Following the recent condemnation of the National Health Service charging regulations by medical colleges and the UK Faculty of Public Health, we demonstrate that through enactment of this policy, the medical profession is betraying its core ethical principles. Through dissection of the policy using Beauchamp and Childress’ framework, a disrespect for autonomy becomes evident in the operationalisation of the charging regulations, just as a disregard for confidentiality was apparent in the data sharing Memorandum of Understanding. Negative consequences of the regulations (...) are documented to highlight their importance for clinical decision makers under the principles of beneficence and non-maleficence. Exploration of the principle of justice illuminates the core differentiation between the border-bound duties of the State and borderless duties of the clinician, exposing a fundamental tension. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.2 (2005) 142-145 [Access article in PDF] The Doing of Philosophy in the Music Class: Some Practical Considerations. Response to Bennett Reimer Mary J. Reichling University of Louisiana at Lafayette How I respond to Bennett Reimer's challenge depends in part on how we define philosophy in this context. We might think of philosophy as a subject of study, that is, philosophy in itself (...) such as epistemology, metaphysics, and so on. Or we may conceive it as philosophy of music, better designated as aesthetics. Or we may consider philosophy as a verb in the sense of "doing" philosophy where our goal is to assist students in developing their thinking skills. It seems that Reimer is placing focus on the last, the doing of philosophy, not that these other views of philosophy are mutually exclusive; they are not.Yet even this distinction is not sufficient for discussion. I am reminded of a little book edited by Eunice Boardman, titled Dimensions of Musical Thinking and published by MENC in 1989. It is a real gem with many fine ideas. In particular it stresses the relationship of content-area knowledge to thinking, and that is what I want to do. Developing thinking skills does not take place in a vacuum: "Now I am going to think." It occurs with respect to a subject area. We have philosophy of science, philosophy of history, philosophy of art, and so on, and philosophy of music.Further, our thinking about music occurs in at least two different ways. I suggest that music possesses both instrumental and intrinsic value with respect to philosophical analysis, as well as instances where the two values are combined. In pondering these values we bring together several so-called philosophical 'methodologies': the search for meaning or understanding, analysis, criticism, [End Page 142] and synthesis. In the process we build arguments that are consistent, coherent, and correspond with the musical evidence.1And further, in our field, students, whether it be through course content itself or through performance classes, have the advantage of gaining both propositional knowledge, learning that, for example, the rhythmic value of eighth notes, and procedural knowledge or learning how, for example, performing eighth notes vocally or instrumentally.2Both of which challenge the students' thinking skills.It is also important to articulate several assumptions if we aspire to "doing" philosophy within the teaching of music. These include a belief that it is worthwhile to develop such thinking skills as I have outlined; that we are willing to take the time for dialogue within the music class or rehearsal hour; and that we as teachers are willing to be facilitators of questions rather than experts with answers.I shall attempt with a few examples to show how these thinking processes might be integrated into the music curriculum following Jerome Brunner's view that children can be taught anything if done so at their level of understanding.The first example relates to the instrumental value of music as it supports text or programmatic conceptions. Let us consider the text of a particular song such as "Blowing in the Wind" or the "Kookaburra" song, the subject of an opera such as Berg's Wozzeck, or the topic of war as exemplified in Britten's War Requiem or some of the protest songs. We ask students how the extra musical subjects are established musically, how the music communicates the ideas, why one musical setting is preferred or better than another, and so forth. In dialoging about these examples, students must first of all be perceptive listeners or participants, then analyze at their level of ability. For an elementary child such analysis might be as simple as pointing out the tempo, mood, rhythms, dynamics, or other expressive elements. Advanced students will have a more extensive musical background to draw upon. Through the analysis students come to a synthesis of these factors that leads to greater understanding of the meaning of the music as they approach questions of value and beauty. If the teacher... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 17-29 [Access article in PDF] Intersections Form, Feeling, and Isomorphism Mary J. Reichling University of Louisiana at Lafayette These three concepts hold meanings that differ among musicians and aestheticians. In this essay I shall explore them in the writings of Susanne Langer. Contemporary musicians and aestheticians continue today to engage Langer albeit some favorably and others with disdain. Whatever their reasons, (...) she remains a dominant force in the philosophy of music.1 My purpose is not to defend her against her detractors, but rather to examine and to elucidate various aspects of these three concepts in her writing, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education.First, I consider the broad and complex notion of form and the various ways Langer employs it in her aesthetic theory. Next, the rather all-encompassing idea of feeling as Langer conceives it is studied in relation to the form of the musical work. The intersection of form and feeling in the concept of isomorphism concludes the discussion. [End Page 17] Form In her various writings Langer uses several adjectives associated with the word "form" which seem to organize well into three groups. The first concerns the dynamic, living, organic, and vital qualities of form; the second speaks to its logical and abstract nature; and the last relates to the emotional or feeling aspect of form including expressive and significant characteristics.2 These groupings overlap and intertwine, but focusing on each specifically rather than all as a totality offers important insights.Form as dynamic, living, organic, and vital suggests metaphorical reference. Obviously the form is not physically, biologically, alive; reference is to the apparent movement, growth, and aliveness of the musical form as it is heard or performed. Thus this idea of form implies an actual performance to be realized or perceived. Langer is sometimes criticized for giving little attention to the actual making of music, that is, performance, yet her theory assumes music as heard. Essential to perceiving a dynamic form or hearing a feeling is a processual event, namely, performance or listening to a performance. Rarely a professional musician or gifted amateur might be able to engage this concept of form by reading through a score and hearing the music in imagination.Dynamic form parallels Eduard Hanslick's notion of tonend bewegte Formen. One might object that Hanslick and Langer are in conflict as Hanslick opposes while Langer supports the conviction that form is expressive of feeling, but that is moving beyond the matter at hand and suggests a superficial reading of both Hanslick and Langer. Hanslick asserts emphatically that music's meaning is not the arousal of emotion but does not deny feeling in music; Langer holds the same view. But Hanslick allows that "the words content and form are used not in the purely logical, but in an artistic sense." To me this suggests that he recognizes a nonliteral or metaphorical interpretation. He writes about the relationship of musical tones as "fraught with significance... congruity and opposition, their separating and combining, their soaring and subsiding-this is what comes in spontaneous forms before our inner contemplation and pleases us as beautiful." Certainly this parallels Langer's description of dynamic form.3 What is significant is that both philosophers are addressing the fluid, processual, active, movement-of-notes-through-time nature of musical form.The premise that forms are created by motion, are dynamic, is easily grasped by offering some examples. Fast cameras are able to take a series of photos of the movements of a pianist's hands giving still pictures of the moving forms created while performing a given passage.4 Alternately, forms are created by the movements of clouds or fog through the mist and early light; they are, in effect, quite literally moving forms. Cartoon characters generate moving forms through the [End Page 18] use of many drawings or more recently by means of computer animation. Time is a dynamic or moving form which we divide into hours... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.2 (2005) 142-145 [Access article in PDF] The Doing of Philosophy in the Music Class: Some Practical Considerations. Response to Bennett Reimer Mary J. Reichling University of Louisiana at Lafayette How I respond to Bennett Reimer's challenge depends in part on how we define philosophy in this context. We might think of philosophy as a subject of study, that is, philosophy in itself (...) such as epistemology, metaphysics, and so on. Or we may conceive it as philosophy of music, better designated as aesthetics. Or we may consider philosophy as a verb in the sense of "doing" philosophy where our goal is to assist students in developing their thinking skills. It seems that Reimer is placing focus on the last, the doing of philosophy, not that these other views of philosophy are mutually exclusive; they are not.Yet even this distinction is not sufficient for discussion. I am reminded of a little book edited by Eunice Boardman, titled Dimensions of Musical Thinking and published by MENC in 1989. It is a real gem with many fine ideas. In particular it stresses the relationship of content-area knowledge to thinking, and that is what I want to do. Developing thinking skills does not take place in a vacuum: "Now I am going to think." It occurs with respect to a subject area. We have philosophy of science, philosophy of history, philosophy of art, and so on, and philosophy of music.Further, our thinking about music occurs in at least two different ways. I suggest that music possesses both instrumental and intrinsic value with respect to philosophical analysis, as well as instances where the two values are combined. In pondering these values we bring together several so-called philosophical 'methodologies': the search for meaning or understanding, analysis, criticism, [End Page 142] and synthesis. In the process we build arguments that are consistent, coherent, and correspond with the musical evidence.1And further, in our field, students, whether it be through course content itself or through performance classes, have the advantage of gaining both propositional knowledge, learning that, for example, the rhythmic value of eighth notes, and procedural knowledge or learning how, for example, performing eighth notes vocally or instrumentally.2Both of which challenge the students' thinking skills.It is also important to articulate several assumptions if we aspire to "doing" philosophy within the teaching of music. These include a belief that it is worthwhile to develop such thinking skills as I have outlined; that we are willing to take the time for dialogue within the music class or rehearsal hour; and that we as teachers are willing to be facilitators of questions rather than experts with answers.I shall attempt with a few examples to show how these thinking processes might be integrated into the music curriculum following Jerome Brunner's view that children can be taught anything if done so at their level of understanding.The first example relates to the instrumental value of music as it supports text or programmatic conceptions. Let us consider the text of a particular song such as "Blowing in the Wind" or the "Kookaburra" song, the subject of an opera such as Berg's Wozzeck, or the topic of war as exemplified in Britten's War Requiem or some of the protest songs. We ask students how the extra musical subjects are established musically, how the music communicates the ideas, why one musical setting is preferred or better than another, and so forth. In dialoging about these examples, students must first of all be perceptive listeners or participants, then analyze at their level of ability. For an elementary child such analysis might be as simple as pointing out the tempo, mood, rhythms, dynamics, or other expressive elements. Advanced students will have a more extensive musical background to draw upon. Through the analysis students come to a synthesis of these factors that leads to greater understanding of the meaning of the music as they approach questions of value and beauty. If the teacher... (shrink)

My note on McShane's “Implementation” article indicates what I have learned from it (a) about its author, (b) about Lonergan, and (c) about implementation of Lonergan’s transcendental method. My sheaf of quotations from the article may offer a focus – not distorting, I hope – different from the reader’s own.

This article seeks to broaden understanding of issues and controversies addressed in social science research on women’s and gender studies by researchers and activists based in English-speaking sub-Saharan Africa. The topics covered were selected from those ratified by African women in the Africa Platform for Action in 1995 as well as from current debates on the politics of identity. The common feminist issues the authors identified were health; gender-based violence; sexuality, education, globalization and work; and politics, the state, and nongovernmental (...) organizations. In addition, the authors address theoretical and methodological trends. All four coauthors are feminist sociologists: One scholar is based in an African academic institution, two are Africans based in U.S. academic institutions, and one is an African American based in a U.S. academic institution. (shrink)