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Thomas A. Regelski [11]Thomas Adam Regelski [1]
  1.  12
    Scientism in experimental music research.Thomas A. Regelski - forthcoming - Philosophy of Music Education Review.
  2. Music and music education: Theory and praxis for 'making a difference'.Thomas A. Regelski - 2005 - Educational Philosophy and Theory 37 (1):7–27.
    The ‘music appreciation as contemplation’ paradigm of traditional aesthetics and music education assumes that music exists to be contemplated for itself. The resulting distantiation of music and music education from life creates a legitimation crisis for music education. Failing to make a noteworthy musical difference for society, a politics of advocacy attempts to justify music education. Praxial theories of music, instead, see music as pragmatically social in origin, meaning, and value. A praxial approach to music education stresses that appreciation is (...)
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  3. Why Do Humans Value Music?Bennett Reimer, Anthony J. Palmer, Thomas A. Regelski & Wayne D. Bowman - 2002 - Philosophy of Music Education Review 10 (1):41-41.
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  4.  6
    Et hi cal dimensions of school-based music education.Thomas A. Regelski - 2012 - In Wayne D. Bowman & Ana Lucía Frega (eds.), The Oxford Handbook of Philosophy in Music Education. Oup Usa. pp. 284.
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  5.  19
    Aristotle, Praxis, and Music Revisited: A Reply to Karen Hanson.Thomas A. Regelski - forthcoming - Philosophy of Music Education Review.
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  6.  8
    A Response to Roger Mantie.Thomas A. Regelski - 2018 - Philosophy of Music Education Review 26 (1):99.
    In lieu of an abstract, here is a brief excerpt of the content:A Response to Roger Mantie, Book Review, Thomas A. Regelski, A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis in Philosophy of Music Education Review 24, no. 2 (Fall, 2016): 213–219.Thomas A. RegelskiWhile I am appreciative of Roger Mantie’s generous compliments about my past scholarship, his review is often misleading and philosophically misinformed. In particular, what he refers to as my “editorialized, overview of (...)
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  7.  32
    Music and Music Education: Theory and praxis for ‘making a difference’.Thomas A. Regelski - 2005 - Educational Philosophy and Theory 37 (1):7-27.
    The ‘music appreciation as contemplation’ paradigm of traditional aesthetics and music education assumes that music exists to be contemplated for itself. The resulting distantiation of music and music education from life creates a legitimation crisis for music education. Failing to make a noteworthy musical difference for society, a politics of advocacy attempts to justify music education. Praxial theories of music, instead, see music as pragmatically social in origin, meaning, and value. A praxial approach to music education stresses that appreciation is (...)
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  8.  15
    Musical Values and the Value of Music Education.Thomas A. Regelski - forthcoming - Philosophy of Music Education Review 10 (1):49-55.
  9.  23
    Resisting Aesthetic Autonomy: A “Critical Philosophy” of Art and Music Education Advocacy.Thomas Adam Regelski - 2019 - Journal of Aesthetic Education 53 (2):79-101.
    Music teachers are often inclined to advocate the aesthetic value of music that is uncritically propagated by their conservatory training.1 Consequently, a host of misleading assumptions that music is a "fine" art that exists solely to promote aesthetic experience is simply taken for granted as the benefits of art and music education—thus ignoring the differences of purpose between school music and university-level training. Just offering routine musical activities and performances is thereby assumed to kindle students' aesthetic appreciation. Whether the experiences (...)
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  10.  9
    Response to Philip Alperson," Robust Praxialism and the Anti-aesthetic Turn".Thomas A. Regelski - 2010 - Philosophy of Music Education Review 18 (2):196-203.
    In lieu of an abstract, here is a brief excerpt of the content:Response to Philip Alperson, “Robust Praxialism and the Anti-aesthetic Turn”Thomas A. RegelskiDue to space limitations, only a few points of Philip Alperson’s paper can be briefly addressed.1Concerning praxialism, Alperson confirms that regarding “music as a species of art” leaves out much of what music has to offer. He acknowledges that “music is produced and enjoyed in a wide range of contexts and circumstances in which music can be understood (...)
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  11.  14
    The Aristotelian bases of praxis for music and music education as praxis.Thomas A. Regelski - forthcoming - Philosophy of Music Education Review.
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