote, my daughter is not participating in music while her less extensively trained boyfriend is. I know of several students like her who gained expertise on an instrument and who have now stopped playing for... (shrink)

The reviewed collection, The Emotional Power of Music, presents the multi-dimensional picture of music as an important element of human life. The multi-disciplinary character of the book is visible not only in showing the variety of areas of research studying the emotional aspects of music but also the variety of theories, which attempt to explain the links between music and emotions. It should also be mentioned, that—because of limited technical jargon and adding artists’ comments—the book is (...) not only addressed to people professionally interested in the links between music and emotions, but to a broader audience. Therefore, the editors’ hope that it will be useful to both experts and people searching for an instructive introduction to the discussed issues is justified. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Susan Laird, “Musical Hunger: A Philosophical Testimonial of Miseducation”Heidi WesterlundCan hunger and satisfaction, which according to John Dewey form “the arsis and thesis of a child’s life,”1 create the rhythm and heartbeat of music education? Susan Laird shows us through her autobiographical experiences how this heartbeat was missed in her case, while the undertone of her narrative and testimonial begs a wider self-reflection upon the (...) culture of music education. Indeed, Laird’s testimonial assumes that musical hunger has something to do with professional music educators; that musical hunger and satisfaction while setting the beat for a person’s musical life are not simply biological functions—something that exists and stays no matter how and what the person is fed or where and with whom the person eats. As Dewey wrote,[t]he very tendency of the child, while hungry, to recall his previous satisfaction, and to anticipate the coming one, is the beginning of the recognition of time. It grows more definite and accurate just in the degree in which all experiences are related to each other as members of one whole.2The imaginative musical dinner table that Laird’s testimonial lays out calls for music educators to reflect upon what kind of meal is served, not only from their own perspective but also from that of their students. Yet, reconstructing the menu is demanding in a profession that struggles with the pros and cons of a tradition in which teachers have learnt to teach in the same way that they themselves have been taught, also teaching using the same order in which they have learned—only hoping to do it more effectively.Quite recently, when visiting the recording studio at the Sibelius Academy department of music education to listen to one of my student’s work with her own rock band, I was reminded by my own remembrances of the difficulty, as well as the necessity, of reconstructing traditions in music teacher education. My thoughts led me fleetingly back to the ‘70s when making arrangements, improvisations, or working in recording studios were part of my musical life, until they were overwhelmed by the then-prevalent diet of professional music studies. Although my experiences of general music education were similar to those of Laird, teachers in the specialized music school fed me with goal-directed instruction in more than one instrument, in music theory, solfege, and the history of Western [End Page 81] art music. Looking back, however, I was lucky in more ways than one: my adolescent leisure time was blessed with numerous choirs, orchestras, and gigging bands—bringing a self-organized satisfaction and motivation to all kinds of music and musical activities. Multiple diets were feeding my musical life: I obtained the strengthening vitamin drops and enjoyed my self-made smorgasbord with family and friends, none of which had been enough by themselves to lead me into the profession. Yet, when entering the university to pursue my professional music studies, I experienced events in reverse order to that which Lucy Green describes in How Popular Musicians Learn.3 As I then did not have a piano of my own, I only had the opportunity to practice what was necessary for exams and so I practically stopped playing for fun. I also realized that not all flute teachers were able to accompany their students as did my first teacher, and so I had to play my flute repertoire for most of the year only imagining how the pieces would sound as a whole with no community with whom to share the joy of music making. While watching my student working in front of the studio desk searching for the right bass sound for her own song—a song that she was performing with friends and fellow students—to give the song the final touch for her work for the pedagogy of African-American music (popular music) course, to my own surprise I suddenly felt a long-forgotten hunger and desire. I was reminded of the challenges facing teacher education in exemplifying by its own practices a music education that does not take for granted that particular subject content or official... (shrink)

Given the rapid growth of music technology, this study reports Chinese pre-service music teachers’ perceptions of musical instrument learning assisted by augmented reality. In this study, we conducted a small-scale case study with six pre-service teachers enrolled in a music teacher training programme at a comprehensive university in China. Participants engaged in semi-structured, face-to-face interviews after hands-on experiences with an AR-based piano learning app. Thematic analysis revealed that the participants were generally aware of the potential of this (...) instructional approach but doubted its efficacy and exhibited weak intention to adopt it in their future classrooms. Implications of the findings for music teacher training are discussed. (shrink)

Was ist Musik? Diese musikphilosophische Fragestel-lung bildet den Ausgangspunkt von Josephine Geislers phänomenologischer Untersuchung, die einen wichtigen Beitrag zur anthropologischen Grundlagenforschung liefert. Geisler greift in diesem Zusammenhang nicht nur auf die Phänomenologie der Tonwahrnehmung Husserls zurück, sondern auch auf Helmuth Plessners ästhesiologische Schriften, die bisher kaum rezipiert wurden. Auch Günther Anders' musikphänomenologische Habilitationsschrift - noch nicht veröffentlicht und daher wenig bekannt - dient als theoretische Grundlage. Anhand dieser drei Autoren legt die Arbeit mit den Kategorien Zeitlichkeit, Leiblichkeit und Gestimmtheit anthropologische (...) Konstanten des Verhältnisses Mensch-Musik frei und verweist damit auf den normativen Eigensinn des besonderen Wahrnehmungsereignisses Musik. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Teaching General Music in Grades 4–8: A Musicianship ApproachKatherine StrandThomas Regelski, Teaching General Music in Grades 4–8: A Musicianship Approach ( Oxford: Oxford University Press 2004)In this recent addition to the world of texts for secondary methods classes, Teaching General Music in Grades 4–8: A Musicianship Approach, Thomas Regelski takes a new look at the challenging task of teaching the pre-adolescent and adolescent age group. (...) This text brings together many of Regelski's earlier writing on topics such as the professionalism of music teaching practice, music education as praxial education, and the operationalization of critical theory in music education. His thoughtful work offers insights and challenges to pre-service and in-service teachers.In the Introduction, Regelski provides a brief history of critical theory in education and describes how he applies critical theory to the profession of music teaching and the experience of musical learning. In this "new view" of education, teachers should seek to be transformative rather than simply transmitting a cultural status quo through status quo methods of teaching. Critical theory in teaching criticizes both the methods and the content in the light of context, student learning needs, praxis, and the situatedness of learning. He argues, as in earlier articles, against what he calls methodolotry: the tendency to adopt a method and follow that method unquestioningly. Rather, he proposes that teachers [End Page 121] should adopt a stance of reflective practitioner, becoming informal action researchers by questioning the value and effectiveness of instructional strategy and curricular content. (Sadly, once introduced, there is no more information about how to engage in action research, nor any encouragement to learn more about the subject.)Educational content should be based on critical theory which, as Regelski argues:... seeks to study the past, but in terms of its implications–positive or negative–for the present and, especially, as a basis for improving society and the individuals who constitute society.... [T]he past is evoked "critically" and selectively and new practices that will become traditions of the future will be initiated.1The job of the teacher is to help students make critical judgments regarding music and the "good time" the musical experience contributes to the students' lives.2 Music classrooms should be considered music laboratories in which children learn through thoughtful, investigatory experiences. Music education should promote life-skills relevant to the student's world, teach functional musical skills, incite interest in unfamiliar musical experiences, and address the pre-adolescent and adolescent student's "need to achieve."3In the first chapter, Regelski argues for "action learning," or learning in which the student is the principal actor. To support his argument, he cites findings in cognitive psychology, philosophical trends of pragmatism, utilitarianism, and humanism, transfer of learning theory, authentic learning and assessment, and constructivist learning theories. This myriad of ideas combine to form the essence of his argument: children in this age group need to develop intentionality in music-making to have a "good time" and instruction should always connect in-school musical learning with a student's real-world musical experiences. The value of action learning lies in the transfer of learning from the classroom to life after school:It advances the skills predictably useful to typical adults throughout life: for example, recreational singing, music reading sufficient to church and community choirs, "making sense" of music and enjoyment through listening, and the like. It is not a survey of disconnected musical generalities, a superficial sampling of music "in general"; boiled down theory, history, appreciation: or the introduction to the "discipline" of music as a "subject" of study for its own sake. Instead, it promotes the broad musicianship skills and positive attitudes for "breaking 100" [as in bowling, the level at which one calls oneself a "musician"] that enable students to be musically independent and active outside of class and after graduation, and to want to be musically active as part of the life well lived [italics added].4 [End Page 122]In the second chapter, Regelski provides an excellent summary of the physical, cognitive, and social development of children from age 9 to 14. Age categories are broken into upper elementary grades 4–6... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Communities of Musical Practice by Ailbhe KennyFrank HeuserAilbhe Kenny Communities of Musical Practice ( New York: Routledge, 2016)When struggling in the confines of a practice room to overcome a technical difficulty on an instrument or explore different ways to shape a phrase, music learning can be a solitary and seemingly lonely enterprise. In such settings it is easy to assume that personal effort is the primary contributor (...) to an individual's musical expertise. Cognitive scientists steven sloman and Philip Fernbach1 argue against this view of human learning and suggest that much of what we know and accomplish results from working and living with others in a rich community of socially generated knowledge rather than by relying only on own efforts. This implies that the ability to develop sophisticated understandings in a discipline depends more on working collectively with others with whom we can share the labors of our cognitive efforts than on individual processes. This lends credence to the concept of learning in "communities of practice" that emerged during the 1990s.2Researchers have embraced this concept in music education and investigated the learning and relationships that develop in musical communities. June Countryman3 and N. Whitaker4 both examined how such communities impact learners in school-based music instructional settings. Deborah V. Blair developed [End Page 214] a professional development program for novice music educators that evolved into a community of practice.5 such communities offer members a place for identity formation and facilitate the acquisition of new knowledge in the discipline that is refined through active participation in meaningful learning experiences. In her book, Communities of Musical Practice, Ailbhe Kenny examines three music learning communities based in Limerick, Ireland and develops a model for community of practice that is specific to musical settings. This model can inform researchers investigating the fields of music education and community music. although it was not designed as a study in music education philosophy, the book is an example of excellent philosophical practices. as Wayne Bowman and ana Lucia Frega have suggested, if philosophy seeks to make "action more intelligent, more informed, more congruent with responsibly held beliefs,"6 Communities of Musical Practice offers a case study of the kind of reflective thinking that is central to philosophical practice. It is an example of how applying a reflective process to research data might provide the profession with both practical and philosophical insights.The book consists of seven chapters which are divided into three major sections. Part I, a Place for Communities of Musical Practice, defines communities of musical practice and describes the methodologies employed in the study. Part II, Illustrations of Communities of Musical Practices, offers case studies of three communities of musical practice that provide readers with examples of how the paradigm can be applied to investigate contrasting settings. Part III, Insights from Communities of Musical Practice, which summarizes the communities of musical practice framework, presents a model of how collective knowledge through common experiences contributes to senses of belonging, identity, and meaning-making and offers suggestions for nurturing these communities and developing policies that might contribute to increasing group music-making opportunities in communities. Following a review of these chapters, examples are given of how philosophical insights might be derived from this type of research.The central research question informing the work presented in the book is: How are communities of musical practice developed and sustained in practice?"7 This fundamental issue is refined through a series of sub-questions relating to the actual practices taking place within these communities of musical practices, the variety of relationships, actions, behaviors and experiences that are present within them, and the ways musical identities are created within and informed through participation in them. In Part I, Kenny develops a theoretical framework for examining communities of music practice by drawing from philosophy of practice, socio-cultural studies, and research in both education and music education which is based primarily on the writings of Bourdieu, Blacking, and Wenger. In particular, she employs etienne Wenger's framework of mutual engagement, [End Page 215] joint enterprise, and shared repertoire (or practices)8 as a scaffold to analyze and interpret "'situated' and collaborative musical... (shrink)

In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...) complex games can accommodate a continuous rich spectrum of congruent modes of listening, which broaches both the formalist-type and the narrativist-type. We conclude that this sort of oblique reading of Walton’s original theory actually complements and completes Walton’s recent theoretic angle concerning thoughtwriting in music by way of affording it with a suitable conception for a mechanism of appropriation for music. (shrink)

This essay offers an account of the relationship between screenplay and film, and it does so by comparing this relationship to the relationships that hold between other sets of instructions and artworks: score and musical work, theatrical script and theatrical work, architectural plan and architectural work. I argue that musical scores and theatrical scripts are work-determinative documents—manuscripts whose existence entails the existence of musical works and theatrical works, respectively, and which determine the facts about what those works are like. On (...) the contrary, I argue that architectural plans and screenplays are not work-determinative because they alone do not entail the existence of any architectural work or film. Nevertheless, I conclude that this difference has no bearing upon art status: theatrical scripts are almost always artworks in their own right, musical scores almost never are, and architectural plans are in certain cases. This conclusion suggests that although the relationship between theatrical script and theatrical work is quite different from that between screenplay and film, there is no reason to think that screenplays cannot be literary artworks in their own right. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 4-16 [Access article in PDF] Once More With Feeling Reconciling Discrepant Accounts of Musical Affect Bennett Reimer Northwestern University When I was sixteen, a junior in high school in Brooklyn, I auditioned for the All-City High School Band of New York and was placed as first chair clarinet. At the first rehearsal, a piece we played (I don't remember what it (...) was except that it was new to me) had a long, melodic clarinet solo, with accompaniment. When I finished playing it the director stopped the band and said, "Very nice, first clarinet. Let's do it again, this time with more feeling." Then he said, "Letter C," and we started again.I could not have known, then, that I was to spend much of my life in pursuit of some sort of clarification of what transpired in that episode, as in this paper, where I deal once more with feeling. I had no idea that his apparently simple instruction to me raised issues so complex that many of humankind's most important thinkers had struggled with them in search of a resolution, as I, infinitely more modestly, was also to do. I was unaware that philosophical blood, sweat, and tears had been spilled through the centuries in various contentions as to the relation, if any, of musical feeling to feeling outside musical experience. I knew nothing of metaphor, [End Page 4] of effability and ineffability, of embodiment and designation, of issues of authenticity of feeling, and semantic density, significant form, semiotics, the relation of feeling to emotion, to gender, to meaning, and on and on with seemingly endless and intractable debates centered on how and why and when music is related to feeling.Being unencumbered with any of this (how one longs, sometimes, to return to one's philosophical Garden of Eden), and having to play that solo again immediately, I did what my novice performer's instincts told me to do-the only thing I knew how to do-I placed more emphasis on what the notes of that melody seemed to want to do, where they seemed to want to go and how they got there. Feeling their melodic tendencies more concentratedly and making them more apparent by the way I sounded them, I felt in myself a deeper sense of union-of the music as part of my undergoing-than I had the first time. When I finished the director stopped the band again, looked at me for several seconds, and said, "Lovely, first clarinet. Very musical. Let's go on."I would not have been able at the time that event occurred to describe, as I just did, what I did and how I felt. I did not have the conceptual apparatus to do so, although I did have, luckily for me, enough intuitive musicianship to have survived that test. My description, or perhaps interpretation, of how I reacted and how I experienced it can only reflect who I am now, with the cognitive structure allowing me to understand what happened as I reflect about it. Nevertheless I believe that several important matters relating to musical feeling can be clarified in relation to how I now interpret what I experienced as a youth in that band.I am aware now that I did what I did in ignorance of the fact that I was not the first to have played that solo. If I had known about and studied previous performances by a variety of clarinetists I would have, without doubt, been influenced by their solutions to the challenge of expressive interpretation it presented. Especially if I had been guided by a sensitive teacher, I would have reflected those influences in my own sounding. Perhaps I would have imitated what seemed to me the most musical rendition. If I had done so, I am now aware, that would have been regarded, in my culture at any rate, as a sign of my novice status, a more mature stage of musicianship requiring that I both reflect... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Krista Riggs, “Foundations for Flow: A Philosophical Model For Studio Instruction”Patrick K. FreerKrista Riggs has written a provocative paper examining the relationship between psychology and pedagogy within the applied music studio. The sources Riggs employs as the basis for her arguments reflect some of the most enduring voices in educational psychology and philosophy (including music), and performance practice/preparation in music. Riggs draws important (...) connections between these occasionally disparate fields. I appreciate this opportunity to add to the discussion.As the foundation of this model, Riggs employs the study of optimal experience, known as 'flow theory,' as researched by Mihalyi Csikszentmihalyi1 over the past three decades. The flow experience is only possible when an individual's personal capacities are congruent with the opportunities and goals afforded by the environment.2 When coupled with the necessary congruency between challenges and skills inherent in the flow model, Riggs' analysis raises questions concerning the definition of success within applied studio instruction, the position of studio instruction within the totality of a student's experience, and the ways in which teachers and students negotiate learning within applied music instruction.Three QuestionsIs the definition of success different for students than it is for teachers?At first blush, this paper concerns the "how" of music education—how we teach and how we encourage student motivation. Oftentimes, "how" we teach is dependent upon "why" we teach and "what" we teach. This becomes clear in the paper's introduction when success is defined as an outcome of education. Is the purpose of music education to build toward success using a very narrow, career-specific definition or is the purpose of music education to build toward broader success in many facets of musical knowledge and skill?Of course, this paper is contextualized to teaching within the applied studio and it may be that success in studio teaching is somewhat narrowly defined. But, at core is a potential conflict in the definition of success as defined by the teacher and the definition of success as appropriate for the student. In the model presented here, the definition of success is clearly student-centered and the success of the instructor is measured by the degree to which the student is supported on that pathway toward success. This is not to say that the instructional content of [End Page 225] the studio experience becomes less rigorous in any way, but rather that the instruction itself is modified to better ensure the success of students in learning and applying that content. Riggs implies, and Csikszentmihalyi would agree, that teachers cannot create flow experiences in students, but can create the conditions within which flow experiences can occur. The question is: What are those conditions and are they in conflict with the definition of success used by many studio teachers?The conditions necessary for flow experience have been identified through research and are embedded throughout Riggs' paper. The conditions are stated here in a purely student-centered manner. But, there are two players in this scene and it is the relationship between the student and teacher that most determines the experience of each. I am an unabashed proponent of attempts to optimize the quality of experience for students. However, the needs of the instructor seem to be missing from this discussion. It might be argued that this model is purely about studio instruction itself and an exploration of the instructor's needs is better suited for a different paper. Even so, the instructor's experiences, both in the past and in the present, do have bearing upon the student experience of the present. For example, it is probably a fair assumption that each instructor has, at some point, been a student in a studio. Might there be substantial value in a process of reflective analysis of that experience? Riggs does invoke the roles of reflection-in-action and reflection-on-action from the student viewpoint, but it might be illuminating to discern the instructor's reflections as well—and for these to be selectively shared with the student. In this way, studio teachers would be closer to fulfilling another necessary exemplar role: that of "master" teacher (or "mentor" teacher). If... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 4-16 [Access article in PDF] Once More With Feeling Reconciling Discrepant Accounts of Musical Affect Bennett Reimer Northwestern University When I was sixteen, a junior in high school in Brooklyn, I auditioned for the All-City High School Band of New York and was placed as first chair clarinet. At the first rehearsal, a piece we played (I don't remember what it (...) was except that it was new to me) had a long, melodic clarinet solo, with accompaniment. When I finished playing it the director stopped the band and said, "Very nice, first clarinet. Let's do it again, this time with more feeling." Then he said, "Letter C," and we started again.I could not have known, then, that I was to spend much of my life in pursuit of some sort of clarification of what transpired in that episode, as in this paper, where I deal once more with feeling. I had no idea that his apparently simple instruction to me raised issues so complex that many of humankind's most important thinkers had struggled with them in search of a resolution, as I, infinitely more modestly, was also to do. I was unaware that philosophical blood, sweat, and tears had been spilled through the centuries in various contentions as to the relation, if any, of musical feeling to feeling outside musical experience. I knew nothing of metaphor, [End Page 4] of effability and ineffability, of embodiment and designation, of issues of authenticity of feeling, and semantic density, significant form, semiotics, the relation of feeling to emotion, to gender, to meaning, and on and on with seemingly endless and intractable debates centered on how and why and when music is related to feeling.Being unencumbered with any of this (how one longs, sometimes, to return to one's philosophical Garden of Eden), and having to play that solo again immediately, I did what my novice performer's instincts told me to do-the only thing I knew how to do-I placed more emphasis on what the notes of that melody seemed to want to do, where they seemed to want to go and how they got there. Feeling their melodic tendencies more concentratedly and making them more apparent by the way I sounded them, I felt in myself a deeper sense of union-of the music as part of my undergoing-than I had the first time. When I finished the director stopped the band again, looked at me for several seconds, and said, "Lovely, first clarinet. Very musical. Let's go on."I would not have been able at the time that event occurred to describe, as I just did, what I did and how I felt. I did not have the conceptual apparatus to do so, although I did have, luckily for me, enough intuitive musicianship to have survived that test. My description, or perhaps interpretation, of how I reacted and how I experienced it can only reflect who I am now, with the cognitive structure allowing me to understand what happened as I reflect about it. Nevertheless I believe that several important matters relating to musical feeling can be clarified in relation to how I now interpret what I experienced as a youth in that band.I am aware now that I did what I did in ignorance of the fact that I was not the first to have played that solo. If I had known about and studied previous performances by a variety of clarinetists I would have, without doubt, been influenced by their solutions to the challenge of expressive interpretation it presented. Especially if I had been guided by a sensitive teacher, I would have reflected those influences in my own sounding. Perhaps I would have imitated what seemed to me the most musical rendition. If I had done so, I am now aware, that would have been regarded, in my culture at any rate, as a sign of my novice status, a more mature stage of musicianship requiring that I both reflect... (shrink)

New technologies, new musicians -- Aural awareness -- Organizing sound -- Creating music -- Performing -- Cultural context -- Critical engagement -- The digital musician -- Projects and performance.

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)

Research on the perception of silence has led to insights regarding its positive effects on individuals. We conducted a series of studies during which individuals were exposed to several minutes of silence in different contexts. Participants were introduced to different social and environmental settings, either in a seminar room at a university or in a city garden, alone or in a group. Instructions across studies varied, as participants were exposed to real waiting situations, were asked to just think and to (...) explicitly experience the time interval without further instructions or following a session of Depth Relaxation Music Therapy (DRMT)/ Hypnomusictherapy (HMT). Silence was judged to significantly increase relaxation, improve mood states, and alter the perception of time and the orientation towards the present moment. We controlled for influences of trait variables, such as impulsivity, mindfulness, daydreaming, and time perspective. Findings empirically demonstrate that exposure to silence can be effective in therapeutic and educational contexts to promote relaxation and well-being. (shrink)

Philosophers of music often appeal to intuition to defend ontological theories of musical works. This practice is worrisome as it is rather unclear just how widely shared are the intuitions that philosophers appeal to. In this paper, I will first offer a brief overview of the debate over the ontology of musical works. I will argue that this debate is driven by a conflict between two seemingly plausible intuitions—the repeatability intuition and the creatability intuition—both of which may be defended (...) on the grounds that they are reflective of our actual musical practices. The problem facing philosophers within this debate is that there is no clear way to determine which of the two conflicting intuitions is more reflective of our musical practices. Finally, I offer discussion of an experimental study that was designed to test participants' intuitions regarding the repeatability of musical works. The evidence presented there suggests that the participants broadly accept the repeatability of musical works, but in a much narrower way than philosophers would likely accept. (shrink)

This book brings together leading scholars from around the world to provide their most influential thinking on instructional feedback. The chapters range from academic, in-depth reviews of the research on instructional feedback to a case study on how feedback altered the life-course of one author. Furthermore, it features critical subject areas - including mathematics, science, music, and even animal training - and focuses on working at various developmental levels of learners. The affective, non-cognitive aspects of feedback are also targeted; (...) such as how learners react emotionally to receiving feedback. The exploration of the theoretical underpinnings of how feedback changes the course of instruction leads to practical advice on how to give such feedback effectively in a variety of diverse contexts. Anyone interested in researching instructional feedback, or providing it in their class or course, will discover why, when, and where instructional feedback is effective and how best to provide it. (shrink)

An ethnographer's account of his study of jazz-piano playing, which led to discoveries concerning the ways his hands learned about the keyboard and improvisation, sheds light on the nature and range of improvised conduct.

Einleitung -- Phänomenologie als Wesensforschung -- Leibphänomenologische Perspektiven -- Musik und Leiblichkeit -- Leibphänomenologie und Musikpädogogik? -- Bewegungen zu einem Orgelstück -- Ausblick.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Teaching General Music in Grades 4–8: A Musicianship ApproachKatherine StrandThomas Regelski, Teaching General Music in Grades 4–8: A Musicianship Approach ( Oxford: Oxford University Press 2004)In this recent addition to the world of texts for secondary methods classes, Teaching General Music in Grades 4–8: A Musicianship Approach, Thomas Regelski takes a new look at the challenging task of teaching the pre-adolescent and adolescent age group. (...) This text brings together many of Regelski's earlier writing on topics such as the professionalism of music teaching practice, music education as praxial education, and the operationalization of critical theory in music education. His thoughtful work offers insights and challenges to pre-service and in-service teachers.In the Introduction, Regelski provides a brief history of critical theory in education and describes how he applies critical theory to the profession of music teaching and the experience of musical learning. In this "new view" of education, teachers should seek to be transformative rather than simply transmitting a cultural status quo through status quo methods of teaching. Critical theory in teaching criticizes both the methods and the content in the light of context, student learning needs, praxis, and the situatedness of learning. He argues, as in earlier articles, against what he calls methodolotry: the tendency to adopt a method and follow that method unquestioningly. Rather, he proposes that teachers [End Page 121] should adopt a stance of reflective practitioner, becoming informal action researchers by questioning the value and effectiveness of instructional strategy and curricular content. (Sadly, once introduced, there is no more information about how to engage in action research, nor any encouragement to learn more about the subject.)Educational content should be based on critical theory which, as Regelski argues:... seeks to study the past, but in terms of its implications–positive or negative–for the present and, especially, as a basis for improving society and the individuals who constitute society.... [T]he past is evoked "critically" and selectively and new practices that will become traditions of the future will be initiated.1The job of the teacher is to help students make critical judgments regarding music and the "good time" the musical experience contributes to the students' lives.2 Music classrooms should be considered music laboratories in which children learn through thoughtful, investigatory experiences. Music education should promote life-skills relevant to the student's world, teach functional musical skills, incite interest in unfamiliar musical experiences, and address the pre-adolescent and adolescent student's "need to achieve."3In the first chapter, Regelski argues for "action learning," or learning in which the student is the principal actor. To support his argument, he cites findings in cognitive psychology, philosophical trends of pragmatism, utilitarianism, and humanism, transfer of learning theory, authentic learning and assessment, and constructivist learning theories. This myriad of ideas combine to form the essence of his argument: children in this age group need to develop intentionality in music-making to have a "good time" and instruction should always connect in-school musical learning with a student's real-world musical experiences. The value of action learning lies in the transfer of learning from the classroom to life after school:It advances the skills predictably useful to typical adults throughout life: for example, recreational singing, music reading sufficient to church and community choirs, "making sense" of music and enjoyment through listening, and the like. It is not a survey of disconnected musical generalities, a superficial sampling of music "in general"; boiled down theory, history, appreciation: or the introduction to the "discipline" of music as a "subject" of study for its own sake. Instead, it promotes the broad musicianship skills and positive attitudes for "breaking 100" [as in bowling, the level at which one calls oneself a "musician"] that enable students to be musically independent and active outside of class and after graduation, and to want to be musically active as part of the life well lived [italics added].4 [End Page 122]In the second chapter, Regelski provides an excellent summary of the physical, cognitive, and social development of children from age 9 to 14. Age categories are broken into upper elementary grades 4–6... (shrink)