An examination of the philosophical issues surrounding prudential value: what it is for something to be good for a person; and well-being: what it is for someone's life to go well. It critically analyzes competing approaches, and proposes a new subjective account that addresses key weaknesses of existing theories.

Elementary teachers can integrate social studies into their curriculum through thematic or interdisciplinary units. This study explores fourth-grade students’ responses to a month-long, structured inquiry. For two weeks, fourth-graders engaged in multiple readings of five secondary and fourteen primary sources using closed- and open-ended analysis questions and extemporaneous, text-based writing. For another two weeks, the writing process guided students through concept mapping, skeleton outlining, peer- and teacher-review, and revision. Three researchers examined students’ writings for criticality, complexity, and clarity. Findings yielded (...) positive, statistically significant correlations between secondary source usage and historical significance, secondary source usage and continuity-and-change, and primary source usage and contextualization. Positive, weak correlations appear between primary source usage and sourcing. No relationship appears between corroboration and other variables. Meaning is extrapolated for classroom practice and applied to seminal studies. Limitations include a small sample of largely homogeneous, inexperienced students. (shrink)

This paper revisits an old question that neither I nor anyone has been able to answer very well, namely, why is it that nineteenth century composers, who had fairly easy access to nonwestern musics in notation, rarely quoted them? But by the early twentieth century, such quotations became quite common. This article argues that the rise of finance capital, as theorized by Rudolf Hilferding in the early twentieth century, marked the ascendance of exchange value over use value. As a rise (...) of the ideologies accompanying finance capital, composers, and everyone else, began to regard other musics, other sounds—other objects—as something that could be exchanged. This process is exceptionally clear in works by Igor Stravinsky such as Le Sacre du printemps, which, while drawing on nineteenth century nationalistic impulses, also shows a relationship to other musics, appropriated as raw material. The new ideology of exchangeability introduced by the rise of finance capital continued through musique concrète in the 1940s and into the rise of digital sampling in the 1980s and after. (shrink)